Editorial: Fiesta Ediciones
ISBN: 978-8461483754
Federico Clavarino: Ukraina Pasport
Diego Ortiz: Obviamente
Editorial: Blur Ediciones
ISBN: 978-8460962434
Joan Villaplana: Metropolis
Editorial: Autoeditado
ISBN: 978-8461217977
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The danger with the infinite accessibility of the web is that we can find ourselves only looking at photographs that are immediately seductive or simply popular in the networks around us. Work that might be deemed quiet, challenging or even just off-putting can get totally bypassed. Moreover, if our interaction with photography is limited to a ‘Like’ button or the 140-character equivalent, we run the risk of never getting beyond the surface of images and of not developing an understanding of why we like or dislike something. Given the demise of arts criticism in traditional media, this kind of critical thought is arguably more important than ever.
Dies Irae
Hace aproximadamente un año descubrí el trabajo “Nijuman no borei” del cineasta francés Jean-Gabriel Périot. A partir de cientos de fotografías de archivo, Périot reconstruía la historia y los acontecimientos sucedidos en la ciudad japonesa de Hiroshima en los años anteriores y posteriores al fatídico ataque nuclear estadounidense.
Gracias a una charla de Joan Fontcuberta y Xavier Antich que tuvo lugar hace unos meses en el Espai Cultural Obra Social Caja Madrid he redescubierto “Dies Irae”, trabajo que ya conocía pero que no asociaba con Périot. Utilizando de nuevo materiales de archivo, una constante en la obra de este autor, Périot construye en esta ocasión una conmovedora alegoría de ese viaje sin retorno que es la vida.
Camino Laguillo: Inward
Editorial: Universidad de Cádiz
ISBN: n/a
The Dreams and Delusions of Photographers
I often wonder about the true benefits of exposure on the internet. I remember talking to a friend who had a project that was picked up all over the place, including mainstream websites. I asked them if they received any calls or jobs because of the exposure. They said no. Then again, they didn’t exactly take a proactive approach either.
The internet is a pretty awesome and powerful tool for distributing photography and building connections, but I also think we sometimes overestimate the true value we’re creating. Look no further than the first internet bubble for a prime example. There are some that say we’re in another internet bubble right now, one that’s driven by over valuing social media.
Money and Art, Art and Money
Yesterday, Michael Schmidt, a renowned German photographer (who, amongst other things, was instrumental in bringing a lot of US photographers to Germany), spoke to a group of students I am on the road with (as part of the Hartford Photo MFA program). Amongst the many things that he said he noted that today most photographers seemed to be thinking about their careers (gallery shows) first and about their photography second. He argued that was the wrong approach. Schmidt said that one’s career should merely be a by-product. What really mattered was the work.
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Make no mistake, I’m not saying photographers shouldn’t strive for a gallery show. But I’m with Schmidt, what truly matters are the images. Isn’t there something incredibly rewarding about producing a great image every now and then, out of one’s own, very personal engagement with this world? Why would one want see that as less important than whether the results of those truly precious moments (that, let’s face it, also come with a lot of hard work) are packaged appropriately for commerce?
Colin Gray: In Sickness and In Health
Editorial: Steidl
ISBN: 978-3865219404