In: photography

The Polaroid Book : Selections from the Polaroid Collections of Photography
January 5, 2023

The Polaroid Book : Selections from the Polaroid Collections of Photography
Edited by Steve Crist, Essay by Barbara Hitchcock
Taschen 2005

As a photographer, and especially as one who has shot a lot of instant film, I could wax poetic about the wonders of the Polaroid film process; that it was invented in 1947 by Edwin Land and his Polaroid Corporation; that he formed a partnership with Ansel Adams to explore the artistic capabilities of the medium in 1948; that Land and the Corporation made hundreds of cameras and film available to artists around the world on the condition that they gave some of their images to Polaroid’s collection of photos. I could tell you that it was THE photographic medium of the 50’s, 60’s, 70’s and 80’s and that creating a photo was indeed as easy as “Push, pull!”. However, there are so many writers and photographers out there who have extolled the virtues of the process over the last 75 years that I can’t possibly say anything new.

The Polaroid Book : Selections from the Polaroid Collections of Photography tells the story in 254 photographs by 203 artists. The photos include black and white documentary and landscape images taken with the cumbersome early models of the Polaroid line of cameras to incredibly immersive large format color images made by celebrated artists and fashion photographers. The creativity in these polaroids is boundless. From Adams to Warhol with a little Close and Hockney in between, Polaroids were a tool used by well (and lesser) known artists to create stunning pieces of work. Chuck Close’s Self-portrait (seen below) stands out; a mosaic made up of 9 separate images to create a large, somewhat disjointed selfie in Close’s trademark (and usually painted) style.

Perusing this book will lead you to want to try capturing this photo-magic yourself, which you can do by using Fujifilm’s Instax line of film and cameras. Anecdotal evidence points to these colourful, well designed cameras acting as lures to teens everywhere to further explore the possibility available to them in analog photography as a creative outlet. It is one of the reasons that film sales are quickly growing again after years of domination of the market by digital photography.

The Polaroid Book is available from numerous online and bricks-and-mortar retailers.

~ Mark Walton

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Julianna D’Intino’s Connecting Rods | Mahtay Cafe | St. Catharines
October 26, 2022

Julianna D’Intino’s Connecting Rods: A Survey of Industry in the Niagara Region, 2015 – 2022 is currently on display at Mahtay Café & Lounge in their main space.

The exhibition has been on display for two weeks and will be on display for two more, into the month of November.

This is the first in a series of curated exhibitions of Niagara based artists, that I’ve put together to show in the downtown of St. Catharines.

Connecting Rods, to cite the words of the artist, “is but one personal case study in the myriad of lost industry of the Niagara Region.”

Much more about this body of work can be seen here: https://juliannadintino.com/Connecting-Rods

I also offered some thoughts about this fine body of work for curated., which can be read here: https://curatednow.ca/julianna-dintino-connecting-rods-a-survey-of-industry-in-the-niagara-region-2015-2022/

This exhibition is exceptionally relevant right now, with the recent election where the fate of the old GM site was a topic of concern, and the legacy of that time – both in terms of the physical site but also the people who worked there, and the larger social and economic echoes – still resonates.

Come to Mahtay and experience Connecting Rods in person: it is as much history as it is art.

~Bart Gazzola

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HAUNTED | DREAMING | CITY | STEVEN LAURIE
December 30, 2022

HAUNTED | DREAMING | CITY | STEVEN LAURIE HAUNTED | DREAMING | CITY | STEVEN LAURIE @_steven_laurie_ @stevenlaurie_bw Steven Laurie Photography... Read More
Gun Play | Jill Freedman
August 8, 2022

Jill Freedman is a name you should know in the world of photography… but more than likely don’t. With a career that spanned 40 years, 7 (and counting) books and pieces acquired by major galleries, Freedman’s work connects deeply with her subjects in a manner unlike most documentary photographers.

From the very beginning, Jill was IN. She didn’t go to take photos of Resurrection City in Washington in 1968; she LIVED in the camp with the protesters for the duration of that campaign. She travelled with the circus for several months in the early 70’s to get her incredible photos of life under and around the big top. She embedded herself in the firehouses and police precincts of NYC and came out with work so beautiful and intimate that her two books on the subjects (Firehouse and Street Cops) were snapped up by first responders when they were re-released in the early 2000’s.

When Pulitzer Prize winner Studs Terkel wrote his oral history Working in 1974, Jill Freedman was who he interviewed when talking about photographers. From the first time I saw her work, I knew that there was an extreme tension in how she approached it. “Sometimes it’s hard to get started, ’cause I’m always aware of invading privacy. If there’s someone who doesn’t want me to take their picture, I don’t. When should you shoot and when shouldn’t you? I’ve gotten pictures of cops beating people. Now they didn’t want their pictures taken. (Laughs.) That’s a different thing.”[i] Freedman walked a very thin line between rooting for the underdog yet respecting authority.

You can find out more about Jill Freedman at http://www.jillfreedman.com/. Resurrection City, 1968 was recently re-published and can be found for purchase at your favorite bookstore or online. Firehouse and Street Cops are no longer in print, but used copies can be found online.

[i] Working: People Talk About What They Do All Day and How They Feel About What They Do by Studs Terkel   Text © 1972, 1974 by Studs Terkel –  The New Press, New York, 2004, Pg. 153-154

~ Mark Walton

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Lana | Transformations by Ruth Dick
June 1, 2022

Lana | Transformations Photos by Ruth Dick Lana Series, Before, Image 3 - Photo by Ruth Dick LANA | TRANSFORMATIONS   Photos... Read More
Necropolis | Jon Lepp
May 18, 2022

Necropolis | Jon Lepp Necropolis | Jon Lepp, The Open for Business Series @deadendstories Photographs, [Virginia] Woolf claims, "are not an... Read More
Jug Top, Lake Superior | John Healey
June 6, 2022

Jug Top, Lake Superior | John Healey

“Plastic Beach is a set of still life images of plastic refuse discovered along the shores of the Great Lakes and key locations along the St. Lawrence river.

Here, discarded shopping bags, fragments of milk jugs, and crushed bottle caps — among other things — are reanimated to show us the carelessness with which we treat this habitat that is home to millions of creatures.

It reminds us of the cost of convenience, and serves as documentation of the relentless poisoning of the environment and ultimately ourselves.”
– J. Healey

John Healey was born in Toronto and grew up along the St. Lawrence River in Brockville, Ontario. Since 2015 he has devoted himself to lens-based image creation and education. John has just completed an artist in residency and is currently a full-time educator at the School of The Photographic Arts: Ottawa. He lives with his wife Amy, and Arno their Boston terrier.

~ Peppa Martin

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Walker Evans – James R. Mellow
May 19, 2022

Walker Evans
James R. Mellow
Basic Books; Revised ed. edition (Oct. 11 2001)

Walker Evans is one of the most famous American documentary photographers of the past 100 years and his images will stand for another hundred at least. While every serious photographer is familiar with his work (the best known of which was shot during the 1930’s for the U.S. Farm Security Administration as per the examples below), there have been relatively few books that discuss Evans as a man. James R. Mellow captures his complexities in this eminently readable biography, published in 2001.

What makes particularly interesting reading is Evan’s evolution as an artist, from failed student in the Mid-West US, to failed writer in Paris, to acclaimed photographer on his return to New York in the late 20’s and early 30’s. The book quotes extensively from his letters and other writings. One can almost hear him speaking… I imagine his voice to be a low pitched, slow drawl; a mix of Henry Fonda, Peter Coyote and Alan Rickman (minus the accent).

Evans comes across as dour and fatalistic, yet strangely still likeable. Much of his writing describes his unhappiness with things as they are, whether it be his annoyance with his mother, his dissatisfaction with the quality of the prints made from his negatives or his despondence about his romantic relationships. Many of his friendships with other famous artists are discussed, including Ben Shahn, Steven Crane and Hanns Skolle.

The book offers details about the trips Evans made to do his photography and specifically the trips he made with author James Agee as they worked on the seminal Let Us Now Praise Famous Men. Evans plays the role of aesthete opposite Agee’s sensualist, the collision of which resulted in a book acclaimed for its intimacy and realism… a strong documentary account of the lives of sharecroppers and their families in the American South during the Great Depression.

It is sad but somehow inevitable that Evans ends his days as somewhat of an alcoholic / academic recluse. Mellow’s reliance on Evans’ own words leave you feeling as if you really knew him, that you cared about him, but weren’t overly close to the actual man behind the photographs, because of his determination to keep people at bay.

Walker Evans by James R. Mellow is available from numerous online retailers.

~ Mark Walton

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Cree Tylee – Femme Folks Fest Repost
March 17, 2022

Cree Tylee ``...now I am rampant with memory....`` The COVERT Collective is pleased to be participating in Femme Folks Fest 2022. Today... Read More
Gabrielle de Montmollin | Weird Baby World – Femme Folks Fest Repost
March 14, 2022

Gabrielle de Montmollin’s installation Weird Baby World is both engaging and eerie, employing iconography that is evocative and somewhat unsettling. Bart Gazzola offers a response to this street level exhibition, on display at Niagara Artists Centre (NAC) in St. Catharines.

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