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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

Humble Arts Foundation

New Photography
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
Ada Nieves Chihuahua Nation. New York, NY. 2016.  © Amy Lombard

Ada Nieves Chihuahua Nation. New York, NY. 2016.  © Amy Lombard

In Real Life: Photographing The Culture of Meetup Communities

A few years ago, Amy Lombard photographed a pug Meetup in Staten Island, NY. She left the event curious about how the Internet had united a diverse group of people, based purely around their shared interest in pugs. From that point on, Lombard began shooting more and more of these gatherings, evolving the photographs into a long term series documenting Meetup culture around the country. "At a certain point along the way," Lombard tells us, "I kind of had to play the role of therapist on myself: What is it exactly that is appealing to me about the idea of documenting people coming together from the Internet and finding their people?" Lombard's latest book, Connected, designed by Elysia Berman, follows groups ranging from "Parrot and Kimono Lovers" to the Harry Potter obsessed, with a curious, yet non-othering eye, looking to how they use social media to find community in real life. We spoke with Amy to learn more about the series and her inspiration behind it. The project was supported by the VSCO Artist Initiative, and you can buy the book HERE. 

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PostedNovember 15, 2016
AuthorJon Feinstein
CategoriesArtists, Publications, Portfolio, Galleries
Tagsmeetup groups, IRL, In Real Life, Social Media, Connected, Amy Lombard
© William Miller

Visualizing Donald Trump's Abominable Identity

King Cheeto. The Giant Orange Crayon. F-kface Von Clownstick. Angry Creamsicle. A racist clementine. The list of absurdly accurate nicknames for Donald Trump goes on, as the 2016 election has become more of a circus than ever before. A man who many thought would have no chance of making it beyond the initial republican debates has somehow garnered support from masses of Americans.  

Responding to Trump's frightening buffoonery, New York City-based photographer William Miller made a series of photographs that appear to be disintegrating before our eyes. "Making fun of Donald Trump," says Miller, "is like trying to put clown makeup on the face of a clown already in full clown makeup."

To make these pictures, Miller prints a found photograph of Trump onto a sheet of clear plastic or acetate. Since the plastic can't fully absorb the ink, the colored liquid gathers and drips, distorting image, which Miller then scans with a flatbed scanner for the final print. "He's almost impossible to parody or imitate because he's an atrocity against the norms of civil behavior," adds Miller. "He lives inside the joke so his reflection could never be more absurd than its referent." To see more of Miller's work, visit his website, follow him on Instagram, or check out our recent group show: 'Roid Rage. 
 

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PostedNovember 3, 2016
AuthorJon Feinstein
CategoriesPortfolio, Galleries, Artists
TagsWilliam MIller, Bill Miller, Donal Trump, Drumpf, Alternative Process, New Photography
Emailed Kiss Goodnight © Tabitha Soren

Emailed Kiss Goodnight © Tabitha Soren

Tabitha Soren Freezes the Smudges of Image Overload

Three years ago, while on a redeye flight, '90s news reporter-turned photographer Tabitha Soren was reading a PDF on her iPad to pass the time.  By the fourth chapter, the lamp above her seat was her only source of light, and at a certain angle she noticed it illuminating strange lines across the screen. As she continued reading, these lines grew into convoluted, gestural smudges – her fingerprints abstracted from continuous scrolling as she repeated the same motions over and over again. “At the end of the fourth chapter,” says Soren, “they had accumulated enough that I almost wiped the screen clean of them so I could read more easily, but before I did that I noticed how beautiful the marks were.” And thus began Surface Tension, a series of photographs that pulls apart the many layered ways people consume and engage with images online.

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PostedAugust 15, 2016
AuthorJon Feinstein
CategoriesArtists, Portfolio
TagsTabitha Soren, iPad photography, large format photography, new photography, film photography, 8x10 color photography
Inchworms © Melinda Hurst Frye

Inchworms © Melinda Hurst Frye

In the Dirt: Melinda Hurst Frye Brings a Scanner To Her Yard

Melinda Hurst Frye makes pictures in the dirt. In her latest series, Underneath, worms, caterpillars, beetles, snails and anonymous animal skeletons intermingle with stringy roots and soil that are simultaneously mysterious and hyper real. They at once resemble homages to narrative painting and large scale Natural History museum dioramas, giving a private view into the world beneath our feet. The Seattle-based photographer creates these images in her yard - not with a camera, but with a flatbed scanner, rigging it to a power supply inside her house, and letting its slow, ultra-high resolution scan a landscape rarely explored with such intimacy. In her own words, “The surface is not a border, but an entrance to homes, nurseries, highways and graveyards.”  In time for her solo exhibition, up through August at Seattle’s CORE Gallery, we spoke with Hurst Frye about the ideas and process behind this new work.

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PostedAugust 10, 2016
AuthorJon Feinstein
CategoriesArtists, Exhibitions, Portfolio
TagsMelinda Hurst Frye, Seattle Photographers, Environmental Photography, New Photography, Scanner as camera, Core Gallery
Beach, 2015 © Charlie Kitchen

Beach, 2015 © Charlie Kitchen

Charlie Kitchen and the Magic of Experimentation

In the introductory essay to Charlotte Cotton’s 2015 anthology Photography is Magic, she argues that photography’s current “moment” has broken free from analog nostalgia in a move to use photographic tools – digital or otherwise – with a newfound sense of freedom. This “freedom,” embraced by photographers who came up under the spectre of digital-ness often rests on open and continuous experimentation. San Antonio-based photographer Charlie Kitchen’s – Standard View (2015) and Recent Work (2016) builds on this idea through a series of in-camera collages that weigh trial, errors, and tactility over highfalutin conceptualism.  “After shooting my thesis with a 4x5 camera,” says Kitchen, “photography began to unravel itself and I began to dig deeper into the medium, rather than contemplating what I could shoot to convey any sort of feeling or concept.” While skeptics might see this as avoiding conceptual responsibility, it’s a practice that has allowed Kitchen, like many photographers today, to unearth photography’s many tools for expanding visual possibility.

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PostedJuly 27, 2016
AuthorJon Feinstein
CategoriesArtists, Portfolio
TagsCharlie Kitchen, New Photography, Charlotte Cotton, Hannah Whitaker, Large Format Photography, In-camera collage, Dan Boardman
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Founded in 2005, Humble Arts Foundation is dedicated to supporting and promoting new art photography.