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Group Show 70: Under the Sun and the Moon Group Show 69: Photo for Non-Majors (part 2) Group Show 69: Photo for Non-Majors (part 1) Group Show 68: Four Degrees Group Show 67: Embracing Stillness Group Show 66: La Frontera Group Show 65: Two Way Lens Group Show 64: Tropes Gone Wild Group Show 63: Love, Actually Group Show 62: 100% Fun Group Show 61: Loss Group Show 60: Winter Pictures Group Show 59: Numerology Group Show 58: On Death Group Show 57: New Psychedelics Group Show 56: Source Material Group Show 55: Year in Reverse Group show 54: Seeing Sound Group Show 53: On Beauty Group Show 52: Alternative Facts Group Show 51: Future Isms Group Show 50: 'Roid Rage Group Show 48: Winter Pictures Group Show 47: Space Jamz group show 46: F*cked Up group show 45: New Jack City group show 44: Radical Color group show 43: TMWT group show 42: Occultisms group show 41: New Cats in Art Photography group show 40: #Latergram group show 39: Tough Turf P. 2/2 group show 39: Tough Turf P. 1/2

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Stories and interviews
Submit
Info
Subscribe About Contact The Team
Online Exhibitions
Group Show 70: Under the Sun and the Moon Group Show 69: Photo for Non-Majors (part 2) Group Show 69: Photo for Non-Majors (part 1) Group Show 68: Four Degrees Group Show 67: Embracing Stillness Group Show 66: La Frontera Group Show 65: Two Way Lens Group Show 64: Tropes Gone Wild Group Show 63: Love, Actually Group Show 62: 100% Fun Group Show 61: Loss Group Show 60: Winter Pictures Group Show 59: Numerology Group Show 58: On Death Group Show 57: New Psychedelics Group Show 56: Source Material Group Show 55: Year in Reverse Group show 54: Seeing Sound Group Show 53: On Beauty Group Show 52: Alternative Facts Group Show 51: Future Isms Group Show 50: 'Roid Rage Group Show 48: Winter Pictures Group Show 47: Space Jamz group show 46: F*cked Up group show 45: New Jack City group show 44: Radical Color group show 43: TMWT group show 42: Occultisms group show 41: New Cats in Art Photography group show 40: #Latergram group show 39: Tough Turf P. 2/2 group show 39: Tough Turf P. 1/2
For Nakeya © Emerald Arguelles

For Nakeya © Emerald Arguelles

Emerald Arguelles Celebrates Beauty, Community, and a Bright, Sparkling Future

The Photographer and Aint-Bad Editor In Chief's personal work and editorial leadership balances representations of joy, struggle, beauty and resilience.

Drawing on the warmth she experienced growing up in Louisiana beauty salons, Emerald Arguelles uses photography to reflect the past and envision a bright present and future for Black Americans. This comes across in a range of approaches and subject matter, from straightforward yet emotive black and white photographs of beauty salons to portraits that highlight the poetry of human gesture. And in her role as Aint- Bad’s Editor In Chief, Arguelles sees an ongoing opportunity to close the cultural gaps that still loom in contemporary photography.

I spoke with the photographer and editor to learn more about her personal work and gaze forward.

Jon Feinstein in conversation with Emerald Arguelles

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PostedAugust 24, 2021
AuthorJon Feinstein
Categoriesinterviews, Artists, Portfolio
TagsEmerald Arguelles, Aint-Bad Magazine, New Photography, contemporary photography, photographer conversations, photographer interviews, contemporary portraiture, empathy in photography
No Cars Go © Kriss Munsya from The Eraser

No Cars Go © Kriss Munsya from The Eraser

How Bold Colors and Floral Arrangements Can Symbolize Guilt, Pain, and Resolution

Kriss Munsya's ongoing photographic series The Eraser uses stylized tableaus and long-form poetic captions to reflect, erase, and resolve longstanding trauma.

At first glance, Kriss Munsya's highly stylized narrative portraits might come across as fashion editorials. A family basking in bright LA-feeling light, their faces obscured by flowers. A figure lying across a mid-century modern cabinet. A closeup of a face bedazzled in reflective circles. A car broken down in a parking lot, yet lit immaculately and also covered in elaborate floral arrangements. But there's a deeper story here. One seeped in pain, doubt, guilt, and an ongoing burden of racism – and trying to erase it.

Kriss Munsya was born in the Democratic Republic of Congo and moved to Belgium at an early age where he felt othered by the white community, yet developed a sense of guilt for having a limited number of Black friends, and never dating Black women. Munsya channels these feelings into colorful pastiches that borrow and remix his memories, pairing them with long-form part-biographical, part-fiction narrative captions (which we’ve included below,) written in the third person to help him process it all.

A longtime fan of his work on Instagram, I connected with Munsya amidst his two latest exhibitions – up through the end of February in Vancouver, BC at Pendulum Gallery and online at Oarbt.

Jon Feinstein in conversation with Kriss Munsya

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PostedFebruary 18, 2021
AuthorJon Feinstein
CategoriesArtists, Exhibitions, interviews
TagsKriss Munsya, Vancouver Artists, The Eraser, contemporary portraiture, contemporary photographic portraiture
Photos © Meron Menghistab

Photos © Meron Menghistab

Life After Prison: Reclaiming Identity Through Photographic Portraiture and First-Person Narratives

A photographer, photo editor, and formerly incarcerated author discuss the power of words and photos to reclaim life and identity.

The United States has a larger prison population than any other country in the world, with over 2 million people living behind bars. But it’s also staggering to look at the state-by-state numbers. At the beginning of 2020, Washington State had nearly as many incarcerated individuals as Sudan, a developing country that has five times as many citizens. Despite Washington’s legislature being run by progressive-identifying Democrats, many deeply entrenched barriers face people after they leave prison, which contributes to joblessness, homelessness, and recidivism.

Washington has largely abolished parole, and like many U.S. states, the average length of a felony sentence has dramatically increased since the early 2000s. “Many prisoners are spending longer and longer periods of time in prison and a growing number of these prisoners will die behind bars,” according to the ACLU of Washington. In most democratic countries, a long sentence is considered to be one or two years, and a sentence beyond 10 years is extremely rare.

For those who get out of prison in Washington State, one route to avoid recidivism is the education system. A college degree can re-level the playing field for someone with a felony conviction, opening doors that might have seen permanently shut. This path often starts while still in prison: Students behind bars earn their GEDs and take university-level courses. In December, Congress struck a deal to reinstate federal Pell Grants to incarcerated college students, a tuition resource that had been prohibited since the 1994 crime bill.

Last summer, University of Washington Magazine's photo editor Quinn Russell Brown commissioned Meron Menghistab to photograph 10 men and women who earned college degrees from the University of Washington after getting out of prison. Menghistab, named one of 2020’s 30 New and Emerging Photographers to Watch, is an editorial and commercial photographer known for putting his subjects at ease and creating quiet, moving portraits. As project manager for the feature, Brown also hired Omari Amili, a formerly incarcerated author, to recruit and interview the 10 people featured in the story.

Following the feature for University of Washington Magazine, Brown, Menghistab, and Amili connected to discuss this intimate and empowering project from the perspective of the photo editor, photographer, and interviewer.

Quinn Russell Brown, Meron Menghistab, and Omari Amili in conversation.

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PostedFebruary 2, 2021
AuthorQuinn Russell Brown, Meron Menghistab, and Omari Amili
Categoriesinterviews
Tagslife after prison, Omari Amili, Meron Menghistab, Quinn Russell Brown, prison industrial complex, 30 Emerging Photographers to Watch, contemporary portraiture, empathetic portraiture, portraits as empathy, editorial portraiture, The Lit List
“Las Sirenas” september 2020.  In memory of Cristina who passed of covid-19 in May 2020, Cypress Atlas poses,  recreating the 1984 Sleep It Off album cover by Jean-Paul Goude. set assistance by Morgan Landry. © a.r. havel

“Las Sirenas” september 2020. In memory of Cristina who passed of covid-19 in May 2020, Cypress Atlas poses, recreating the 1984 Sleep It Off album cover by Jean-Paul Goude. set assistance by Morgan Landry.
© a.r. havel

A Colorful Theater of the Absurd

New Orleans-based photographer and set-designer a.r. havel’s work is a kitsch and quarantine-soaked memoir to teenage dreams.

Havel’s references upon references upon references create theatrical transparency in photographic collaboration.

A portrait of a confident young woman poses with a guitar, looking like Liz Phair in a room of candles, chandeliers, and a green plastic almost rave-wear style visor. A re-creation of the cover of no-wave artist Cristina’s 1984 album Sleep It Off becomes a shrine to her after she was taken by Covid earlier this year. A nude male figure reclines across a table, “come-hither”-y gazing at the camera and viewers with a nod to high school painting class – a muse who’s in on the joke. Theatre sets drip with magenta hues.

I met a.r. havel in early December for PhotoNola’s annual portfolio reviews. In our 20-minute art-speed date lightning round, his work stood out for its playful sincerity. “Fascinated by the power of queer and radical community resilience,” his work shows the mechanics behind his process, his deep love for pop-culture and art history, and photography’s ability, during these uncertain times, to be both cathartic and fun.

Jon Feinstein in conversation with a.r. havel

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PostedDecember 30, 2020
AuthorJon Feinstein
CategoriesArtists
TagsAaron Richmond-Havel, New Orleans photographers, New Orleans Artists, NOLA Artists, NOLA Photographers, Performance art and photography, art during Covid19, staged photography, contemporary portraiture, photographic tableaux, kitsch in photography, Liz Phair
© ChrisSoFly

© ChrisSoFly

These Self-Portraits Show That Boys Can Be Princesses Too

ChrisSoFly’s self-portraits celebrate his love for fashion, music, and awakening from rigid gender roles.

Growing up, the Sanford, Florida-based multidisciplinary artist never imagined he’d feel comfortable wearing dresses, wigs, and makeup, and sharing photos of himself with the world. “Once I finally put my own fear of judgment aside and became comfortable in my own skin and started dressing how I wanted and expressing myself freely,” Chris writes, “ I realized that this may be my purpose….showing that boys can be princesses too.”

In his self-portraits, which he shares predominantly on Instagram – often with tens of thousands of likes and hundreds of comments – Chris unapologetically and joyfully confronts the camera with bedazzled glory.
The series started earlier this year when Chris began designing fashion pieces while teaching himself to sew through Youtube videos. His creations manifest themselves as pastel dresses, flowers in his hair, posing before floral backdrops that highlight his exuberance and power. I spoke with Chris to learn more about his experience and work.

I spoke with Chris to learn more about his experience and work.

Jon Feinstein in conversation with ChrisSoFly

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PostedDecember 3, 2020
AuthorJon Feinstein
CategoriesArtists, Portfolio
TagsChrisSoFly, self-portraiture, collaborative portraiture, fashion photography, multi-disciplinary artists, toxic masculinity, queer identity and photography, new photography, contemporary portraiture
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Founded in 2005, Humble Arts Foundation is dedicated to supporting and promoting new art photography.