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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
Dana Stirling_UFO_19.jpg

Mining The New York Public Library’s Alien Archive

Dana Stirling’s 2017 series and handmade photobook Property of The New York Public Library Picture Collection is a snapshot of a peculiar trove and vital resource.

In early August, we learned through artist Jason Fulford and this New York Times article that the New York Public Library administration made plans to remove its Picture Collection from circulation. The collection, often organized into folders or binders of images, has been an invaluable resource to artists, educators and the general public for years. It’s a trove of historical imagery - at times anonymous, often peculiar and magnetic to those obsessed with archival image culture, from Joseph Cornell to Larry Sultan and Mike Mandel, and Taryn Simon.

In 2017, after touring the collection with Fulford, artist, curator and co-founder of Float Magazine Dana Stirling began zeroing in on a binder of UFOs. The collection contains 300 images, from stark “portraits” of aliens you might recall from issues of the Weekly World News, to flying saucers and almost psychedelic-looking orbs implied to be “space-related.” What fascinated Stirling more than just the alien phenomena were 121 images within the collection methodically stamped with “Property of The New York Public Library Collection” on the face of the image.

“It became clear to me,” says Stirling, “that this stamp was more than just an odd archivist’s decision, and now an integral part of the image and its composition.” More than just a watermark or security note, the stamp became part of the image, an intervention that, for Stirling, altered the images’ meaning by imposing an “alien element.”

Amidst the uncertainty of the collection’s future (details on how you can help preserve its public-ness here), we caught up with Stirling to learn more about her project and importance of this vital and peculiar resource.

Jon Feinstein in conversation with Dana Stirling

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PostedAugust 11, 2021
AuthorJon Feinstein
Categoriesinterviews, Photobooks, Publications, Vernacular Photography
TagsDana Stirling, New York Public Library Image Archive, UFO photography, found photography, historical image archives, appropriation, pictures generation, Float magazine
© Sarah-Lourdes Abrahamsen

© Sarah-Lourdes Abrahamsen

Getting Clean During a Pandemic

Sarah-Lourdes Abrahamsen’s Drug Dreams uses photographs and text to visualize the artist’s fraught and ongoing journey from addiction to sobriety.

2020 exacted a profound psychological toll. Managing the tightly-wound anxieties fueled by a global health crisis, quarantine, and concerns for our families’ health and our own stretched our emotional fiber to its limit. For those grappling with addiction and substance abuse disorder, the challenges were all the more acute. A July 17th CNN report indicates that 93,000 Americans succumbed to drug overdoses in 2020, a 29.4% increase over 2019, the highest number ever reported.

Sarah-Lourdes Abrahamsen is one of millions of Americans who battled addiction last year, leaning into her photographic practice to make sense of the struggle and to honor sobriety’s hard-fought milestones. Named for the vivid dreams that may occur as addiction’s morbid grip loosens, the series Drug Dreams recounts her experience. Hastily composed text and images - some sharply focused and others blurry - uncannily mirror a mind free of, or marinating in intoxicants.

I met Abrahamesen in a recent portfolio review for Parsons School of Design. Over email and Zoom, our conversation delved further into the relationship between image and text, the human cost of the war on drugs, and how a creative practice supports sobriety.

Roula Seikay in conversation with Sarah-Lourdes Abrahamsen

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PostedJuly 29, 2021
AuthorRoula Seikaly
CategoriesArtists, Galleries, interviews
TagsSarah Lourdes Abrahamsen, Roula Seikaly, photography and addiction, photography during quarantine
Grandfather In Chacra, 23 days © Diana Guerra

Grandfather In Chacra, 23 days © Diana Guerra

Photographing Family, Union, and the Unsettled Ghosts of Culture

Diana Guerra uses a 19th century photographic process as a meditation on the impermanence of cultural memory.

“When it comes to crossing borders,” writes Diana Guerra, “there is a transformation process that goes beyond one’s identity, and rather involves new understandings of family and our homelands.” For Guerra, a NYC-based photographer whose family lives in Peru, identity dissolves into traces of family, the people who presently surround us, and the landscapes we leave behind.

Fleeting Under Light, her ongoing series of photographic anthrotypes memorializes her cultural identity as it shifts and fades. Within the process, – invented in 1842 by Mary Sommerville using photosensitive materials created from plants – Guerra uses Peruvian purple corn as traces of her heritage and cultural ephemera.

Beyond this technical process, Guerra’s photographs were taken in New York City where she now lives, and two regions of Peru: La Arena and Lima. These include a range of subjects, from pictures of family members, a self-portrait, and an unintentional homage to The Last Supper. Guerra's images are a visual memoir to diasporic impermanence, which she describes as “vapor that leaves the ground, or that never settles.”

We speak about her process, her history, and how it all weaves together.

Jon Feinstein in conversation with Diana Guerra

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PostedJuly 23, 2021
AuthorJon Feinstein
Categoriesinterviews, Artists
TagsDiana Guerra, Peruvian-American photographers, Alternative Process, anthrotype photography, latinx diaspora, photography and diaspora, diaspora studies
© Tanya Marcuse from her new book Ink, published by Fall Line Press

© Tanya Marcuse from her new book Ink, published by Fall Line Press

Poetic Photographs Of Squid Ink Oozing Onto Pages of The NY Times

Tanya Marcuse’s new oversized book Ink, is a beautiful cacophony of form and symbolism.

One summer in Maine, photographer Tanya Marcuse’s son insisted they try nocturnal squid fishing. Moved by the uncanny spontaneity of the experience, Marcuse – who normally makes slow-process large format photographs – pulled out her iPhone and embarked on an unexpected series and way of seeing.

She began making similarly fleeting yet intricately crafted photos of squid spilling its ink across story titles, fashion advertisements, and marriage announcements. In each photograph, the squid, ink and newsprint become a painted, Rorschachy mess that pushes viewers to conjure their own relationships between ink and image, gesture and surface, headline and tentacle.

Marcuse’s images are both alluring and disquieting. These tableau-like still-life compositions reminds us of her background as a large-format photographer, and her iPhone brings a freeing informality to how she organizes form and space. Now a large-scale book (and limited edition folio, if you fancy) published by Fall Line Press, Ink takes on a new layer of tactility from its once digital-only existence – photos you want to hold and handle as you attempt to figure out their mystery. I spoke with Marcuse to learn more about her process and the story behind it.

Jon Feinstein in conversation with Tanya Marcuse

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PostedJuly 16, 2021
AuthorJon Feinstein
Categoriesinterviews, Artists, Art News, Publications, Photobooks, Portfolio
TagsTanya Marcuse, 2021 photobooks, Fall Line Press, squid ink photographs, squid ink painting, photographic tableaux, #shotonaniphone, iPhone photography, mobile photography, Rorschach photography
Brea Souders: Eleven Years. Published by Saint Lucy Books

Brea Souders: Eleven Years. Published by Saint Lucy Books

Brea Souders' New Photobook "Eleven Years" Spans Photography's Endless Possibilities

The artist’s first monograph brings together her wide ranging approach, process, and strategies to reimagine what a photograph can be, and what it might mean.

With the publication of Eleven Years by Saint Lucy Books, Brea Souders’ restless interrogation of the photographic medium and its materials is celebrated. Her inventiveness eschews signature style thus risking what conventional wisdom casually dictates, and gives license to perform an inquiry without formula and reliance upon the habitual. It is a methodology that foregrounds the thought process rather than the appearance, and siphons experience and observation into something unfamiliar.

The photographs cull from reservoirs of impermanence, illusion and shards of memory and grief, and engage the archive, map, the picture postcard; the fragment. Her process is nomadic rather than sedentary, cultivating a renewed understanding of the artist’s task.

A few weeks shy of the book’s release (and Souders’ opening reception and book launch at Silverstein Gallery) former SVA Photography and Video chair and Dear Dave Magazine founder and Editor in Chief Stephen Frailey speaks with Souders about the many angles of her career and practice.

Brea Souders in conversation with Stephen Frailey

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PostedJuly 1, 2021
AuthorStephen Frailey
CategoriesArt News, interviews, Photobooks, Publications
TagsBrea Souders, Stephen Frailey, Saint Lucy Books, 2021 Photobooks, Silverstein Gallery
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Founded in 2005, Humble Arts Foundation is dedicated to supporting and promoting new art photography.