Luis Gispert

I've been wanting to show Luis Gispert's work for a little while. I think, as we venture home for the holidays, it is important to remember the journey. Let's just think about all the other folks around the globe who are doing the same thing: hitting the road. Though Gispert's recent work does not necessarily comment on traveling, his vehicle interiors against lewd backgrounds have a marvelous unpredictability and eccentricity, kind of like the holidays.

Venturing away from the holidays for a second, Gispert's photographs recreate sitting in many iconic vehicles: Airplanes such as the B17, & even the Knight Rider. Teasing are these photographs: we are unable to explore further the intricacies of the machineries nor are we able to really explore the scene behind the windshields.

I take this, and much of Gispert's work both very seriously and humorous. On one level his work seems to be  about baseline curiosity. But on another, there are very deeply troubling. The level of ambiguity alone- both marked physically by the compositions of the vehicles and marked by questions of 'where' (did these vehicles come from) 'why' (are they here) 'what) (is going on)- can be highly thought provoking. One of my favorite images, L.V. Escalade, acts as a good example. Sure, the fact that such a vehicle exists is humorous and kind of troubling. However, I am most intrigued by the angle at which the vehicle is situated against the background scene. It is an automobile, yet it seems to be ascending as would an airplane. Yet I can't really know, because its a photograph- an instance in time. I am left wondering 'why here', on a snowy desolate background would a very out-of-place automobile be travelling? Also fascinating for me is how close the driver's seat is to the steering wheel. Beyond telling me that a very short person must be driving this very big car, it, aided by the colors and patterns of the car's leather, implies a gender which aids in the mystery of the scene at hand.

For my work, I've taken inspiration from Gispert's color palate (which glows neon metallic with a strongly digital luster) and from his ideas. I aim in the work I am pursuing now to have the same level of interest and curiosity.

Have a safe trip everyone.

Huey 64x110"

Oh Lory Lory 72x105"

The Knight Rider 65x120"

L.V. Escalade 72x107"

All images from http://www.emptykingdom.com/main/featured/luis-gispert-ohwow/
All images courtesy of Luis Gispert 2010

Lori Nix

Photography and disaster go together like peanut butter and jelly

Lori Nix is a NYC based photographer who specializes in creating miniatures. I have utilized her models for influence of the disaster models of my images. Though I have focused less on a whole diorama and more on the models, Ms. Nix's dioramas have been proof of the fruitfulness that comes from enjoying what you do. 

Nix's subject matter, though constructed and not found, certainly derives from a vast imagination. It should not be lost that the world shows a great influence in her work. I believe, like myself, Ms. Nix uses colors in her images to methodically pinpoint the ways in which we interpret the world around us. She also uses depth of field, quite uniquely which has influenced the importance of depth of field in my work. Because of her work, I believe I have the ingrained idea that light and depth of field can create interest and narratives in an image. 

Nix is daring and also works in film (as must be made known by the dates of the images below.) Film, and the palates it ensues, aids to the quality and ideas of her work. This has been one of the hardest aspects to replicate in digital photography.

There is something about Snow Storm which really attracts me. The work is flat and painterly- kind of like 15 minute masterpieces- but it is also exceptionally composed, a paradoxically subtle and bright palate: all of which make the disaster even more profound. 

Her work is fun to look at, and, from my experience with models, it must have been fun to build. Art should be fun and insightful even when time consuming..

Blimp, 1998

California Forest Fire, 2001

Ice Storm, 1999

Junkyard, 2003

Nevada, 2003

Snow Storm, 1998 

Train, 1998

All images taken from http://www.lorinix.net/index.html

Christine Shank

By now, you may know that I like to look at the minute details. Christine Shank is a photographer whose work keeps coming back to me, pushing me to consider, though, oddly, I've rarely done so, until now. Her photographs are honest and surreal: implausibly eloquent. Every image reminds me of a miniature, however I'm just not sure how they could be. Her work is brilliant.

All praise aside, I'm take from Shank's Interior series of photographs how to formulaically make a large body of alike images interesting even after producing the images for months. This is a problem I often run into, and until recently, I have become sidetracked with long running projects- trying to reinterpret or totally run a clean slate underneath projects that just might not actually be finished.

Technically, Shank's images have a strong presence of, as I call it, creeping light; or little inflows of sunlight from windows and passageways. Creeping light really makes the allure of these images so much stronger. They do not look like faked scenes.

Conceptually, her Interior series reflects on loss, through neurosis, collectivism, or simple tragedy. These images have a profound emptiness and longing quality which I greatly admire. I wish I could step back from the works a little bit, but I become highly sensitized to them.

1035 unforgettable little mistakes

Against our better judgement, we simply watched 

The expectation continued to remain

Their relationship was reduced to habits 

They choose to smile and pretend nothing had changed 

You promised to listen

All images 24" x 30", 2006
All Images courtesy of the Artist
http://www.christineshank.com/index.html
Christine also has a book on display at Booksmart Studios in Rochester
She also had a show up in Harnett Gallery at the University of Rochester in 2006

Alex Prager

Alex Prager, another artist currently showing at New Photography 2010 at the MoMA, as stated on their press release, 'takes cues from pulp fiction and the fashion images of Guy Bourdin to construct filmic narratives starring women disguised under synthetic wigs, dramatic makeup and retro polyester attire" This is fairly spot on. But, I would like to add, Prager's images depict causal scenes very much synonymous with women in 1960s hollywood films where airports, and beaches predominate.

What I like most about Prager's work is his ability to create narratives in these images which have both a very interesting ideal and allure along with hinting at an untold story about to unfold. Beyond the simple stills, these images are highly dramatic, but I'm not sure why. I love photographs which tell a story but do not fill in all the information nor will they ever be able to be defined by one story.

Technically, I adore the neon glows of these colors. Retro and simply placed in context, I think their colors aid incredibly the attitude of the images. All photos selected below depend on the colors and textures of their backgrounds as well. The figures are very important, but so too are the background Prager has chosen.

Finally, I was attracted to these images because of the figures and their titles. The titles are just as important to defining the characters as the photographs themselves. Metaphors in titles as they relate to images interest me greatly.

Images from Top to Bottom:

1. Alexandra 2007

2. Annie 2008

3. Cyrstal 2008

4. Despair Film Still #3

5. Julie 2007

6. Kimberly 2008

7. Nancy 2008

http://www.alexprager.com/

Roe Ethridge

Roe Ethridge's images, many of which are currently at the New Photography 2010 exhibit at the MoMA, represent both an editorial and stylistically minimalistic approach to common images. These photographs are clearly from film, which not only adds to their appeal, but sets a sort of 'age' to the images. These images as art depend highly on the film-like quality. But even more, their compositions are often wide angles and vivid colors (a  product of 35mm and a wide angle lens) and are characteristics that appeal to me.

I am inspired by Ethridge's simplistic yet masterful use of form and functionality of seemingly unrelated images. Photography suffers, I believe, from often being an image-to-image art form, and, though Ethridge's images are so very different, they seem connected by their four corners- and their frames. Everything within the four corners are meant to be there.

Images: From top to bottom: 

1. Bunker Lane 2007

2. Canada (near baniff) 2005

3. Cappy (Mug Shot)

4. Junction Atlanta

5. Old Phone and Neon Rainbow 2006

6. Williamsburg Bridge 2008

from http://www.andrewkreps.com/artists_portfolio.html?aid=54

Matt Stuart

Matt Stuart is a 'street photographer' of the highest order. He enjoys the business of 'being nosey' but his images are humorously simplistic and sophisticated. None of them are staged. Instead his process is honest and he states "I can't hide behind lights and technology, I am reliant of a small Leica camera, patience and lots of optimism." He is attempting to "burrow deep" into peoples' memories. He certainly has my attention.

I have a lot of trouble describing Stuart's work. This may be from the fact that it describes itself. Beyond the humor I am attracted to Stuart's careful study of subtleties. Above all else, he is a master of anticipation, which is something I believe I, as well do well.

What I take from Stuart's work and incorporate into my work is how to think about the scene differently. Though I am currently not shooting photographs of people, I like his off-kilter depths and brilliant colors. I am also encouraged by the fact that Stuart still shoots film, and I want to get to the point in my passion and in time where I will never leave the house without my camera and a few rolls of film (and enough of an income from what I do to do this comfortably).

Let the photo speaking begin!

By far, my favorite

All photos and quotes courtesy of Matt Stuart

Phillip Toledano

Phillip Toledano states, on his site  that "photographs should be like unfinished sentences. There should always be space for questions." Though he states his work is socio-political, I believe it is much more profound. Though he is a photojournalist and sells his images to the mainstream media, his work stands alone- it is much more conceptual and profound.

Toledano's portraits, for example have more than one unanswered questions. Even when there is presence there is absence as well. The images I have chosen here, though they only represent a small body of his work, provided me the with most eerily and exciting feelings. The first four seem somewhat advertising-based however the stories of these images and, with the last two images, the uncomfort I feel transcends their simple exact compositions. I believe I am attracted to these images because of the careful lighting which creates precise shadows and accentuates the textures of clothing and human flesh.

The bottom 5 images are from a  very profound body of Toledano's work about his father who is suffering from severe Alzheimer's disease. Though I was young, my Grandfather-a man who was important to me beyond the stories he told me as a kid, but by the way I saw his love for my father and vice versa- also died of Cancer, which he refused treatment for because of his rapidly progressing Alzheimer's. I am entrhalled by how Toledano chose to use photography to make witness to and to fight the disease. Beyond empathy, such bodies of work will redefine the photo industry.

So, from Toledano's work I am encouraged. Most of all, I see that there are photographers out in a rather niche industry of media photography that are thinking progressively. I hope, if I go into that business, I can produce work as meaningful and as profound as Toledano.

Images Above  Courtesy of http://www.art-dept.com/artists/toledano/index.html
Images Below Courtesy of http://www.dayswithmyfather.com/

Arnold Odermatt

Arnold Odermatt  is a Swiss police photographer who is best known for his black and white photographs of car accidents. What I like most about these photographs is how they convey a story and slight personality simply from their point of view/angle and depth of field. As well, the images are crisply and carefully framed as to preserve nothing more and nothing less than needs to be seen. Odermatt varies his composition from box to more traditional vertical and horizontal. Box images such as the ones here on the right seem to draw they eye into the actual vehicular damage. The images on the left, which are in more traditional shapes seem to utilize backdrop and long depth of field better.                                                                                              
       Odermatt's car photos exploit contrast in a way of depicting the crunchy, raw nature of the crashes. Along with contrast, I believe textures- either from grass, pavement, and weather conditions of the accident provide a very vivid idea of what may have happened in these scene. But the work is even strong in the ambiguity: the fact that it forces the viewer to attempt to rationalize the crash is incredibly insightful.

     Odermatt's images relate directly to my work. I found Odermatt's work after starting to rethink my miniature car photographs project that some of you might have seen. I don't know why, but as a photographer I am interested by  tragedy and I incorporate my childhood memories of building and destroying toy cars and other toy figures into my work. Memory is a strong part of my work, and certainly I like to believe it is a strong part of Odermatt's as well. I wish I had his job...that would be awesome.

All photographs courtesy of http://www.jameskelly.com/oder/oder.html