Search results for ""Daylight Community Arts Foundation""

Between 2004 and 2007, American photographers Martin Hyers and Will Mebane made a series of road trips through the American South, West and East to create a photographic archive of objects. The project yielded more than 9,000 photographs captured in 25 states. Martin Hyers is one-half of Gentl & Hyers, a New York based photography team that met while studying photography at Parson’s School of Design. They have been working together since 1993; photographing still life, food, beauty, fashion, interiors & travel for a wide array of editorial and advertising clients. In addition to this commercial work, Hyers is currently involved in an ongoing personal photography project with fellow photographer William Mebane. A resident of Brooklyn, NY, William Mebane works professionally as a photographer on a wide range of fine-art, commercial and editorial assignments. His work has been exhibited internationally at spaces such as The Museum of Contemporary Photography in Chicago, published by The New York Times Magazine and used in advertising campaigns for brands such as Eileen Fisher and Newcastle. His work has been featured online with new media platforms such as tinyvices.com and Humble Arts.

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Postcards Home is a record of a period of personal upheaval; of the endings and beginnings of very important relationships; of illnesses and deaths and births. All of the works in this book were taken with an iPhone, and most were immediately sent to someone he cared about, or were shared within his broader social network. Henry Jacobson is a photographer and filmmaker based in New York and Los Angeles. His still photography has been published and exhibited internationally. He curated his first major exhibition at CPW, to critical acclaim, and has given many lectures and interviews on the evolution of photography through the use of smartphones and social networks.

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For Sarah Christianson, home is a 1,200-acre farm in the Red River Valley of North Dakota. Her parents are the fourth, and last, consecutive generation to work this land. She combined her images with materials from her family’s archive to create a rich, multilayered narrative about family tradition, agriculture, emigration and the passage of time. Sarah Christianson (b. 1982) grew up on a four-generation family farm near Cummings, North Dakota. Christianson holds an MFA in photography from the University of Minnesota. Her work has been exhibited internationally and can be found in the collections of several institutions in the Midwest and the National Museum of Photography in Copenhagen, Denmark. She has also received grants from the San Francisco Arts Commission and the Center for Cultural Innovation.

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“These pieces show the regenerative power of nature and human beings’ insatiable appetite to expand, explore, conquer and transform nature into civility,” Van Ort states. In Minescape, the photographs range from images of the mines themselves, set on stark white backgrounds, to landscapes that are unusable until meticulously cleared and images of prosthetic limbs. Brett Van Ort was born in Washington D.C. and raised and schooled in Texas. He moved to Los Angeles, California after obtaining an undergraduate degree in film from T.C.U. Van Ort moved to London in 2008 and received his M.A. in Photojournalism and Documentary Photography at the London College of Communication shortly thereafter.Van Ort's work has been exhibited internationally[, including Photoespana, LOOK11, Liverpool's International Photography Exhibition and FORMAT in Derby, UK. He has been published in numerous magazines and webzines including Photo District News (PDN), American Photography 26, The British Journal of Photography (BJP), The New York Times Online, Vice, and BLDGBLOG, to name a few.] [His first monograph Minescape, was released as a printed book by Daylight Books in 2013. TED books and Daylight Digital converted Minescape into a digital, ebook version, days after the printed versions release.]Brett moved back to Los Angeles in 2012 to continue projects about toxic soil in America and the destruction of the Southern California high desert by the housing crisis.

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Adrain Chesser and ritualist Timothy White Eagle traveled throughout western US with a loose band of comrades, practicing a hunter-gatherer way of life. A lyrical portrait of a contemporary nomadic existence, The Return is "a call to arms to detach from destructive modernity."—Hyperallergic Adrain Chesser is largely self-taught and has refined his practice through a mentor/protege relationship with Rosalind Solomon and later Debbie Fleming Caffery. He completed a Santa Fe Art Institute residency in April 2005. He has been featured on TEDx Vienna and has exhibited in Austria, Louisiana, Missouri, NYC, Pennsylvania, Washington and many more. Collections of Chesser’s work can be found at The Museum Fine Arts (Houston), Norton Museum of Art, Portland Museum of Fine Art and Vincent Price Collection At East Los Angeles College. Timothy White Eagle, born in Tucson AZ, his mother was Apache from White Mountain. He was given up for adoption and raised by a working class white family in Washington state. Graduated from Univ. of Utah with a BFA in Theater. He spent his 20's exploring performance based art. He has worked extensively in the past two decades exploring Native American, Pagan and other earth based Spiritual practices. He began a mentor/protege relationship with Shoshone Elder Clyde Hall in 1995. Around that same time he began helping to craft personal and community rituals within his Spiritual circles. In 2006 he began collaborating with photographer Adrain Chesser. Their work together has been displayed and published nationally and internationally. In 2014 he and Adrain released their book, "the Return". Timothy continues to foster relationships with artists seeking to create objects and performances which contain the convenience of Spirit. He dances at a unique cross roads between art and ritual.

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Vincent Cianni adds to the historical record of the struggles of gays and lesbians in the US military. Gays In The Military: Photographs And Interviews reveals stories of men and women who served in silence in this "apt coda to an experience marked by an evolution from darkness into light."—The New York Times Documentary photographer Vincent Cianni graduated from Penn State university, the Maryland Institute College of Art, and SUNY New Paltz. He teaches photography at Parsons The New School of Design, NYC. He currently lives in Newburgh, NY. Cianni’s documentary work explores community and memory, the human condition, and the use of image and text. His photographs have been exhibited at Los Angeles County Museum of Art; Museum of Fine Arts, Houston; Philadelphia Museum of Art; The Nasher Museum, Photographers’ Gallery, London; the 7th International Photography Festival in Mannheim; and the George Eastman House. A major survey of his work was exhibited at the Museum of the City of New York in 2006.

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In Los Restos, documentary photographer Kevin Kunishi (born 1975) offers a visual account of how the shared horrors of war endure beyond all divisive political ideology. This series consists of portraits of Sandinistas and their opposing Contra veterans, interviews as well as artifacts and landscapes from that volatile era, accompanied by extensive interviews. Kevin Kunishi's work has been exhibited widely both in the United States and internationally. In 2011 he was the honorary recipient of the Blue Earth Alliance Award for Best Photography Project, an award that honors projects that demonstrate excellence in the field of photography. Kunishi received his MFA in Photography from the Academy of Art University in San Franciso, CA, and his BA in History from the University of California Santa Barbara.

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Photographs Not Taken is a collection of photographers’ essays about failed attempts to make a picture. Editor Will Steacy asked each photographer to abandon the conventional tools needed to make a photograph—camera, lens, film—and instead make a photograph using words, to capture the image (and its attendant memories) that never made it through the lens. In each essay, the photograph has been stripped down to its barest and most primitive form: the idea behind it. This collection provides a unique and original interpretation of the experience of photographing, and allows the reader into a world rarely seen: the image making process itself. Photographs Not Taken features contributions by: Peter Van Agtmael, Dave Anderson, Timothy Archibald, Roger Ballen, Thomas Bangsted, Juliana Beasley, Nina Berman, Elinor Carucci, Kelli Connell, Paul D’Amato, Tim Davis, KayLynn Deveney, Doug Dubois, Rian Dundon, Amy Elkins, Jim Goldberg, Emmet Gowin, Gregory Halpern, Tim Hetherington, Todd Hido, Rob Hornstra, Eirik Johnson, Chris Jordan, Nadav Kander, Ed Kashi, Misty Keasler, Lisa Kereszi, Erika Larsen, Shane Lavalette, Deana Lawson, Joshua Lutz, David Maisel, Mary Ellen Mark, Laura McPhee, Michael Meads, Andrew Moore, Richard Mosse, Zwelethu Mthethwa, Laurel Nakadate, Ed Panar, Christian Patterson, Andrew Phelps, Sylvia Plachy, Mark Power, Peter Riesett, Simon Roberts, Joseph Rodriguez, Stefan Ruiz, Matt Salacuse, Alessandra Sanguinetti, Aaron Schuman, Jamel Shabazz, Alec Soth, Amy Stein, and others.

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Bull City Summer: A Season At The Ballpark unites a group of artists and documentarians (Hiroshi Watanabe, Alec Soth, and Hank Willis Thomas) around the 2013 season of minor league baseball in Durham, North Carolina, evoking an atmosphere described by The New York Times as "lazing out on the porch of a summer's night and meditating to your favorite ball team." Alec Soth (b. 1969) is a photographer born and based in Minneapolis, Minnesota. His photographs have been featured in numerous solo and group exhibitions, including the 2004 Whitney and São Paulo Biennials. Soth has been the recipient of numerous fellowships and awards, including the Guggenheim Fellowship (2013). In 2008, Soth started his own publishing company, Little Brown Mushroom. Soth is represented by Sean Kelly in New York, Weinstein Gallery in Minneapolis, Fraenkel Gallery in San Francisco, and is a member of Magnum Photos. Hank Willis Thomas is a photo conceptual artist working primarily with themes related to identity, history and popular culture. He received a BFA in Photography and Africana studies from New York University and his MFA/MA in Photography and Visual Criticism from the California College of Arts. Thomas has exhibited throughout the U.S. and abroad, including the International Center of Photography, Galerie Michel Rein in Paris, Studio Museum in Harlem, Galerie Henrik Springmann in Berlin, and the Baltimore Museum of Art, among others. Thomas’ work is in numerous public collections including The Museum of Modern Art New York, The Solomon R. Guggenheim Museum, The Whitney Museum of American Art, The Brooklyn Museum, The High Museum of Art and the National Gallery of Art in Washington DC. Hiroshi Watanabe Born in Sapporo, Hokkaido, Japan in 1951, Hiroshi Watanabe graduated from the Department of Photography of Nihon University in 1975. Watanabe moved to Los Angeles, where he worked as a production coordinator for Japanese television commercials and later co-founded a Japanese coordination services company. Watanabe obtained an MBA from the UCLA Anderson Business School in 1993. Two years later, however, his earlier interest in photography revived, and Watanabe started to travel worldwide, extensively photographing what he found intriguing at each moment and place. As of 2000, Watanabe has worked full-time at photography.

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Drawing on a range of approaches and media, including photography, digital imaging, film and video, writing, collecting, re-using archival materials, and online venues, Growing Up in the New Age sets out to reconsider the social utopias of the 1960s and early 1970s and discuss what we might learn from them today. Marjolaine Ryley is an artist who has exhibited and published her work nationally and internationally including exhibitions at Wolverhampton Art Gallery; Street Level Photoworks, Glasgow; Impressions Gallery, Bradford; and The Palacio des Artes, Porto. Her work is held in several major collections including The Victoria and Albert Museum, London and the Serralves Museum, Porto. Much of her work has explored family photography including her book Villa Mona – A Proper Kind of House (Trace Editions 2006), and Field Study 7 – Residence Astral (PARC 2008) which was published to coincide with the artist’s visiting fellowship at the Photography and the Archive Research Centre (PARC). She has recently contributed a chapter on her current work Growing up in the New Age: A Journey into Wonderland to the book Alternative Worlds (Berghahn 2012). Ryley’s practice incorporates photography, the moving image, text, and objects to explore memory, history, familial relationships, and archival narratives, linking personal experiences with broader social and political issues. Ryley lives in Newcastle upon Tyne, UK with her husband, daughter and son. She lectures part-time in Photography and Video Art at the University of Sunderland.

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In After Hiroshima, American artist elin o’Hara slavick attempts to address the aftermath of the 1945 bombing--historically, poetically and visually. This act of ethical seeing “brings to us with harrowing clarity … what may lie ahead if we cannot cure ourselves of the pathology that has brought us this far." --Noam Chomsky elin o’Hara slavick is a Professor of Visual Art, Theory and Practice at the University of North Carolina at Chapel Hill. She received her MFA in Photography from the School of the Art Institute of Chicago and her BA from Sarah Lawrence College. Slavick has exhibited her work internationally [and is the author of Bomb After Bomb: A Violent Cartography, with a foreword by Howard Zinn and essay by Carol Mayor in addition to After Hiroshima]. She is also a curator, critic and activist. James Elkins grew up in Ithaca, New York, separated from Cornell University by a quarter-mile of woods once owned by the naturalist Laurence Palmer. He stayed on in Ithaca long enough to get the BA degree (in English and Art History), with summer hitchhiking trips to Alaska, Mexico, Guatemala, the Caribbean, and Columbia. For the last twenty-five years he has lived in Chicago; he got a graduate degree in painting, and then switched to Art History, got another graduate degree, and went on to do the PhD in Art History, which he finished in 1989. (All from the University of Chicago.) Since then he has been teaching at the School of the Art Institute of Chicago. He is currently E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism. His writing focuses on the history and theory of images in art, science, and nature. Some of his books are exclusively on fine art (What Painting Is, Why Are Our Pictures Puzzles?). Others include scientific and non-art images, writing systems, and archaeology (The Domain of Images, On Pictures and the Words That Fail Them), and some are about natural history (How to Use Your Eyes).

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In this remarkable pseudo-documentary and biography, Sara Macel followed her father, a traveling salesman, on his trips across the United States. May the Road Rise Up To Meet You evokes "a feeling of loneliness that is tangible throughout the empty hallways, car parks and airports," says The Telegraph. On a larger scale, this project explores the changing nature of "the road" in American culture. Sara Macel (b.1981, Houston TX) received her MFA in Photography, Video & Related Media at the School of Visual Arts in 2011 and her BFA in Photography + Imaging from New York University's Tisch School of the Arts in 2003. Her work has been internationally exhibited and is in various private collections. Her recent honors include Magenta Foundation's Flash Forward, Top 50 Photographer's in Photolucida's Critical Mass Award, and she was named a winner in the New York Photo Festival. In 2012, Sara received the Individual Photographer's Fellowship Grant from the Aaron Siskind Foundation. [Her first monograph, May the Road Rise to Meet You, was published by Daylight Books in 2013, and a traveling exhibition of that work was shown in solo shows in 2014 at the Center for Photography in Woodstock and the Houston Center for Photography and Silver Eye Center for Photography in 2015.] In addition to her freelance work, Sara currently teaches photography at SUNY Rockland and was an artist-in-residence at The Wassaic Project in upstate New York. Sara is co-director of the Brooklyn chapter of the photo non-profit Crusade for Art. [Her work was recently featured in The New Yorker, Wired Magazine, Fraction Magazine, and Lenscratch among others.]

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Walking the fine line between fiction and non-fiction, Murray creates a hauntingly beautiful narrative book that navigates the psychology of men through an exploration of portraiture and place. Intimate portraits and enigmatic landscapes deliberately mix fact and fiction, past and present, myth and reality. Katie Murray is an American photographer and video artist. She received her BFA in 1997 from the School of Visual Arts and her MFA from Yale University School of Art in 2000. Murray’s work concerns itself with the primal and mythological. She has exhibited in solo and group shows to include: [The Barbara Walter’s Gallery at Sarah Lawrence College (2014), The Museum of Contemporary Photography, Chicago (2014) The Photographers’ Gallery, UK (2013) College of the Canyons Art Gallery (2012), HomeFront Gallery, NY (2011), World Class Boxing, Miami (2010), Kate Werble Gallery, NY (2009), International Center for Photography (2008) White Columns, NY (2004) Jen Bekman Gallery (2004), Queens Museum of Art, NY (2004), and The Yale Art Gallery, CT (2000)]. She received the New York State Residents Grant for Excellence in Photography in 1996, the Robin Forbes Memorial Award in Photography in 1997, the Barry Cohen Award for Excellence in Art in 2000, and a NYFA grant in 2012. Murray’s work has been published in various magazines, books and catalogues. Murray’s work is held in numerous private and public collections. Murray is a faculty member at Hunter College, Sarah Lawrence College, and School of Visual Arts. Maria Antonella Pelizzari teaches courses in the History of Photography at Hunter College, focusing on issues of cultural representation, historiography, and collecting, for both nineteenth- and twentieth-century works. Her expertise covers a wide range of subjects and time periods, such as Italian photography and culture from its beginnings to the present, nineteenth-century British colonialism, American modernism, and the interdisciplinary dialogue between photography and architecture. She is the author of Photography and Italy (London: Reaktion Books, 2011), a historical study that represents the first and only book on this subject in English literature, which will be also published by Contrasto, Milan. She has edited the volume Traces of India: Photography, Architecture and the Politics of Representation, CCA and Yale Center for British Art, 2003 (awarded the book prize “Historians of British Art” in 2004) and has contributed essays to several books (among them, Art for Venice, London: Ivorypress, 2011; Desire for Magic: Patrick Nagatani 1978-2008, University of New Mexico Art Museum, 2010; Picturing Place: Photography and the Geographical Imagination, London and New York: I. B.Tauris, 2002; America: The New World in 19th- Century Painting, Munich, London, New York: Prestel, 1999). Her essays have been published in History of Photography, Visual Resources, Afterimage, Performing Arts Journal, Casabella, Fotologia, Photography and Culture, Perspectives. Actualités de la recherche en histoire de l’art, and CV Magazine. She has co-edited (with Paolo Scrivano, Boston University) a new volume of Visual Resources. An International Journal of Documentation on “Intersection of Photography and Architecture” (Vol.XXVII, N.2, June 2011) and is working on a new book on photomontage in Italy in the 1930s. Pelizzari earned her PhD from the University of New Mexico and her MA from the Universita’ di Genova, in Italy. She has been Associate Curator of Photography at the Canadian Center for Architecture in Montreal, and has held teaching positions at Concordia University (Montreal) and Ryerson University (Toronto).

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"A few days before Christmas, 2004, I was diagnosed with lymphoma," writes Jeff Jacobson in his preface to The Last Roll. The NY Times LENS Blog described Jacobson as "pushing the visual boundaries of photojournalism" in this work providing a first-person depiction of a cancer patient's changing perspectives on life, death, art, and the world at-large. A former Magnum photographer known for his quirky style, Jeff Jacobson was one of the first art photographers to use color film exclusively. For his 1991 book My Fellow Americans he traveled the country, capturing the look and mood of a decade. Over time, Jacobson refined his style by using Kodachrome 200. He pushed it two stops in the developing process, which yielded a grain more typical of black-and-white film. This became his look, his signature. After his chemotherapy treatments, confined indoors at his home in Mount Tremper, New York, he started making a visual diary. At first, he was just thinking in terms of individual images. Then Kodak announced it was ceasing production of Kodachrome, and the project acquired new layers. No longer just about moments of grace amid personal loss, it was now also about enshrining a part of photographic history. His new book, The Last Roll, was born.

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