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PRZEMYSLAW STROINSKI

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More With Less Issue means 3 images commented by the photographer. We found the images of Przemyslaw Stroinski through our flickr pool. We were immediately struck by the visual situations that he portrays. Images that have the same feeling of a lost innocence.

«My photos are the evidence of my looks.»

«Existing cases, fragments, framed just so, at this particular time. Sometimes it is a geometric synthesis, sometimes crazy mess.»

«I often go back to the same place many times, at different times of day and year.»

«I find the rhythm and its curvature. Meeting the world of man and nature. Interaction at the time. Surprise. Music of colors and shapes. Affirmation detail.»

© All copyright remains with photographer Przemyslaw Stroinski


MAURICE VAN ES

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Maurice Van Es is studying photography at the Royal Academy of Art in The Hague. We discovered him almost by chance, browsing on his blog, where sometimes we like to come back. It is the first time that we report his work on Urbanautica and we hope to do it again in the future.

«I like the fact that you can take a picture of a moment in time that will never come back. On this blog I write about the things that inspire me.»

mauricevanes:

When?

How?

Why?

What?

Who?

© All copyright remains with photographer Maurice Van Es

TSUNAMI IN JAPAN

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staff:

#tsunami

Our thoughts are with everyone affected by the 8.9 magnitude Japan earthquake and Pacific Ocean tsunami.
Help can be donated here via Global Giving.

PHOTOTALK WITH CÉLINE CLANET

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1) I’m interested in your body of work, From Torrent To Current: Dam and Man in Savoy. Could you tell us a little about how this project came to be?

«In 2010, I have been asked by a French cultural foundation (FACIM Foundation) and the main french energy provider (Electricité de France) to make a photographic work on the hydroelectric network of the Beaufortain area, in the French Alps. The assignment consisted in making pictures of the 4 dams of that area, its 10 powerplants, and some portraits of witnesses/actors of the dams’ construction time, still alive today (the oldest dam was build in the 1940’s…). It was a dream commission, as I had total freedom, and absolutely no censorship.»

2) Many of these photographs illustrate a sense of power, both in the the physical landscape of the Alps and in the structures created within that landscape. What was your experience like in photographing these places?

«It was a bit physical, as all those dams are high mountain dams, and as I had to carry a view camera equipment while hiking. During wintertime, road accesses are closed, so it meant hours hiking in snow from the valley. But it was worth the efforts, as I managed to get some views that were rarely seen before. Apart from that, working on those structures was pretty intense. Everything is so huge, monumental, impressive. And being for hours around those dams, most of the time on my own without any human presence around, was a very peculiar experience. They have such a presence. The powerplants are pretty impressive too: my pictures couldn’t show the loud sound and heavy heat they produce, day and night. The views seem silent and serene, but inside the machines room, it’s hell, and even the floor is shaking!»

3) The portraits you made display people who I see as having a bond with the land and with the dams. And you also grew up in this area of the French Alps. Do you yourself feel a type of bond with those you photographed? With the dams?

«Yes I feel very much close to those people, and that helped to get in touch with them and have them being involved in the shooting process. At the end of the day, we are from the same area, so their accent, way of living, thinking, is completely familiar to me. It was like being with my grand-parents.  I have memories of the dams from when I was a little girl, even if I grew up in another valley. I remembered the Roselend dam as just pure hugeness, and it still felt the same each I came to shoot for the project.»

4) What’s in store for you in 2011, photographically or otherwise?

«From Torrent To Current… will be published as a monograph later in April at Actes Sud editions (France). Besides, I am having several shows this year, of this work, and of my Maze series (my project about Sami people and their village located in norwegian Lapland): in March in Oslo at the Apartment Gallery, in June in Paris at the EDF Foundation, then in August at the Biennale de Condroz in Belgium, and in September at BoldHype Gallery in NewYork and at the Photaumnales Photo Festival in Beauvais, in French countryside. I’m thrilled!»

5) Last but not least, what’s your favorite color?

«My son’s skin.» 

Text by Gregory E. Jones

© All copyright remains with photographer Céline Clanet

BRIAN DAVID STEVENS: WOODLAND

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«This project is currently under the working title of Woodland and is in its very early stages of development. The British landscape once dominated by wildwood after the last ice age has since Neolithic man been subject to constant change due to the management of land and the utilisation of its resources. 

Existing countryside that was once extensive forest is now predominately a mosaic of agricultural, heath and moorland with woodland covering just some 11% of the land. Even the woodland has changed and just 2% of ancient woodland (woodland that has existed since 1600AD and probably before) remains.  More recently farmland practices included the removal of hedgerows, hedgerow trees and many small woodland copses as a means of expanding field sizes and the converting pasture to arable, which usually included the removal of farmland trees, has furthered the decline of the tree in the British landscape.

I wanted to produce a body of work with a very ‘English’ colour palette, colours I have known and are are familiar from childhood. This section of the work will be seasonal, ideally captured between winter and spring, not showing new life  just hinting at it. The locations will be ancient woodlands, some featuring trees up to 800 years old, forms that have been hundreds of years in their founding.» 

© All copyright remains with photographer Brian David Stevens

UNDERCOVER #2: WEEGEE

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Photo: Corpse with Revolver. CA, 1940

NAKED CITY “Naked City”, 1990, Elektra/Nonesuch.

The daring sonic adventures of John Zorn, accompanied by excellent musicians like Frisell, Horvitz, Frith, Baron, Eye and his chameleonic musical transformism, create the conditions for one of the most amazing frescoes of contemporary music: the Naked City. In the background, the New York atmosphere, the energy, the speed, the neurosis. The noir, B-movies, Carl Stalling, the free jazz of Ornette Coleman, Ennio Morricone, Lounge Lizards, the grindcore, Samuel Fuller, the hard-boiled, Suzuki Sejun, Jack Smith, Mickey Spillane, Raymond Chandler are the aesthetic, visual and acoustic textures that take part of Zorn’s imaginary. Marquis de Sade, Jean Genet, Hermann Nitsch are references to his obsessions and to the dark and violent side of his existence.

The band’s name was inspired by a book published in 1945, Naked City, which became in 1948 the great namesake film noir by Jules Dassin. The author of the cover photo and the book is Arthur Felling, who was born in 1899, in Ukraine, and later moved to New York in 1910. In the following decades he established himself as a freelance photojournalist under the name Weegee.

Equipped with a 4x5 Speed Graphic with a flash bulb and a routine visitor of Manhattan police headquarter, he is often found at the crime scenes. Murder is my business became his manifesto: accidents, fights at night, murders and fires become his contexts of choice for representing the unclean and the sublime; the comedy and the human tragedy depicted in the crazy nights in the city’s underground; the drama’s emotional construction and the aesthetic representation of the disaster led him to the research of the Mexican Enrique Metinides. The slums at night and the infamous bars in Harlem, Chinatown, Bowery, The Bronx, Coney Island, Little Italy, are the stage where it’s captured the life and death of the naked city: gangsters, thugs, cops, dancing girls, whores, pimps.

The road and the car became his home; in his Chevrolet he installs the police radio system and in the trunk he finds place for his photographic equipment: a dark room ready to use, spare clothes, food, cigars. Weegee’s photographic technique is relatively simple: frontal, direct, no frills. A hard use of flash shot without permission on people’s face. The images printed in black and white on high contrast paper, are dramatic, cold and cruel, unambiguous and often brutal. Sometimes the subject’s face is transformed into a grotesque mask with a merciless grin. An inspiration for a generation of photographers including William Klein, Diane Arbus and Gary Winogrand. The covers of Unsane, born more than half a century later, are sons of the same mother, New York.

LINKS

Jules Dassin “The Naked City”, 1948

Henry Hills “Batman” music by John Zorn performed by Naked City, 1990

Voice by Weegee “Even a drunk must be a masterpiece”, ©1997, International Center of Photography

Text by Gianpaolo Arena with Steve Bisson, Bruno Zho
© All copyright remains with the photographer and property.

"Columbus died almost without seeing it; and not really knowing what he had discovered. It’s..."

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““Columbus died almost without seeing it; and not really knowing what he had discovered. It’s life that matters, nothing but life — the process of discovering, the everlasting and perpetual process, not the discovery itself, at all.””

- FYODOR DOSTOEVSKY: The Idiot (1868)

SHORTCUT OF THE DAY: GRAHAM HAMBY © All copyright remains with...


PLEASE TAKE A LOOK AT MY WEBSITE #1

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Our facebook page is now open to your direct reports. Here are some suggestions:

JAMES FRIEDMAN / James Friedman is a portrait, architectural, commercial and personal documentary photographer based in Columbus, OH. He has worked with major figures such as Minor White and Imogen Cunningham, and has exhibited internationally.

PHILIPPE COSTANTINESCO / Philippe Constantinesco was born in France in 1982. After having completed his studies in Visual Communication in Strasbourg, he founded Zurich29 with Dorian Gourg (art directors studio, motion & static designers) and has been pursuiing his career in Paris since 2006. “Faunesque” is his personal portfolio.

DANILO MURRU / If you are around and about in London this coming Wednesday (30th March 2011) we highly recommend popping along to the grand opening of this exhibition “SeaCiety and All That Remains”. Photographer Danilo Murru will be exhibiting images from his stunning “SeaCiety” series alongside the sculptural concrete artworks of Naomi Doran.

GALLERY PHOTOGRAPHER RU / Gallery.Photographer.ru is a Moscow gallery which specializes exclusively in contemporary creative photography. Rejecting the separation between “photojournalistic” and “artistic” photography, Gallery.Photographer.ru advocates all that which is united by an individual, personalized vision of the world. At the same time, the main focus is on showing significant contemporary Western photographers who set the pace for the development of the medium’s language, as well as on working with the promising local names who deserve to be included in the global context.

MERAL GÜLER / I’m auctioning this print to help the people of Japan. You can bid knowing that 100% of the money is going direct to a charity helping with the relief effort. Please help me to raise much needed funds. Thank you.

BRAD McMURRAY

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«My images are seen through the camera; they are not cropped or manipulated in the darkroom or computer. I select common objects in familiar settings that provide or imply a larger context within a specific society. The process of selection is a priority for me and my photography.»

«My photographs have to do with the quality of our lives in the everyday and ongoing environment; they show a grain of the present, like a ring in the cross-section of a tree. They focus on the mundane and ordinary world and I think that no subject is fuller of implications than this one. It is possible to find interest and pleasure in banality, disorder and the discarded.»

«I strive to make forms make sense visually and I try to find beauty and displays of color in ordinary scenes and subject matter and trust that the metaphor, the mystery, the poetry will follow.»

© All copyright remains with photographer Brad McMurray

MAŠA BAJC: "MASA'S IMAGINARIUM"

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«Maša’s Imaginarium is a collection of images that form a photo-installation. This work is a part of an ongoing exploration of the conception of place and the site of the installation that addresses the experience of place. All images are taken with a cell phone, which serves as a readily available device for storage of encountered curiosities on a daily basis. Documentation of the uncanny and the whimsical combined with other photographic and textual interventions blur the line between the perceived and the imagined. This is further enhanced by establishing spatially associative links between the images that form a mental map of a sort and make The Imaginarium a place in which the mundane and the surreal blend.»

© All copyright remains with photographer Maša Bajc

PIETRO MILLENOTTI: "IMPRONTE SULL'ACQUA"

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During our lectures at Savignano Festival we met Pietro Millenotti. We enjoyed talking about his series Impronte sull’acqua (Imprints on Water) and the way he chose to represent a human geography as a river flowing. Imprints that left on the water seem to lose weight and to slip faraway on the horizon, as our eye do.


«Framing means to me a severe selection. It is the context itself that suggests me how to deal with it. Is the artificial an extension of the natural? In this image, chosen as cover for the entire project, I sought for a balance between the algid environment and the expectation that the sense of snow releases silently. The sound of a fishy river imagined and made visible only through the projection of a man, although it might not be so.»

«Living along by the banks of a river means to continuously measure the rhythms of nature, far from what is predetermined. Some rigor needs to be maintained for living in this unusual border. A sense of freedom and isolation appear to bring to an almost primitive condition, built around the contemporary tribal marks facing the “people of the mainland”.»

«In the Italian landscape it’s easy to find Christian religious icons and symbols. They often remind us of reached peaks, signs of a path or sacred posts where you stop for meditation. I often wonder how to look at these aspects in relation to the natural environment. In this case, I found the answer in the framing. Although placed in the center, the body of Christ is not the heart of the scene as in “The Baptism” by the Renaissance painter Piero della Francesca; it rather reveals its fragility and how small is the death compared to the cyclical renewal that the river naturally suggests to us.»

© All copyright remains with photographer Pietro Millenotti

PHOTOTALK WITH BRYAN SCHUTMAAT

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1) Tell us a bit about your discovery of photography and influences.

«I’ve been involved in photography for nearly eight years now, but it feels like less than that.  I’m still learning and figuring out new things all the time. There’s not a very fascinating anecdote about how my passion for photography was found. I simply enrolled in a photo course in college because I thought it would be fun. It started as just pure curiosity and turned into something more.  I was at first interested in documenting anything around me – my friends, travels, the landscape, strangers in the streets, etc. Influenced by Robert Frank, Winogrand, and the like, those early years were spent with a 35mm SLR and plenty of Kodak Tri-X. Some time later I was turned on to the ‘70s color photographers, then I brought my interest in cinema into photography in subtle ways, and… it’s still evolving.»   

2) You hold a degree in History. Do you research the history of an area in order to help create a sense of place?

«That would probably be the responsible thing to do, and if I were a different kind of photographer, I could certainly see the benefit of doing some research, but honestly, I don’t make any significant effort to read up on the history of where I’m shooting.  It isn’t really necessary. I’m more inclined to read regional literature, or just talk to locals to get a feel for what’s around. Maybe that sounds lazy. But it’s not as though I’m going into it oblivious either. I know where I shoot alright. Firsthand experiences, a general knowledge of the local culture and economy, and what’s overheard in diners is plenty to gain an understanding of a place. Plus, for me, photography at its purest isn’t an academic or intellectual pursuit. I have greater interest in the more heartfelt, intuitive responses to my surroundings, the process of discovery, and the liberty that ignorance and unfamiliarity affords (not total ignorance, of course, but just the right amount). I don’t know if I want all of that to be swayed too much by something I read beforehand, and, as a photographer, I guess I’m more concerned with inventing a sense of place than learning it.» 


3) In Heartland and Western Frieze you seem to be interested in geography, in other words the landscape and its influence upon its inhabitants. Can you comment?      

«Yeah, geography plays big roles in both series. In many regards, Western Frieze and Heartland are two different branches of the same body of work – a lot of crosspollination, but still distinct in their own ways, I’d say. In Western Frieze, I’m dealing with the mystique of the American West and how it’s manifest in what’s seen from the roadside. This western mystique (or whatever it is and whatever’s left of it) is derived from the West’s place in U.S. history as a vast expanse of untamed wilderness.  The rugged, geographic characteristics of the landscape formed early opinions about what the West represented, in turn affecting geopolitics and industry and individual lives for years to come. Today, we witness the realization of past expectations. The West is now tame. In the last century or so, as the landscape has been massively cultivated, commercially altered, and as human development chews through wilderness, an irony emerges; the less wild the West becomes, the more we see people glorify the wilderness in pictorial form and in interior settings. It would appear that the marvel of what the West once was has been relegated to pictures on dingy motel walls, or murals on the sides of old buildings. Wagon wheels no longer carry settlers across the open range; they’re hung as light fixtures in cafes. A live elk seems to be a rarer sight than a stuffed one these days. It’s as though people are trying to hold onto something, and I’m interested in finding those vestiges of the past. And there’s no doubt I’m interested in the past, both the historic and less distant.  While my work comments on modernity to some extent, there’s something from a bygone era I aim to depict – an interpretation shaped by ‘70s road movies, pop culture, and family trips when I was a kid. It’s nostalgic, I admit. In effort to show some kind of truth, many landscape photographers throughout the medium’s history have sliced right through the romantic characterization of the West, but for a variety of reasons, I like to finesse it, keep it alive in my own way. It’s an attempt at preservation, or propagating myth, which is kind of the crux of the series in more ways than one.»


«With Heartland, geography was also on my mind, though for different reasons. I was concentrating  on the Great Plains, which is some pretty austere terrain.  My aim was to convey the culture of the land’s inhabitants by using the stark topography of the area to describe it. There’s a kind of symbiosis; aspects of the land shape the people socially, and the people shape the land physically. This is evident in the architecture, farmland, and townscapes, but even landscapes with little or no sign of human interference functioned well for me within the context of the project, because they’re reflective of the people and they show the surroundings that a handful of Americans encounter daily. I imagine how life would be different for me had I grown up in a different setting, with nothing around save wheat fields and prairie. Looking out at the plains evokes a sense of isolation and the unknown, like looking into the sky at night. That sounds cheesy, but really, it’s a contemplative place for me that stirs up some existential questions. Then there are these churches that emerge from the flatness like monoliths, seeming to be the only things on the horizon that the sun has to shine on. To me, they have a rather menacing presence, but I can see how in a small town, surrounded by those void spaces, churches help fill the emptiness in people’s lives, offering comfort and answers.»

4) Western Frieze and Heartland can be read as literary in form with recurring themes and visual motifs. Could you talk about the development of each series within these terms?

«Yeah, you know, despite my all too lengthy talk above coming from a social/historical angle, I think my pictures are ultimately about the emotive qualities of the landscape. That concern is greater to me than the social emphasis, which I think is often just a pretext to exercise lyricism of some kind. Pictures have got to say something to the heart, and I’m convinced that that’s accomplished by approaching photography in a literary way. Maybe poetic is a slightly better term than literary, but whatever, the idea is to use visual language and stylistic choices to elicit an emotional response in the viewer. Regrettably, much of my interest in this realm has been heightened following the work I did on Western Frieze and Heartland, so I don’t claim any expertise or big achievements using this approach. But as you mentioned, there are some literary elements I was playing around with in both series.  In Western Frieze, the theme of travel is really prominent, not only because I thought it would be a good stepping off point for cultural examination, but more so, because I wanted to convey a sense of journey and the rhythm of life on the road, which I think offers emotional substance.  There’s a repetition in imagery that I think of almost as verse – road, motel, open landscape, café, road, motel, open landscape, and so on. These settings and their content and tone are meant to relay personal experience.  What I encountered while traveling – long drives, waking up in unfamiliar places, isolation, transience, loneliness, the changing landscape over time – was like a recipe for introspection, so I wanted the photos to transmit the feelings I carried with me in those places. Executing that with specificity is tough with photography, so in the end, I think what I got were photos informed by my feelings and intentioned to activate the viewer’s own emotions. The work is like a pseudo-diary, but with all of the plot points and specifics deliberately left out, as if the narrative is always off-screen, and whatever is happening (or has happened or will happen) is up to the viewer. There are further little motifs that pop up, like elks, cars, pictures of pictures, etc, which are there to give the series cohesion and further define the western locale. The snow motif was somewhat arbitrary, but definitely a mood builder, and it complimented the homophonic title in a poetic kind of way.» 

«Heartland is also narrated from the perspective of a traveler, although it’s less explicit. That wasn’t my intent at first, but again, a sense of journey yields emotional assets that I didn’t want to neglect. In Charles Portis’s road book, The Dog of the South, the protagonist says, “Tiny things take on significance when I’m away from home.” I feel similarly. Wandering, exploration, and contemplation, which for me are inherent in travel, are integral to my process and end product, and I feel like that’s felt in the work to some capacity. Also similar to Western Frieze, much of what I said above about insinuated narrative applies to Heartland. Without actually showing them, I wanted the presence of the people who occupy the landscapes to be felt in an evocative way, as though they’re unseen characters whose realities viewers can immerse themselves in and ponder. A stack of hymnals on a piano, or a ribbon tied to a stop sign, has traces of vague stories and provides mystery, and with photography, I think narrative dwells in mystery.  Perhaps the most salient thematic component in Heartland is the Christian content, especially the churches, which repeat every several pictures, invariably adorned with a bold cross. I talked in my prior response about my fascination with religion on the plains and why I sought to address it. If the series were a song, I’d think of the church pictures as the choruses. They’re louder than the other photos, yet ambiguous, and they’re reminders of the kind of culture we’re dealing with.»

 

5) These pictures seem to be organized in book form. Are you planning on publishing?

«At this point, I’m worn out on Western Frieze and Heartland, so I don’t have hopes of publication for either of those series. But I do want to make a book in the future. I began photography with few expectations (in fact, the idea of someone wanting to interview me is still surprising), but I’m starting to get way more ambitious, putting more confidence in my dreams and so on. I have some work in the oven right now that I’d like to publish at some point. And I should mention that it’s important to me to put out a book, because in my opinion, books are the optimal way to interact with photography. I know the best, deepest experiences I’ve had with pictures have been with books. When you’re viewing a book, it’s an intimate experience. You’re not in a clinical gallery setting. You’re typically at home, where no one’s around, like the lights are off in the theatre and you’re free to engage as much as you want.» 

Text by David Pollock

© All copyright remains with photographer Bryan Schutmaat

"Who is able to tell the truth? What are the moral, the ethical, and the spiritual conditions which..."

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“Who is able to tell the truth? What are the moral, the ethical, and the spiritual conditions which entitle someone to present himself as, and to be considered as, a truth-teller? About what topics is it important to tell the truth? (About the world? About nature? About the city? About behavior? About man? ) What are the consequences of telling the truth? What are its anticipated positive effects for the city, for the city’s rulers, for the individual, etc.? And finally: what is the relation between the activity of truth-telling and the exercise of power, or should these activities be completely independent and kept separate? Are they separable, or do they require one another?”

- Lecture of Michel Foucault at the University of California at Berkeley, Oct-Nov. 1983

ANDREAS MASS

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We are happy to introduce the submission received from Andreas Mass as it came.

«My name is Andreas Mass and I’d like to contribute to your beautiful online magazine. A bit about my myself; I’m originaly from Kazachstan, now living in Germany. I’m a design student here in Cologne and am working as an employe at a design agency. I started shooting digital and trying lots of stuff… at some point my taste shifted towards more humble, honest photography… I then went on with analog. It were works of Levi Wedel that inspired me to feel and love the depths of urban photography at that time. I love the bright light of the banal that is often not seen or crowded out. I wish is to capture daily life with a sense of aesthetics without making the aesthetics appear constructed or even visible at all…» 

© All copyright remains with photographer Andreas Mass


PLEASE TAKE A LOOK AT MY WEBSITE #3

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Our facebook page is now open to your direct reports. Here are some suggestions:

YEE LING TANG / Opening exhibition The Story of Four Generations at 44 Gallery in Bruges, Belgium. Yee Ling Tang (Hong Kong, 1972) connects in some fifty photographs the life of her grandparents in Hong Kong with that of her parents, herself, and her daughter, the fourth generation. The strong tie between past and present is reflected in the ritual ancestor worship. Yee Ling Tang’s work reveals a photographer who has succeeded in distilling her experiences in several cultures into a style all her own. Her perspective is not the sum of Hong Kong and the Netherlands. It is a new view, an autonomous look at reality.

RONA CHANGThe Homefront Gallery is pleased to present Breathing In by Rona Chang, a collection of photographs taken over the last ten years.  This exhibition celebrates the publication of the book Breathing In, a collaboration with the poet Ann B. Knox. It highlights the images and words that emerged from “like ways of seeing” the world’s “patterns, strangeness and delights.” From April 23 to June 18, 2011. Long Island City, New York.

MARTIN PETERSEN / The Danish photographer is having his first print sale. Three photos in very limited editions of only five prints. «My work primarily deals with the emptiness in spaces. The pictures are usually pictures of something in the middle of nothing, but regularly I will let an object break the nothingness of these scenes. During the last year I have become interested in movement, and have taken series of pictures where the camera stays fixed, and the movement does the storytelling.»

"Every day things happen in the world that cannot be explained by any law of things we know. Every..."

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“Every day things happen in the world that cannot be explained by any law of things we know. Every day they’re mentioned and forgotten, and the same mystery that brought them takes them away, transforming their secret into oblivion.”

- Fernando Pessoa: The Book of Disquiet (Writings from 1913-1935), 1982

PHOTOTALKS: 'DAVE JORDANO'

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1. Detroit is becoming a cultural symbol for the failed American Dream. In your series “Detroit – Unbroken Down” you seem to be pointing to the small creative acts of individuals as an antidote to that notion.

«It’s no secret that Detroit has suffered a slow, steadily progressive, economic implosion. Hundreds of articles, newscasts, webzines, blogs, and photographers have reported on the city and essentially focused on the blight and its decades long tumble into decline. Recent census figures report that Detroit’s population has now shrunk to 714,000, or roughly what it was 100 years ago. In the last decade alone its population has declined by more than 25%. In contrast, sixty years ago Detroit was the fourth largest city in the nation with a population of over two million inhabitants. What’s left today is a city stretching 140 square miles with enough empty space that you could fit all of Boston or San Francisco within its vacant lots. 

That being said, this work is a reaction to all the negative press that I felt Detroit has endured over past few years. It became apparent to me that what others were overlooking was the human condition, the heart of what a city is all about, the people left to cope with the harsh realities of a postindustrial town that has fallen on the hardest of times. It’s the many small neighborhoods that make up a city, not the empty industrial plants and factories that corporations have abandoned and turned their backs on. Within these neighborhoods is a wonderful array of individuals and groups that make up the social, ethnic, and racial fabric of a city.  As a photographer you might say that I’m interested in the cultural anthropology of what makes up the city.» 

2. What is your approach regarding choice of locales in Detroit?

«There isn’t an area of the city that I feel doesn’t have potential for this project so I’m open minded as to where I find myself traveling. I do tend to be drawn to neighborhoods that are the most disadvantaged. These are the people who haven’t a choice as to whether or not they can leave the city. Their situation is compliant on their economic condition, which precludes them from doing so. This doesn’t necessarily create a negative, as it often forces creative solutions for those who live in these depressed areas, like planting community gardens, bartering for services, and setting up local help organizations, or just figuring out how to survive. These are the neighborhoods that intrigue me the most because they’re most likely the hardest ones to find something positive about. Since the housing market collapse in 2008, the onset of abandonment in even the most affluent neighborhoods of Detroit is becoming evident, so there really isn’t an area of the city that hasn’t been affected by the long or short-term economic decline.»

3. Describe your process of reacquaintance with your former hometown through this project?

«I first came back to Detroit last spring in 2010 after a three-decade absence.  My early life revolved around Detroit. Many of my relatives were also still living in Detroit back in the 60’s and 70’s. My parents, my aunts and uncles, cousins, my brothers, friends, all of them were in some capacity working within the auto industry. If you didn’t, you were considered odd. The economic depth of GM, Ford, and Chrysler was so far reaching that practically everyone’s livelihood depended on the “Big Three.” It was a time of great economic prosperity for everyone. Not just for the white collar workers, but the blue collar trades people and the factory assembly line workers as well. We were all living the American Dream. This is how I remembered Detroit. It wasn’t until I started reading all the negative press about the city that I took an interest again. Initially I was drawn to the same things that other photographers were interested in; the abandoned buildings, the empty lots and burned out houses, and the massive empty commercial and city structures. It took me a week of shooting this kind of subject matter to make me realize that I was just beating a dead horse. I was contributing nothing to a subject that everyone already knew much about, especially for those who had been living there for years. I didn’t have a good feeling about this way of working as it felt as if I was, in a sense, betraying my hometown.  To counter this, I started looking at all the various neighborhoods around the city and the people who still live in them. There was life here and movement, not just the death and decay that everyone was showing in the media. Perhaps there was also something of my earlier days here to rediscover, something in my collective memory that I could cling to. A fantasy thought for sure, but these early memories became the catalyst that got me thinking about this project and the direction it took. Of course Detroit has its problems and I don’t profess to see the city through rose-colored glasses, but without some kind of counter balance there will never be an opportunity to see another side of the story.»        

4. We become connected to the sidewalks of these Detroit neighborhoods and see everyday life as acts of faith, and here I am also referring to your series Articles of Faith.

«Yes, I think there is a direct correlation between these two bodies of work. The act, or feeling of faith can manifest itself in many forms, not just a religious one. Faith in ones own self can be as powerful as ones faith in God. What these works share in common is a sense of belonging brought together through common associations. They both are about people who come from similar socio, economic and urban backgrounds where life is hard and lived out day to day. The Chicago church project dealt with one specific form of how people practice their faith, while the Detroit work covers a broader range of experiences, but the underling message for both is one of hope and perseverance.» 

5. Do you think you will continue to expand this project into other facets of Motor City?

«I have a few other ideas that could be linked together with this work, but what has caught my attention in the few trips I’ve made so far to Detroit is the unusually high number of white women on the streets engaged in prostitution. Their brazen attitude and overt behavior shows that they have little or no fear of the police. I’ve not seen this kind of behavior in other major cities, especially in broad daylight and on the level with which it occurs in Detroit. As it turns out they are all victims of substance abuse, almost all of them being heavily addicted to crack cocaine and heroin. The Detroit police force is severely short staffed and stretched to its limits. I believe they view prostitution as a low priority crime. As long as there isn’t violence committed against law-abiding citizens, they tend to ignore it. This creates a lucrative environment for crack houses and dope dens that perpetuate the existence of addiction and prostitution. A lot has been documented about this subject.  It’s an age-old problem. My approach is to photograph these women in a way that your perception as to what and who they are is slightly thrown off. You’re not sure what the meaning of the photograph is. In this sense they could be considered just normal people, perhaps a friend or relative, someone close to you or a loved one, but in reality someone caught in a very bad situation. I want to show that these women are just like you and me. I hope this approach will make the viewer realize that these women are victims, not criminals, and will help remind us of the fragility of our own demise by bringing awareness to how easy it is to lose one’s self.»   

6. In primarily what final form do you envision this project?

«Good question, but first I have to complete the project, but in the end a book would be my first response, (don’t we all want books published of our work), and then some exhibition opportunities for sure.  The Internet is one of the most powerful and easily accessible ways to get your work out to the viewing public, and this is my method at the moment.  Even though I consider “Unbroken Down” a work in progress, the urgency and timing of getting out what I had already completed seemed the more appropriate thing to do, considering what most people thought of what Detroit represented.»

Text by David Pollock

© All copyright remains with photographer Dave Jordano

polynature #1

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This is the first issue of Polynature a regular feature introducing various ideas from the sociology, social history and contemporary philosophy of nature, curated by Nigel Christian.

Enjoy the read!


NATURE, EVERYDAY

“Nature” is one of those “big” nouns whose meaning we rarely stop to think about in our everyday lives.  Yet insofar as there can any longer be fundamentals, in art, science, the huamities and politics, “nature” is a fundamental concept.  A “meta-” concept.  It could realistically be argued (with due respect to, but in partial disagreement with Marx) that the history of humanity is the history of our struggle with the environment.  A struggle with what is lazily known as “the natural world”.  So at a time when it seems almost certain that our relationship with “nature” is changing irrevrersibly (not for the first time in our history) might it be beneficial to forget everything we knew about the word “nature”, start with a clean slate and set about re-learning the words’ meaning?  Polynature on Urbanautica believes so.

To examine how “nature” is spoken of, everyday, let’s see how it’s defined by popular reference works. Dictionary.com gives «1) the material world, especially as surrounding humankind and existing independently of human activities».  Here, humankind and “nature” are opposites, antonyms.  This is a clear and basic definition, with no hesitation or fuziness.  It states what nature is and what it is not.  There’s a clear and identifiable dualism. Maybe that’s a little too convenient?  Let’s check that elsewhere. Wikipedia gives: «in general those things that have not been substantially altered by human intervention, or which persist despite human intervention».  Similar, but with a hint of doubt.  This is a definition “in general” only. It makes allowances for more specific, alternative definitions. The next sentence offers some specifics; «…manufactured objects and human interaction generally are not considered part of nature» less confident definition, then, but with the same antonyms. The second defination at dictionary.com reiterates that “nature” is «2) the natural world as it exists without human beings or civilization».  

We have two definitions in agreement.  Human society, civilization, and all its (our) products are not nature.  Everything else is.  At the broadest level this dictionary definistion is effective. If we ever forget what nature is we have here a working definition to fall back on.

But that’s excluding a lot of stuff from “nature”!  The objection is obvious and immediate.  Are we really to believe that in everyday usage the word “nature” excludes ourselves as a species, all of human society and all our products, intended and not? Interpreted pedantically this definition excludes every material object, living or not, between, say, a mile below the surface of the earth and the outer reaches of the solar system, or further even than that if we count the distance our radiowaves have travelled (which conservative estimates put at 50 light years).  

Dictionary definitions are by necessity abstractions from everyday language. They should only be taken as a guide. There is no single defintion of any word, and certainly not of “nature”. Dictionaries of course recognise this and always offer alternatives. Dictionary.com lists twenty definitions. Their list is incomplete and inadequate. The ways in which “nature” is understood, everyday, in common sense are myriad, hence the title of this editorial, Polynature.  

An example of how many meanings of “nature” can be invoked in just one short text is the following from the photography blog of Charles N. Hedeen (the original text is here. The text accompanies a black and white photograph of a beaver dam over a large stream or small river. The photograph is titled “Construction, nature’s way” and subtitled “The beaver dam on the day I found it, 23 November, 2009”.  It reads as follows:

«[This is] my constant reminder of how mankind has effectively seperated himself from nature. [W]e once were part of nature and her awesome chaotic laws. When a beaver builds a dam it only adds to the beauty of nature. [W]hen man builds a dam, or a boiler, or a wind turbine what do we add to nature? Nothing. [W]e are no longer natural creatures. The sky has some blue in it for the first time in days.   Fluffy clouds are streaming in from the Southwest [U.S.A]. The beaver dam is a 5  minute drive and a 5 minute walk away. It never disappoints.  It is always new».

In these one hundred words no less than thirteen statements, claims or implications about what nature is are made. There is no need to labour the point and analyse each of them here, but some are worth comment. The primary motivation for citing the passage above is simply to show that there are very many different meanings of “nature”, most of which go unquestioned in current everyday usage. However, outlining them will allow some brief introductions to topics to be covered later in the Polynature series.  

To begin, lets scratch at the claim that we have “seperated” ourselves “from nature”. This is closely related to the second theory of nature expressed here; that with our industrial and post-industrial technologies we have put ourselves “outside” the rest of life on earth (“above” is also commonly used in this regard).  Questions of evolutionary biology and/or Descartesian philosophy are to be found just under the surface here.  

There are those who would take a hardline materialistic (“materialistic” in a pre- or non-Marxian sense) or solely evolutionary view of human life and argue that in actuality we have not “seperated” ourselves from nature at all. They may argue that a human dam is no less natural than a beaver’s dam and that even our most extensive/intrusive technologies are mere material extensions of the biologically evolved human brain. This conception of the natural world – in which there is absolutely no distinction between humanity and nature – is also to be found in dictionary.com’s menu of definistions; «5) the universe, with all its phenomena.  6) The sum total of the forces at work throughout the universe». Beyond the religious objections this view of life is difficult to dispute, but has the singular disadvantage of negating human consciousness and reducing all thought, all human history, to physics. It’s a valid claim, but in the meantime you and I will go on seeking meaning in the world, our actions and lives just the same.  

Unless we wish to end the discussion there we must be accept that we are not solely biological beings. Unless we attempt to deny any variant of the “human exceptionalism” argument we must start from the position that there is a fundamental difference between ourselves and the rest of life on earth. But does this mean there must be a sharp divide between “mankind” and “nature”? This question will occupy many, if not all, future editions of Polynature, and, we hope, be answered conclusively in the negative.

Next, note that in the above quotation, the beaver dam is taken as representative of “nature” as a whole. The dam is not said to be «the beaver’s construction» but «nature’s construction». Any animal, bird or landscape can be made to substitute for all of “nature” in this way, and routinely is, both in everyday life and in artistic practice. We take a walk through a field, we’re “walking in nature”. We take a camping holiday we’re going “back to nature”, we picnic against a mountain view and we’re “soaking up nature” and so on.  

This everyday habit of invoking the “nature as untouched by humanity” definition – the opposite of the materialistic notion that denies any human exceptionalism – is so strong in us that we persist with it despite our senses and our actions. It may be that the field we’re walking in is planted with corn. Corn is so highly bred as to be rightly considered a technology in all senses except immediate appearence. It could be that the campsite we pitch our tents at has flushing toilets. Sanitation is one of the oldest technologies we have. It’s Roman at the latest. Any landscape or location with technology is human -altered, and so non- “natural”, but still we don’t alter our language.  

This is in fact the case here. The photographed beaver dam is made the symbol of “nature” despite needing only a «5 minute drive and 5 minute walk» to reach. The highway and vehicles that travel it pass so close to the dam that they’re no doubt a constant danger to the beaver that constructed it. The beaver does not live free of humanity. What if one day a visitor shoots a gun rather than a camera? Conversely, it’s likely that humanity’s removal of the bears, coyotes and wolves that prey on beavers is a significant factor in the beaver’s habitation of the stream. The dam is built as protection against predators that humanity has largely decimated and now tightly population-controls! It’s not a “natural” construction at all.

If pressed a little to justify our everyday use of the term “nature” most of us would recognise that our experience of “nature” is not of a pure nature. This makes the persistence of the dictionary definition of nature as everything beyond human influence even more puzzling. Nevertheless, the feeling that we can benefit psychologically from being in proximity to plants and animals and running water – the dam “never disappoints” as a leisure experience – remains genuine and widespread, if not universal.  

Next claim; that nature has “laws”. Regarding this, two main results from the fields of the sociology and history of science need to be outlined very briefly. The idea of natural “laws” has two main origins: religion and science.  

“Natural laws” are a secularisation of “God’s laws” and as such are already understood very differently from their historical precedents. Christian “laws” are laid down by God. If the “laws” of nature change over time – and Polynature’s conviction that they do is a premise of the series -  they’re not laws but human constructs, social products that are constantly remade.

Secondly “natural laws” are the product of science (or, more accurately, the product of institutions that have been socially/culturally granted the authority to produce truth-claims). Each society produces scientific facts in different ways, with different intentions and with different effects from every other. In turn, within each society there are multiple interpretations of the facts science produces. What we take as natural “laws” today are different from those that our ancestors did. This is an inadequately brief summary of the field of the sociology of science, but related topics with more detailed discussion and careful argument will be a continuing theme of this editorial series.

Yet another “meaning of nature” to be found in the example here is suggested by the implicit claim that humanity is male (“mankind” / “himself” ), and that its antonym, “nature”, is female (nature is refered to as “her”). This is just one of many linguistic dualisms – each expressive of social and cultural divisions – that parallel the nature/humanity dualism that the dictionary definition of “nature” insists on. Feminist social and political theory has had much to say on the widespread “mother nature” myth, and authors in the area have taken a variety of positions on it. One of the key concepts in postmodern theory (and remember that Frederick Jameson famously declared postmodernity to be «what we have when nature is gone for good»), Donna J. Haraway’s “cyborg”, was  developed in partial reaction against the affirmation of the “mother earth” theory by some ecofeminists. Certainly, the debate on the “gender of nature”, has fundamental sociological implications, especially in regard to environmentalist discourse.

The series of editorials will not be focused on linguistics, but sociology (and/or the humanites generally). It is therefore concerned primarily with the ways in which people act in, and on the world, especially what is popularly known as the “natural world”, individually, collectively and as a global society.  As the series intends to demonstate, the ways we approach, idealise, idolise, manipulate and manage our environments are as multiple, varied and often as contradictory as our definitions of the word “nature”.  Our disagreements about what are appropriate or inappropriate ways of interacting with the “natural” world have always been one source of the realm of thought known as politics.  This is more the case then ever today.  

In our world debates about humanity’s impact on the environment and our ability or otherwise to alter the strength and course of that impact are raging instensly, to the point that they are conducted in quasi- or fully religious terms. And so discussion about the definition of “nature” is far from being mere semantics. The breadth of the range of our definitions of “nature” is symptomatic of the complexity and significance of the worldwide debates that are now underway about how best to manage “the natural world”. The origin, development and contemporary state of the whole discourse of the “management of nature” will be a central theme of this editorial. Polynature will argue that it is not at all trivial that we (can) still hold to a single defintion of “nature” as “all that is untocuhed by humanity”. Polynature  will be concerned with identifying the historical sources of this implausible definition and the sociolgical nutrients which sustain it to this day.

by Nigel Christian

© All text copyright remains with the author.

INEZ BATURO

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The prevalence of seeight, of seeing rather than feeling. The abuse of reality through images makes life itself a simulation. This can lead to a disassociation from reality. The look of Inez Baturo, however, has an innocence itself in representing the will of being in nature. This makes the truth less allusive and almost whispered gently. The selected images are taken from different series: Beskidy, Tatry, Pieniny, Konie. The remaining words are of Inez. 

Steve Bisson

«There is enough horror, human stupidity, violence, indifference… in the surrounding world. Nature may be an escape, a come back to the source of humanity.»

«I find in landscape remnants of freedom, kindness, harmony, and beauty, which people do not esteem nowadays, but which they anyway seem to lack. I want to say, aware that it is not popular nowadays, that we should cherish for life and beauty.»

«Landscape gives a chance to show emotions above details. It is a measure of sensibility, and the art of seeing. The concrete is transformed into the general, colour is diffused and unreal. But I do not mean to show the outer world only. Photographing landscape - I represent myself. It is my intimate self-portrait.»

© All copyright remains with photographer Inez Baturo

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