Fridgeir Helgason- Landscapes Heavy With Life

Photo: Fridgeir Helgason

One can almost hear the stillness in Fridgeir Helgason's photographs, solid affairs that weigh upon your interest not unlike the heavy, bayou humidity that presses tightly to your skin. And his landscapes do that despite the weather or latitude- they're rife with presence, thick in atmosphere. His work a mirror of an existence that does not come without cost.

Photo: Fridgeir Helgason

Photo of the Decade

Photo: Jonathan Bachman

Yes, I know it's gone viral and can be seen absolutely everywhere, and for absolutely good reason- I, like so many others, can't stop looking at it. And like any good great photo, there's good reason for that, basically because it works on so many levels, and does so, so very, very well. Composition- check, decisive moment- check, content- check, check and check.

What I first thought when I saw this photo was... superhero. Nefarious, super villains rising from the netherworld to wreak havoc on the lone guardian of the light. Alone, unafraid, strengthened by the very forces of the winds and nature at her command; she is secure and confident in her calm demeanor. Those advancing in attack formation are quick, aggressive and heavily armored- but overwhelmingly cautious all the same, fully cognizant of her latent power. 

And then, of course, there's real life- what seems an entire city's police force vs. one lone, very human Black female. And such has it always been, no matter the decade, when men of color have been attacked, beaten and killed by overwhelming forces. Their women have never been far behind, and in fact, often leading many of the various opposing and conciliatory forces at play. And always too... the iconic photo to remind us of just that.

Spring Time Photography in San Francisco

Some really good stuff (as in photo exhibits) are to be found in San Francisco right now and into June- and three of those exhibits are to be found in one building! In no particular order, there's Ai Wei Wei's series of finger photographs, where he flips the bird to pretty much the entire world in a long series of photographs covering the entire length of a long gallery wall at The Haines Gallery. I know, doesn't sound like much (agreed)- but surprisingly, they work better than expected, and quite a few work quite well on their own. The one at the Eiffel Tower with the red sleeve is quite beautiful indeed. Never gave much thought to Ai Wei Wei till I saw the documentary Never Sorry, and ever since... much respect.

Photos: Ai Wei Wei

Then there's the "classic" B&W work of conceptual photographer Kenneth Josephson at The Robert Koch Gallery. Any kind of conceptual art is a long shot at best in my book, but those rare times when it does in fact work can be enlightening and quite... fun!

Photo: Kenneth Josephson

Photo: Christian Marclay

And speaking of fun and conceptual (photographic) art... The Fraenkel Gallery is featuring some wicked "slide shows" (for lack of a better term) by one Christian Marclay. One features a succession of square format images of single straws poking through their plastic container lids. Before you take in the whole image image, you are introduced to another, and another, and another... Definitely more visually compelling than most, static grid presentations. And while that leaves ya with a smile on your face, the next coupla typologies accelerate the experience well into warp drive! A Q-tip is centered in square format as the backgrounds rapidly change by the hundreds while the Q-tips furl and unfurl, first left then right, gently seesawing in progression. Yes, it's one very hypnotic, drug induced meditation- same goes for the cigarette butt that lengthens and shortens, shortens and lengthens as it rolls around without ever leaving its rapidly changing center stage. And there are others...

Photo: McNair Evans

Finally, right in the basement of San Francisco City Hall itself, one can find the work of Guggenheim Fellow McNair Evans and his travels on Amrtack called In Search Of Great Men. This is what making the most out of whatever your dealt truly means as Mr. Evans proceeds to do just just that, photographing a myriad of  interesting: portraits, still lifes and landscapes taken in or from the various trains and their immediate environs. Be sure to also visit upstairs where some of his photographs have been handsomely blown up wall size, adorning what is already a pretty impressive building interior...

3 Must Get, Must Get Books

Ryann Ford- The Last Stop

All three of these books document things that are pretty much no longer there, things from our collective past.  And although digital photography may be all about the instantaneous sharing of all that is brand spanking new and however fleetingly unique, the major strength of photography remains as it's forever been- its ability to freeze, capture and immortalize time. It's ability to now traverse the globe in seconds time is truly remarkable, but nothing compared to its original mission; a mission it continues to retain and faithfully complete, no matter how forgotten. And these three books remind us all of its inherent power to transcend generations young and old, analog and subsequent.

Chris Killup- In Flagrante Two

One book is an absolute classic that is being reissued. Another taken at roughly the same period is being published for the first time for all the world to see. And even the latest color offering testifies to monuments of time and lifestyle forever lost.

Christine Osinski- Summer Days Staten Island

Chris Killup is the kind of photographer that can do everything well (very)- portraits, landscapes, and everything in between. He's at his peak with In Flagrante Two; hard to find a mediocre shot in the entire essay. Summer Days Staten Island is yet another paean to the glories of B&W, as Christine Osinski searches for the heart, soul and underbelly of that fifth, and forever forgotten borough of NYC. Finally, Ryann Ford's The Last Stop is one living color tribute to the democratic art and architecture that formed America's once unique and memorable roadside rest stops.

2016 and Beyond...

Photo: © S. Banos

No idea what 2016 will bring, no clue. Well, for the most part... what I do know sucks and sucks bad, like global climate change. As I write this the North pole is actually above freezing- in the middle of winter!!! And the fact that we still don't have any effective response or solution (besides partying in Paris) is certainly far from promising. In fifty years when a whole lot more Earth is underwater, and even more people need room to live- it's gonna make the Syrian refugee crisis look like a New Year's Rockin' Eve. Of course, I will have put down my film camera for quite some time by then...

The wife and I voluntarily celebrated a giftless Christmas this year, highly recommended for couples who already have everything and live in a rent stabilized 1BR in one of the most expensive cities in the country/world. We can attest to no lingering after effects. Actually, there is one thing I'm looking forward to this year, and that's self publishing what will more or less amount to a Greatest Hits Compilation (Part1)- this after all being The Golden Age of Photo Books. Or... not.

Of course, if you want to truly get noticed amidst today's plethora of (self) publishing wonders, one has to present not only a competent series of photographs, but a comprehensive "art" piece complete with all the doilies, nick knacks and other visual/sensory ephemera that make for the complete artistic experience. Actually, ain't got nothin' agin 'im, just that finances dictate this'll probably be your standard Blurb production- although will definitely have another look/see at what's out there. Regardless, I'm very much looking forward to putting it together. I already have a total of some fifty plus hi res scans (restorations and otherwise), and looking forward to making another 25 or so before getting a group of 40-50 in a final edit, hopefully some time next fall...

Been very much looking for a photo book to get for some time, so glad to report that I finally found and am ordering Gus Powell's The Lonely Ones. I particularly like the small size and that the photos embiggen when you fold out the pages- a thoughtful extra step that not only supplies additional acreage for one's viewing pleasure, but also purposely forces one to slow down and... actually look at the photograph itself (the latter becoming a lost art in itself)! Meanwhile....

Happy New Year!

PS- And one more thing... to the 50+ organizations sending me emails asking, demanding and pleading for $$$- wish it so folks, but you're asking the wrong guy, (ie- barking up the wrong tree). Capisce? I give a few bucks to MSF and Amnesty Int- case closed. Rule #1- Don't expect money from people who make considerably less than you...

Still Waiting...

I started the year more than a little anxious to buy two upcoming photo books... and here we are at year's end- and they have yet to materialize in the public domain! I'm referring to Joakim Eskildsen's American Realities and Ryann Ford's The Last Stop. 

Something to look forward to in 2016, beyond the the coming year's now requisite mass slaughters...

Status Update

Jander Yat- Photo: Robert Gumpert

Pete Brook recently informed me of his co-curated group exhibit: Status Update. Hadn't seen anything worthwhile up close and personal in months, and happily, this didn't disappoint- not one weak link in the entire show. Robert Gumpert's prison portraits (go to Take A Picture, Tell A Story for some seriously devastating, one-two combinations of portraits/oral histories), and Elizabeth Lo's tightly edited, well executed video were my two personal faves. I can't ever say enough about the simplicity and power of Gumpert's portraiture, and Lo's short video, Hotel 22, just took me by surprise with it's oh so revealing tale of a mobile 'homeless shelter' shuttling about one of the most prosperous strips of American realty. This is one show that seriously needs to be seen, heard and discussed in much larger public venues, throughout the country...

Hotel 22 from The New York Times - Video on Vimeo.

Getting It Wrong/Getting It Right

"But I will admit that it leaves a bit of a funny taste in my mouth to see a body of work centering on the invisibility of poor or non-white people in a space where, well, the same applies."  -Jorg Colberg

Before we get into what's wrong, lemme just say that that's one of the most rare and truthful statements you'll ever hear uttered in any photographic art forum. So... who am I to call out these photographic greats on what I perceive to be major lapses in their artistic judgement? The same guy who has justly praised and admired them on many another occasion- does that make me right when it comes to the former? No. But at least, it shows I ain't carrying a grudge (sorry, Cindy).

Paul Graham- Films

Like anyone else, artists, and photographers sometimes get it wrong, really wrong- and to be fair, it comes with the territory. The quote above comes from a piece that centered in part on Paul Graham and the wave of photographic experimentation he's ridden the latter part of his career. I've commented previously on what I thought of his experimentation: the overexposed prints, the shots before and after what may or may not have been "the decisive moment," the entire book on... close ups of grain! And it all just strikes me as something every photographer contemplates, experiences and yes, comes to terms with in the field or in the darkroom, as they become knowledgeable with the art, the process, the craft. We study and learn how over and under exposure affect not only the finished print, but our emotional empathy as well; how timing is so crucial and critical to composition and meaning; yes, we've even considered the effect of grain. Does that mean we can't play with it further, of course not- but then, by all means show us something... new! Eamonn Doyle showed us a gorgeous "new" take on street photography utilizing the most basic of visual elements (a different viewpoint, literally)- not so unlike what some guy called Graham did when he first used color to document the social landscape.

Bruce Davidson- E.100st.

Another guy that "recently" came to mind is none other than one Garry Winogrand. My ears certainly perked up on that video as he took none other than Bruce Davidson to task for undertaking- "a personal misunderstanding" of Diane Arbus. He was particularly referring to E100st., the seminal photographic work which he also insinuated he had no business photographing since the subjects were of a different social, economic and cultural background. The thought of Davidson doing a bad copy, or some kind of wayward Arbus homage is truly beyond ludicrous. All due respect (love the guy), but... one really has to wonder what far flung region of his anus ol' Garry conjured that Arbus analogy from. His second criticism is one that definitely merits discussion- particularly in a day and age when we have photographers running "workshops" during major catastrophes. Except, of course, that Davidson is amongst the least exploitative photographers one can possibly name. His respect for his subject matter is always forefront- or as one photographer of color said a few decades back on this very topic, "Damn, argue what you want- I just wish I could have done as good a job as he did!"

Glass Key In A Modern Landscape

Recently dropped by Glass Key Photo here on the Lower Haight in San Francisco and was both happy and relieved to see that they very much appear to be thriving. This is a small "mom and pop" type affair (ie- not your usual corporate, conglomerate retail photo enterprise) that consists of a small but well stocked, second hand, film camera store complete with various format bodies and lenses in good cond and at very reasonable prices, along with paper, chemicals, film and other accessories... in addition to housing a rather nice gallery space.

Consummate gear hound that I am (needed a body cap), I came upon a small crowd ogling, handling and yes, purchasing a variety of bodies, lenses, etc- and these were majority twenty somethings. Make all the hipster remarks you want, but if these are the people to keep film alive well into the coming decades- more power to them, cuz us geezers only have so many years left. Anyway, it was nice to see things coming along- not to mention catch the exhibit by Marissa Rocke.

Raccoon, Washington Township, Pennsylvania by Marissa Rocke from Modern Landscape

Modern Landscape offers an unsentimental though touching view of various road kill portraits taken on Ms. Rocke's travels. While some appear blissfully asleep, others are obviously in various degrees of decay and disarray- but curiously manage to retain some semblance of beauty, grace and dignity. And having a quality show to look at definitely makes for a complete experience!

You Can Observe A Lot By Just Watching...

I'm not as much drawn to sports as when considerably younger, but even then, I was particularly drawn to those who transcended their sport, who exhibited signs of life beyond their sport, those who either impacted life head on like an Ali, or simply displayed a certain sense of irony or humor as in the case of Yogi Berra (to whom one can attribute the quote above).

And speaking of astute observations, particularly when it comes to life and its passing moments on the streets we tread daily, the name of photographer Cristophe Agou most certainly comes to mind- a good tribute here.

Thanks, and RIP guys...

Bruce Almighty!

Photo: Bruce Gilden

Photo: Bruce Gilden

Been a fan of Bruce Gilden's for quite some time, but even I was somewhat taken aback by some of his most recent offerings via his color Face portraits. They almost seem a cartoonish caricature of his earlier work. Has he finally crossed the fine line he's always tread between borderline art-shock and what the hell, pull the plug freak out? And just where is that ever moving, fine line located? Where was it drawn in modern music: the "race music" appropriated by Elvis, the Beatles' long hair, the polysexual costume excess of glamrock, or the NSFW lyrics of Hip Hop?

Face draws you in like a bad car accident ("like ruin porn, fascinating for five minutes," said one commenter); has Gilden now fully embraced shock value for its own sake- or are we the ones doing the dehumanizing by further reducing these images, and therefore the people they portray, to the likes of a car accident? 

This ain't a critique on the images themselves, which I admittedly am somewhat ambivalent about. And isn't that one of the hallmarks of great art, that which divides, shocks and more importantly- makes us think?  This is not so much about "Gilden, right or wrong," but about the reactions he so willingly (and knowingly) creates. Indeed, the comments to this article are well worth more than the original piece itself... all 476 of them!

Unfortunately, many of the commenters believe that Gilden turned his subjects into freakish ghouls and freaks via Photoshop, when in fact, the distortion they speak of came mostly through the use of a short lens used up close and personal with direct flash. Some are not only mistaken about how he achieved his results, but even go unto producing a bit of revisionist photo history to back up their claims. More than one comment tells us of how Arbus not only covered this ground previously, but also did it in a more openly emphatic manner that both humanized and endeared her subjects to us all. One commenter actually stated that at least "Arbus photographed them as they wanted to be posed." Really? I suppose none of that particular crowd ever read how she was roundly criticized for objectifying and dehumanizing her subjects!

And while many, if not most found his portraiture "obscene" or "robbed of humanity," others found it quite beautiful indeed- "can't help but notice how beautiful the eyes of his subjects are." More than one found them a most welcomed relief from the "orange blobs with teeth" that so many celebrity portraits look like today. Kim Kardashian's visage frequently came up as the modern day icon of a photographically manipulated freak.

Some seemed completely oblivious to the obvious lens distortion, swearing that these are what these people actually look like, and I have to wonder if at least some of those espousing Mr. Gilden's refreshingly warts and all look are also happy that while it's good we have people that look like that, they are also quite relieved to not be one of them.

Some savvy commenters noticed that while Sean O'Hagan's article stated that Mr. Gilden had obtained releases for his subject's photos, he failed to state if they were obtained before or after they actually saw the results. That wouldn't have particularly spoken as to their relevancy as works of art, but perhaps more to the integrity of the photographer himself. Either way, Gilden definitely doesn't give a flyin'. Question is, are his images strictly predatory and abusive- and if so, are we being superficial for liking them, or just as superficial for dismissing them offhand... One of the second hallmarks of great art is how much it reveals about ourselves.

Detroit Unbroken Down- Dave Jordano

Photo: Dave Jordano

The first thing one notices upon viewing this book is that it is unquestionably a labor of love. Mr. Jordano loves Detroit, and loves its people- as do they, despite all its faults, disappointments and dangers. One hears and sees little else but the latter anywhere anyone looks. Detroit Unbroken Down reminds us all that there are real people living there, beyond the ruin porn, gangstas and chosen downtown elite. Ordinary people desperately trying to live decent lives in a man made island of neglect and disrepair within the world's most powerful nation.

Photo: Dave Jordano

These portraits of people and community do not focus on the down and out, but neither are they feel good rainbows and unicorns. These Motor City denizens live a reality from which so many of its former residents fled unapologetically; yet, there they remain, refusing to give up and succumb, if only because they don't have the luxury of fleeing. If nothing else, these photographs remind us of that.

Photo: Dave Jordano

Photo: Dave Jordano

The Greatest Photo Book Of All Time

Yeah, I know- an utterly ridiculous statement. So why not just take it as fact and be done with it? I can't prove it, you can't disprove it. Satisfied? Doesn't matter- I'm going with it...

First off, you must simply dispense your personal beliefs and preferences and accept the fact that photography reached it's intellectual and artistic zenith with B&W in the early/mid seventies, and went completely downhill after that color revolution thing of the same decade. With me so far? OK, so I lost maybe... 97.5% of the entire photo audience. Again, doesn't matter.

The book itself is relatively thin, but on the large side- I could tell it wasn't gonna be cheap, and when I opened it and saw the reproductions, I immediately thought three figures. And when I saw the box that held it... Uh-oh. Yeah, it costs $250.

Photo: John Divola

But it's a goddamn gorgeous $250! The lusciously reproduced B&W photos contained in John Divola's San Fernando Valley are deceptively quiet, contemplative- the subtle quirks and nuanced details all hint at the resident's inner lives (when they're not openly broadcasting them with direct views into the camera's lens). The newly settled residents of Bill Owens' Suburbia were gradually affixing themselves into their emerging community; these guys are already settled, they're comfortable in their own skin. After introducing its residents, Mr. Divola's photos then go on to further explore the neighborhood's flora and architecture; and it's all good- exactly what you'd expect from the world's greatest photo book (of all time).

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PS-  Did I get it? Sadly, no. A little too rich for this boy's blood, but I did not return completely empty handed- I was quite happy to get Robert Voit's amazingly beautiful New Trees- a more than worthy typology of uniquely disguised cell phone towers. Ya see, this was supposed to be my now annual report from NYC, but having to address the growing needs of elderly parents, there was not much time to view (or attempt the making of) much photography while there. New York goes on as always, the poor struggle to house and feed themselves, while the rich revel in their own.

SB on B...

I "discovered" Blake Andrews a few years back. Two things you realize right off: the guy's good (that's rare enough), and... he's also funny. Lord knows most comedians are painful to watch or listen to- the great ones are not only rare, but extremely observant and often insightful. And successfully translating some modicum of humor into photography on a consistent basis (which B does) is an extremely rare achievement! But enough about him...

Actually, the man has been kind enough to interview your humble servant on his own home turf @ B...

"We Need To See Them...

Because we created them."

Army Spc. Jerral Hancock sits for a portrait with his son Julius. It is believed that Hancock was trapped under the wreckage of his Army tank in Iraq for half an hour before he was rescued.

Courtesy of David Jay/Unknown Soldier

And for what? We're all made to feel guilty for not "supporting our boys" once the shit hits the fan- but we're never, ever asked to question why we put them in harm's way to begin with.

There are now countless people in and around Iraq who hate us; perhaps because they had nothing to do with 9/11, and yet had to suffer the revenge and full onslaught of the world's foremost military might. An yet the thousands we killed and maimed there for no good (or sane) reason will never get even this most perfunctory of acknowledgements.


Addendum:  David Guttenfelder also has an amazing essay on the plight of vets w/PTSD who are taking their own lives at home- an alarming 22 suicides each and every day! (via: PetaPixel)

The Ideal Indian

I have written about the Indian for scientific magazines all my life and I have never seen one, I would like to learn about their life and logic.    -"Indian scholar" in 1905 conversation with Edward Curtis

Sacajawea- unknown sculptor. Wonder what Edward Curtis would've thought- or any American Indian for that matter. Photo: © S. Banos

"The advent of the White man was a pleasant episode in the lives of these savage people," one of the first chroniclers of Seattle said. "Their arms opened to receive them as superior beings, and the lands they possessed were freely offered for their acceptance."

... by 1900, the tribes owned less than 2% of the land they once possessed.

The Open Road...

The Open Road: Photography and the American Road Trip from Aperture Foundation on Vimeo.

Greatest Hits compilations whether musical, photographic or otherwise are usually uneven affairs; the usual played out, super hits squeezed under one rock for those who must have been living under one, and the mixed bag compilations containing a few of the aforementioned thrown together with a few B tracks or outtakes. I opened this delightfully designed book and it most certainly didn't have that run down, retread, let's milk the very last penny out of it feel. Yes, it does lead with the best and brightest usual suspects in the genre, but the graphics, layout and editing make for one impressive presentation! I anxiously leafed through a world class collection, all under one roof that made me want to purchase it right then and there- even though I already had many of the photographs in separate monographs (save for Inge Morath's impressive showing); beautiful reproductions that often contained one or two "new" finds (at least for me) for each photographer featured to add some zest and make it all the more worthwhile. Why then did I leave it lying on the shelf?

Two thirds of the way through I was pretty much besides myself at how solid a find this was; the damn thing had no weaknesses, no filler, no questionable additions whatsoever- and then... and then, the inevitable weak links finally surfaced as the book progressed in its timeline (ie- the eighties and beyond). More recent photographers with their own post modern versions of reinterpreting, reinventing and reconstructing the great American road trip. Not that they were necessary all bad: I do love Doug Rickards' A New American Picture, but Todd Hido's recent work (good as it is) looked kinda pale in comparison, and dare I say it, even Ryan McGinley's selected photographs weren't as bad as expected- but if ya even have to go there... not to mention the few I had no interest in whatsoever (so much for a clean sweep). Pity it didn't include Lizzy Oppenheimer's remarkable Rest Stops- it could have ended on a much needed high note!

Final verdict? A must get if you don't already have the monographs of included favorites- it's one beautiful, well laid out compilation, no doubt about it. And still worth getting, if ya got the idle cash to spare... better yet- save it, and take to the road!

Beyond Success...

The very saddest aspect of the whole Edward S.Curtis legacy is not only that he died penniless, but that in the end, he did not even retain copyright of his own work. The work for which he struggled and  fought and worked himself ragged for (every single glass plate and photographic image of The North American Indian) was ultimately usurped by the multi-million dollar estate of J P Morgan's heirs. And although it was J P Morgan himself who was largely responsible for funding the work- Curtis never received a nickel in salary, every penny went to the creation of the work, and he operated mainly in an overwhelming, though thoroughly disguised, deficit.

And ever lovin' insult to injury- the heirs would then sell off the vast majority of his grand legacy (that cost millions to create even then, and was heralded far and wide as a major artistic achievement) to some Boston rare book dealer for the not so princely sum of (ya ready?)... $1,000!!! And some of the remaining work would then be ultimately thrown out with the trash.

Many an artist dreams of success, fame, and fortune; Curtis had all of it, he was literally the toast of the town- Seattle's home grown contribution to the great American success story!  And he gave it all up to produce art highlighting a segment of humanity that most of society actively sought to obliviate. His legacy endures because of a willingness that went beyond success.

Bruce Davidson Today...

Good, recent interview with Bruce Davidson by Owen Campbell on American Suburb X that explores how the man works and thinks. Interestingly, this remarkable photographer is usually thought of as a very "traditional" photographer, despite the fact that he has established his reputation by photographing unique subject matter in a fairly unique manner- one that requires the gift of time, and mutual acceptance and recognition whenever possible (something a Mr. Edward S. Curtis discovered a few years prior) .

Also interesting to hear that the next project from this "traditionalist" will be a digital endeavor!

Salt Of The Earth: Epilogue

Finally, saw Salt Of The Earth. And what can I say... a better than expected film about a great photographer who has seen, experienced and documented many incredible, as well as horrendous things that life has created, and man has wrought. And as alluded to before, with all that said and done, with all the good he has (obviously) done in his life- why oh why, would he then so casually ally himself with an entity whose very existence threatens and belies everything he's ever stood for?