Introductions/Introducciones Vita Litvak
The narratives in my work surface in the process of editing and sequencing a certain set of images. After making formal selections I look for patterns, associations, and possibilities of meanings that emerge.
Blog
Introductions/Introducciones Moshe Quinn
Urban photography really began for me when I moved to New York in 2002. When I moved there in August, mixed in with the initial love-affair of its neighborhoods and sights there was also the sobering 1st-anniversary commemoration of 9/11. I'd read a lot about how businesses downtown were affected by the attacks, how a lot of them shut down. When I was exploring the city I was struck by the preponderance of empty retail space all around. Vacancies are of course a normal part of urban reality.
Introductions/Introduciones Leigh Merrill
I find that I am always interested in places visually and I spend a lot of time walking or driving around to just look at wherever I live. I've been making work about places for a while and about 3 years ago I started to make composites. It is a way to create a place that highlights things I see and am interested in.
Introductions/Introducciones Chris Fraser
This represented a total shift in my way of thinking about light, pictures, and the viewer's role in shaping the visual world. But I was to be without a studio for six weeks and could not start my installation experiments until after the New Year. So, in the spirit of this new line of thought, I took up a technique first used by Thomas Bachler in the 1990s. He would put photo paper in his mouth, walk up to a mirror, make a pinhole with his lips, and make a self portrait of himself as a camera. The results were conceptually exhilarating but technically fuzzy. But nevermind. I would try it, too. I wanted to know what it would feel like to be a camera.
Introductions/Introducciones Mark Mcknight
Always a weird one to try and tackle. I'd say in my work reality is the central reference for some kind of poetry - whether it's a sort of abstract narrative as was the case with some work I produced in Finland in 2009 or something that feels (but isn't necessarily) more literal like Pearblossom Highway. Thematically I think my work has a lot to do with the illusions or implications of various locales and maybe deconstructing those notions or even just acknowledging them.
Issue No. 2 Shakti
Featuring the work of Nancy Ahn, Elena Carrasco, Rory Hejtmanek, Melissa Kitson,Eva Kokopeli, Karna Kurata, Jessica Lifland, Kija Lucas, Pernilla Persson, Karla Tarin, Rikki Ward, Ariel Zambelich,
Black Boots Ink Takes Art To The People-Guadalajara Reporter
Black Boots takes art to the people Friday, October 01 2010 12:35 Melissa Kitson Share How often do you see a taquero browsing works in an art gallery? Or a factory worker? Or a homeless person? Sadly, art hung on pristine white walls in spacious, high-ceilinged galleries reaches only a small sector of society. Two Mexican photographers are seeking to change this. Emilio Bañuelos and Elena Carrasco believe that art should not be the sole property of a wealthy elite. In 2000, the husband and wife team formed Black Boots Ink., an organization that unites independent artists to create large, public projects.
Black Boots Ink y IMAJ Intervencion Publica
Black Boots Ink y IMAJ te invitan Intervencion Publica Domingo Familiar y recreativo con muchas actividades Demostracion de Yoga Arte: www.yogarte.com.mx Taller Infantil: Mesa de Artesanias Ludifiestas
Introductions/Introducciones
Comencé a tomar fotos de pequeño, con una Canon T60 que era de la familia. El primer recuerdo que tengo es a los 10 años, en un viaje a Colonia ( Uruguay ) donde gasté varios rollos tomando fotografías de personas, construcciones antiguas... me gustaba mucho tomar fotografías, pero jamás había visto libros ni exposiciones de fotos y no tenía contacto con alguien que practicara la fotografía como prefesión.