Hannah Karsen’s "Although I Have Never Been Here Before And Know Nothing About This Place" is a series of topographical photographs that transform man-made trails and pathways into an open-ended study of form and space. This concise grouping of seven images have no narrative arc, no beginning or end, and instead function as a quiet meditation on Karsen’s brief and fleeting encounters with the land.
For Humble Arts Foundation's next online group show, we're looking for photography that addresses how urbanization has shifted in the past decade, with a specific focus on how architecture, culture and community have evolved in cites around the world.
Every so often, we meet (generally on Facebook) individuals who swear Instagram is destroying photography. Despite some pretty convincing arguments, we're fairly certain that, like zippers, it's not the work of the Devil. For us, it's been a great way to discover new artists and explore the in-between journeys of some of our favorite photographers. Since December, Azikiwe Mohammed, Jennifer Loeber, Jaime Lowe, Stephan Sagmiller, and Melanie Flood each did weeklong Instagram residencies on the Humble Arts Foundation Instagram feed, and we encourage you to follow them further.
When Patrick Gookin moved to Los Angeles in 2010 to work as a photo editor, he faced an hour-long commute from Koreatown where he lived, to the beach neighborhood where he worked. In an effort to avoid freeway traffic and deepen his experience of LA, he began driving through city streets. As he explored this uncharted landscape he took quick iPhone photos of strangers along the way, drawn to the secrecy that shooting from his car provided, and how that seemed to clash with their presence in open, public spaces. After making and sharing these images repeatedly on Instagram for a year, Gookin started to stage the photos, working with actors and a point and shoot 35mm camera, evolving the photographs into his series LA By Car.
Anna Krachey uses photography to transcend everyday objects into highly visceral experiences that encourage viewers to reconsider their otherwise commonplace functions. Her source material includes still-lives, abstractions of household objects and detail shots of found imagery. A cupcake wrapper becomes a floating raft; a patch of denim turns from fabric into a magical black and white apparition. Objects that might otherwise be overlooked are given careful consideration.
