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WILLIAM RUGEN / The project ‘Western Dioramas’ - A visual survey of the American West’ was at the Core Gallery in Seattle, WA, from May 5th to 28th. «his project is about the spaces of the western United States and how we have come to use, abuse, forget and rediscover that space as part of the American Manifest Destiny and how that space is a blank canvas people have used to paint a new start for themselves, succeeding and failing time and again. It is about the space The West takes up in our collective consciousness and how all that space makes us see it as disposable, transformable or unforgettable. It is also about the space where the past has been run over by the present and the present is creeping into the future. It is about the wary line where the open meets the inhabited and how both often seem a bit worse for the meeting. Lastly, it is about how the objects inhabit the space within the frame. Every object has its own place and looks as if it has been placed there for just this picture like a diorama in a museum. Each picture is a momentary still life of a space moving through the continuing history of the American West.»
STACY MEHRFAR / The Australian photographer announce the opening of her first curatorial endeavor, “No Direction Home.” Commissioned by the Head On Photo Festival, “No Direction Home” features the work of seven American artists (Naomi Harris, Brian Ulrich, Doug Rickard, Alec Soth, Justin James Reed, Amy Stein and Stacy Mehrfar herself). “No Direction Home” pictures a country attempting to come to terms with its new condition even while recognizing that a great deal still remains the same. From May 24th to June 4th 2011 at Depot II Gallery, Waterloo NSW, Australia.
GABRIEL BENAIM / The Israelian photographer is at Kassel Photobook Festival, where a dummy of my “Tel Aviv at 100” book has been selected with 54 others to take part in the Dummy Award. «I’d describe my approach on this project as a formalist documentary. I’m a formalist in the sense that compositional concerns are my main interest when photographing, and in that I prefer to discover visual ideas through the act of photographing rather than having a predetermined conceptual schem which the photographs are meant to illustrate. A corollary of this approach is that subject matter really is secondary to how I view my work, except when it isn’t. I’ve chosen to look at one city at a very specific point in its history for this project, and in this sense this is a documentary project as well. At heart, I’m really not interested in documentation per se, but found the idea of limiting my field of view in place and time a very useful organizational device».