Ryan Oskin: Subdivision

Ryan Oskin: Subdivision

Posted by on Apr 26, 2017 in Efrem Zelony-Mindell | No Comments

Forming structures driven deep into the soil. Sounds and steel coerce a skeleton into glass and sky. Not quite flight but levitation. Architecture is formed on the backs of people, not wings or birds, but bags and pounds. Areas divulge into treatments and changes. Blue of prints and skies formulate sites and precision. Bungee’s elastic and qualities of print find voice in complex structure of Ryan Oskin’s show Subdivision. Play and interpretations of the gallery’s site; Rubber Factory becomes a new space. New depth, shapes and sizes, walk through, walk around and under. Oskin has constructed a sort of labyrinth. Materials adapted and touched—there’s a lot of room to play with evaluation.

Reacting to the quality of the site, Oskin’s work finds voice. There are no prescriptions; there is only unique process. The pressing meticulousness of artist is present at all times. No one else could make such choices for the works. The artistry of the installation deals in abstraction, but is very rooted in representation. Art has a way of dealing in such dualisms. It cannot be passive. Layering is significant. Matching isn’t real; reinterpretation and possibility drive pleasures of seeing. Being inside feels complex but in a totally removed way. How do we interact? How do we look? Seeing and standing are of utter significance. Like all good structure bound in photographic process and imagery, choreography becomes essential. Subdivision beckons a dance under tightrope.

© Ryan Oskin

© Ryan Oskin

Physicality needs to instigate space. Active configurations and relationships tell us how to connect, or at least leave us the possibility to establish emboldened marriages. Open-ended space is important, and recognizing how we put ourselves into something cannot be diffident. What’s left unoccupied releases control. It’s important to acknowledge that submission, it’s so integral to the photography and installation of Subdivision. Architecture, like photography, is interactive and contemplative. It has potential for surface and excursion. Guts and façade are confused in this way and it’s up to viewers to utilize what stands before them.

Work needs a new life. There needs to be surprises. Visions and realizations are absorbed. Questions assemble inquiry. How many windows are in a building?

Don’t miss Ryan’s show Subdivision at Rubber Factory. To see more of Ryan Oskin’s work click here.

© Ryan Oskin

© Ryan Oskin

© Ryan Oskin

Kelly Smith: Bring Us To Death

Kelly Smith: Bring Us To Death

Posted by on Apr 25, 2017 in Efrem Zelony-Mindell | No Comments

Words by Kelly Smith, edited by Efrem Zelony-Mindell

My work is about the relationship between life and death. Feeling anxious and trapped. Looking for an escape and not really finding resolution. I’ve always had an interest in death – seeing beauty in what’s often overpowered by fear. That, in combination with depression and anxiety, has led me to this body of work.

© Kelly Smith

I think the mechanics of the body – how it works, how it moves, the bones, the muscles, the blood, the whole anatomy, is incredibly beautiful. And one day, it just stops. You become hardware, waiting to be buried, or burned, or dismembered and dispersed to people who need your spare parts. But then there’s the software. The brain, the mind. The brain is the most important part of your body. It determines whether or not you’re alive, and you have absolutely no control over it. Which is crazy. You can’t just tell your heart to stop beating. You can’t overwrite your brain with your mind. It’s so powerful. Yet something as simple as a chemical imbalance, or a hormone deficiency can make your entire world spiral downward. It can make your mind shut down. Out of nowhere you find yourself floating. You can’t get out. You can’t move. You’re stuck.

You can lose all motivation, and certainty. Nothing makes sense. You lose yourself. You lose capability of portraying emotions and you’re empty. There’s nothing.

© Kelly Smith

© Kelly Smith

Which brings me to death.

Death is, to me, the most beautiful part of all this. The mystery behind it. What comes after you die, if anything. Meat is something that people consume somewhat regularly. However, they get uncomfortable when they have to look at it or touch it in an uncooked state. It resembles human flesh. It’s staring at the dead. I think it’s something to pay attention to. Bones are so beautiful—they keep you up. There’s beauty in thinking about these things unconventionally. What may be considered gross, or visceral, or scary has a beauty built inside of it. It’s important to look past what makes you uncomfortable.

© Kelly Smith

© Kelly Smith

Stefanie Moshammer: Don’t Stop Me Now

Stefanie Moshammer: Don’t Stop Me Now

Posted by on Apr 24, 2017 in Efrem Zelony-Mindell | No Comments

“Tonight I’m gonna have myself a real good time. I feel alive and the world, I’ll turn inside out.”

—Freddie Mercury, Queen

Exploring happens in layers. Photography is a coincidence. Get lost. Find something new. Yield results in new friends and unusual lands full of architecture and color. Stefanie Moshammer uses the camera as a way to explore. There are no certainties—that’s ok. A kind of play occurs in her imagery. Faces formed in unexpected composition. Even if those faces are obscured or not literal. The kinship between Moshammer and subject comes out in a wonderful way. In the imagery there is a freedom, an imaginative exploration, not quite documentary. We get to know the world through Moshammer. It is tonic and not quite right. What is right? Unusual. Expounded. It’s curious to wonder how these things happen. Somewhere between direction and the everyday. Walking by, pointing out, taking the time to slow down and really see a thing, anything.

Somewhere we make ways and means to form concepts. Moshammer puts things into point of view. Images don’t necessarily inhibit. Stories are formed by stimulus everyday in the people we see and the objects we touch. The photography is of the world, even though Moshammer is much younger than the world. Still, she is a student of that world. Study isn’t precise; it grows from ground and skies. It blooms in eyes and matter and forms wit and hunger. Hounded and driven she travels on. Traversing areas, peoples, and moods. Mountains are peaked and the view looks down, or up. Photography is for figuring out, for understanding self, and creating journey for others.

© Stefanie Moshammer

© Stefanie Moshammer

© Stefanie Moshammer

© Stefanie Moshammer

Lost is for looking. For vision and change. Only as we become a part of the unknown can we establish understanding and connections. Seeing something can’t happen anywhere else. Curiosity is about back and forth. It formulates what’s going on here? Layers break all expectations when we are free from inhibition. An odyssey is about becoming. Play with what’s already there. Sharing the undiscovered is reformed and nameless, but beholden to the memory forever. Human connections can make you feel like there is a reaction. In Moshammer we are privy to great dragons of growth into each other. You never know where things are going but community has a way of being wonderful in that.

Facts are possessed, but how do we communicate? Not as a singularity, but together. How do you show something not so literal? Imagination. Everything should be kept open. We all live here. Keep the world weird and don’t take yourself too seriously.

To see more of Stefanie Moshammer’s work click here.

© Stefanie Moshammer

© Stefanie Moshammer

© Stefanie Moshammer

© Stefanie Moshammer

© Stefanie Moshammer

© Stefanie Moshammer

© Stefanie Moshammer

© Stefanie Moshammer

Anastasia Samoylova: m o z a r t

Anastasia Samoylova: m o z a r t

Posted by on Apr 21, 2017 in Efrem Zelony-Mindell | No Comments

Accuracy is not as quick as wit. Profound safari accumulates the glorious mess of Anastasia Samoylova. She is in depth and sight; the works are consummate. Supreme garbage, splendid topography, succinct reactions stimulate fabricated diversities. Planes of petulant shapes and iconography. The familiarity of something natural, but not quite. Quick and round, the formulation of confusion is superb and overwhelmed. Oculus of Samoylova inoculated in brightness and saturation. Besmirched visions of contemporary worlds; our Earth is impudently humiliated by interpretative human sublime. Captured, caught, correlated, catalogued, copied. Outright, inside, exterior, luster, divaricate. All life, as all constructions, is temporary. Tempered and tampered Samoylova’s work reflects this order of things. It is not without its absurdities as much as it’s not without impeccable alternative variety.

Absorptive repurposed space is redesigned. “Romantic natures always within me.” Samoylova is of certain rituals and acts that she feels born into. Meditative process and records take on a life of their own. Selective incisors cut meticulous puzzles forming dimensional labyrinths. The works are of carving reactive hands. Those hands are in response to her environment. Questions fill, crisp and refreshed. Liveliness of composition is discharged in hues and shades. Complicated simplicity of disarray. Desire beyond sex or material is intertwined into the escape of such luxury and aesthetic. To suggest such afflatus swoons inside the perceptions of endowed desires. To be transcended is very real.

© Anastasia Samoylova

© Anastasia Samoylova

© Anastasia Samoylova

© Anastasia Samoylova

Air is not predetermined by interpretation—it is totally open. Samoylova insists that she doesn’t have to be taken seriously. I’ll call her bluff on that. The focus of craft and eagerness to explore dictates an acknowledgment of passion and drive. The work is worthy; the ideas interpretive. If there is anything to not be serious about it’s the world outside such wonderfully poignant satire and art. The realization of course being that without one the other falls apart. Poised passion in perceptual grasp make way through awakened senses. The community established by conversations such as Samoylova’s is current and significant. They are not outright in policy or government, but are worthy of instigating mutiny. In such sublimity there is a conclusion, finally there is something that you cannot possess.

To see more of Anastasia Samoylova’s work click here.

© Anastasia Samoylova

© Anastasia Samoylova

© Anastasia Samoylova

© Anastasia Samoylova

© Anastasia Samoylova

Bryson Rand: Some Small Fever

Bryson Rand: Some Small Fever

Posted by on Apr 19, 2017 in Efrem Zelony-Mindell | No Comments

The body’s gesture is dumbfounded. Great lakes of whites and grays liven the flesh of men. Their paths are coarse; latent in potential beneficiaries of mutual desires. Without absolute copulate their bodies become bellows and light. They’re pieces and parts, concocted coercions congruent and charmed. Bryson Rand is sly. One smile goes a very long way. One photo of his solo show Some Small Fever at New York’s LaMama Galleria has similar effect. What will the pictures look like? You must ask yourself. In the night, during the day, dawn and dusk are consumed in the mood and atmosphere of the photography. Rand’s imagery is devoted to the separate from. If a parallel universe free of judgments and insecurities lives, these photographs are of them.

There exists no organization to cope with such espionage as those who reside on the outskirts of the south side of this Pantheon.

Spaces exist outside of normality looming in illustrious sequins and unconditional fabulousness and acceptance. The mythical nature of such plausible world is not without worry or violence. Voices rise up high hungering for transformation and sanctuary. In these notions Rand resides. Determination looks powerful. People create breath and new body, formed in unusual precision. In the photos nearly everything trickles—just along the edges. Being part of something is like seeing for the first time. Man and woman are intermixed and sexuality is slight in comparison to what they are each capable of. Separate, together, loud, glorious, and besotted. Possessions of those someones with whom one is closely associated exude valor. Be a part of that.

© Bryson Rand

© Bryson Rand

© Bryson Rand

© Bryson Rand

How does imagery come alive? Reinterpret what’s in front of you. There may be no reason to care—only at first—but you do. In those crumbs is where magic resides. Whatever magic may mean to you. Unexpected and factual. If Rand didn’t make these things no one else would. Psychological potential exists beyond physicality. Some Small Fever is of kinds of flesh and bone, but beyond they are filled in with something else. A meeting of two galaxies kissed at all different entrances. Things change—don’t feel held down. You are a human. Juicy. What people are after is each their own. That journey needs to recognize the sides of all thoughts and acceptances. To reform and be present is a rebellious act. I AM HERE! I AM A PERSON. QUEER AND MAGNIFICENT! Maybe if only in my mind, but I see it in Rand’s work. That shout may be silent, but it is inside each frame, black and white.

Light emanates from inside the figures and forms. Look at the way skin looks. Sight your eyes and how you feel when you wonder what places play on environments you inhabit. We become comfortable or unsure. We are human. In rendering light Rand wants less misery. Joy is so possible. Separating ease from reactions and celebration is unacceptable. To create and exist in an outside world is beautiful.

It will reward you.

See more of Bryson Rand’s work by clicking here.

© Bryson Rand

© Bryson Rand

© Bryson Rand

© Bryson Rand

© Bryson Rand

© Bryson Rand

© Bryson Rand

© Bryson Rand

Katherine Hubbard: Stages & Others

Katherine Hubbard: Stages & Others

Posted by on Apr 17, 2017 in Efrem Zelony-Mindell | No Comments

Fields of vision are taken for granted both in eyes and cameras. Space occupies. Voluptuous volume. Pungent periphery. Lively space between heads and ceilings; all too often invisible. Stages of lively performance are broad and commiserate on cockled calculates. Quick, nearly enough to be fleeting, the world dissolves. Interactions are not without reflection or capture. Katherine Hubbard is of wonder in regard to the structure and execution of such photographic implications. What’s implied by the space of photographic capture? Community and body. Bound and public. The activation of Hubbard is engagement. Movement cast in stillness. This great dichotomy of photography is complicated by exploration of terms of engagement and contexts. Being outside of things is as valuable as being inside.

Standing far away from the medium of photography lands you within. Situations are most important and avoiding feelings that are judgments expounds complications that are confident enough to hold. Recognizing intricacies of how to pictorialize and express photography scratches new surfaces. Viewership becomes communicative; relationships between others expound medium and turmoil. The values of the body are interwoven into the camera and there are all sorts of ways to shift responsibilities. Hubbard is a conductor. She is looking to express what gets left out by the camera. The expounding expanse of vision is measured with values, but only if you accept the invisible. Mediating individual attitudes and recognizing position can change objects, and windows, and meanings, and reasoning.

@ Katherine Hubbard: U Shaped House

@ Katherine Hubbard: U Shaped House

© Katherine Hubbard: Small Town Sex Shop

© Katherine Hubbard: Small Town Sex Shop

The camera deals with ‘bodyliness.’ Hubbard shuts down sensory. Distractions are terms of the body. You are a given, that viewership is skeptical. There is no passive watching, although falling asleep is ok too. Being a participant of you is the work. People do the work and there are no incorrect responses. The tangible objects of Hubbard act as catalyst. Results may vary—being present is necessary. Terms of the medium point to what’s next. Extending the ground and image plane cheat the stages and constructions. Dimensional physicality and space become more than forgotten emptiness. What steps out into yonder is a performance into environment. The body and the camera become the same. There is a traceability that comes back to the world.

We are subject to ourselves. Not permanent, but highly susceptible. The tool of photography is not of issue; there are problems in use. Hubbard recognizes fast relationships toward images. Her work inaugurates internal receptions of the camera and photography. Why do we see what we think we see? Question perception. What are you a part of? Acknowledge participation. Finding is fueled by emptying the frame. All becomes precise. Parts are allowed into the concept and imagery of photography. People orient—‘bodiness’ is shared. Thinking is circular.

Be sure to catch Katherine Hubbard’s solo show up now at Baxter Street Camera Club of New York. To see more of her work click here.

© Katherine Hubbard: Bring Your Own Lights

© Katherine Hubbard: Bring Your Own Lights

© Katherine Hubbard: Cylinders Cones and Edges

© Katherine Hubbard: Cylinders Cones and Edges

© Katherine Hubbard: Back On Back

© Katherine Hubbard: Back On Back

May Lin Le Goff: Tada

May Lin Le Goff: Tada

Posted by on Apr 10, 2017 in Efrem Zelony-Mindell | No Comments

Photography can be as much about constructed image as it is about the story it communicates. May Lin Le Goff moves past first impressions. Identities in her works are not removed; they are looking to be filled. Familiar features are obliterated. The magic of an effaced human is present. Le Goff pastes, cuts, and tears through colorful images creating often-fanciful creatures. Theirs is an aesthetic of confusion, wonder, and possibility. These images are as gestural as they are irreverent. The disorder and obscurity of a once familiar body plays on the desire to understand. The only way to craft an identity is to realize that you don’t know who you are. But you want to.

These works are about the drive to know thy-self.

Le Goff reconciles a struggle of concepts and materials. Processes drive through aesthetics and an exploration of gender is divulged. But maybe not specific or individual. Collective. Color thoughtful pleased and garnered in innate playfulness of emotion. Shapes reviewed from an archive of identified beauty. Le Goff’s deliberate experimentations resonate each other and establish a vocabulary of, what she calls, love things. Chosen elements, stolen concepts that lead to fluidity infuse the works’ possibility. The frustration she expresses in figuring out is resolved by the equilibrium and philosophy after the art. The driven making is a wondrous tool that formulates new citizenry in the frames of Le Goff’s design.

© May Lin Le Goff

© May Lin Le Goff

© May Lin Le Goff

© May Lin Le Goff

Ideals of beauty. Is that feminine?

Feminism is about common sense. It’s subversive. The nature of knowing what a thing is communicates its character. Transformation in a changeling obverts the original intent of these images’ photography. They expand personal history—behold new life. Forms and figures are a mixture of places where Le Goff’s work finds comfort. Recognizing actions and connections reformed in reconstruction remodel amazing freaks. There is still work to do. Curious community woven inside a soundscape of ignited choreography. Modern perspectives of gender abash societal norms of objectification. Women are more. Perfection is vague. Temperament and physicality are unrealistic. Insides out are expressive and Le Goff is after a unique beauty. The blossom of that quiddity connects many things in many ways. Strongest of all, Le Goff’s playa begins with this base. Anything is possible in the saturate of such diverse polychromatic resonance.

See more of May Lin Le Goff’s work by clicking here.

© May Lin Le Goff

© May Lin Le Goff

© May Lin Le Goff

© May Lin Le Goff

© May Lin Le Goff

© May Lin Le Goff

Fear, Daring, Hexed. Patricia Voulgaris

Fear, Daring, Hexed. Patricia Voulgaris

Posted by on Apr 7, 2017 in Efrem Zelony-Mindell | No Comments

In the folds of minds and flesh an archenemy emerges. Planes of vexing paper and pounds of ached emotion light the locomotive of Patricia Voulgaris. She is the source of her own photography’s virulent creature. Intimate and unfamiliar the craft of her image is constant and mercurial. No mercy in that merriment. The body is forgiven; it is transformed and greater than original intent. Compounded in deep contrast the woman becomes a strangely biopic alien. Life form founded in a protuberant voluptuous narrative. The eloquence of trickery and thieves slumbers in the boundaries of possible connections and communication.

The space is of daring pursuit. The conflict of identity is pushed. Quality of things is important. Surfaces react. First layers seep in, seeking sounds in liminal volume. The process of Voulgaris’ making expands convalescence from perfection. Torn and irate, irrational and wonderful. What is desired is projected into the imagery. These creatures are of strength to those around it. The body expresses translations of reactions to things personal and declared. Complexity refined, refunded by impulse. In its simplicity the imagery begets its own clarity. Confounded reality.

Choose sight, outside of a group.

© Patricia Voulgaris

© Patricia Voulgaris

© Patricia Voulgaris

© Patricia Voulgaris

Lightning strikes of flash outfit these forms, laying wake to paling whites and precise blacks. They are a catastrophe, a cacophony, adorned and experimental—results variant in piquant hunger. Resounding newness and bric-a-brac components are somehow formulated in archaic language. Obfuscated, they are inescapably of the Earth. The camera is a cheated paradox of reality; that fact makes case in the hands of Voulgaris. It is wielded and those falsehoods become realities. Fidelity of the things humanness is questionable, but behind all faithfulness there is something deeper.

The self is not solid here. What can be seen is temporary. Overlapped, warren, plastique, quagmire. Emotive tissues, brute of metamorphosis, theories shrouded sympathetic. Spaces lacked near concentrated definition are of things and qualities deeper and downed, not face value. Polemic practice embroidered by imaginative poetic detritus. The common ground inside people is swelled by this imagery. Voulgaris is exonerated because she is no longer specific; that vessel is used to refine a uniqueness that is absurd in its universal fascination. Creatures are not defined by their specific likeness—only by their humility and ability for adaptation.

To see Efrem Zelony-Mindell’s words and Patricia Voulgaris’ work featured in print check out Rubber Factory Posters. For more of Patricia Voulgaris’ work click here.

© Patricia Voulgaris

© Patricia Voulgaris

© Patricia Voulgaris

© Patricia Voulgaris

© Patricia Voulgaris

© Patricia Voulgaris

Bill Jacobson: figure, ground

Bill Jacobson: figure, ground

Posted by on Apr 4, 2017 in Efrem Zelony-Mindell | No Comments

Stand in front of an infinite horizon. Space stretches out there; it seems forever. Thoughtful in its discreet uncertainty. A flat Earth almost makes sense here. The latitude provided is filled by looking and the reflections eyes can fill it with. Construction of will forms a journey of the things we each distinctly live with. Viewing the backs of folks gazing out into this blurring beyond is sort of away. Bill Jacobson’s figure, ground at Julie Saul Gallery is distinct and solid. The edges of figures are at odds with the nature, yet also somehow not. Traces of the body are out in landscape, lines on lines, forms flock straights but never straight. Feelings forming stillness in the background of the photographs. Jacobson makes a significant note when the plane behind the subject is referenced, “That’s the foreground to the viewer in the image.” These pictures are quite inside themselves, a spectacular universe of subtle slander to photography. Always headed one way, but never quite the result of expectation.

Watching interactions take light in certain sensitivity becomes hard to quantify. What are you looking at? Not really knowing is ok; working through takes a good amount of time. Knowing yourself is equally as difficult. So are conclusions. That introspective state motivates the qualities of Jacobson’s imagery. Color, black and white, a confusion of shapes and sizes. Genders are not nearly as significant as posture and pose. Light touches everything with the focus of mouth and mind. How does an individual figure out what’s real and what is pretend? Escape. Try too much, or not at all. Rhetoric quaint, repose physique, repurpose space, reinhabit nature. Try to make the pieces all fit—in a place totally forgotten. Get back—it feels like it’s coming from inside—hidden becomes unrecognized, open and explorative.

Does abstract exist?

© Bill Jacobson

© Bill Jacobson

© Bill Jacobson

© Bill Jacobson

Built up. Analysis and possibility, climb up high and fall down far. Pieces are real, parts are physical, space is filled in matter. What stretches in front of the people in figure, ground is not just trees and landscape. The space between them exists; there are no empty holes. It may be invisible but that place between is activated. Jacobson’s work has a different kind of void. Spend time and think, there is common knowledge and understanding. Think about everything. Trust in you. Is there something real? Is there something true? Don’t turn back. The face is indiscriminate, the languid quality of body is much more purposeful. And then the wind in field—picks up across that well. That wonderful blur, in space curled up in time. What could they possibly be thinking? About selves and sounds and minds or madness. All kinds of uncertain wonderful things.

Almost heard in noise something distinct but not quite thunder. The strength of the imagery is in outlines and semblance. Who’s to blame? Only Jacobson. Listen to vision, it’s nearly written down. People come around for fair or for folly. Neither is wrong. All is fair game. figure, ground is honed in these distinct explorations of collocate. The show is of viewers viewing viewers—visions vast, vexing, valued. That is a shameless act, not quite voyeuristic. All is layered, never absolute. Lacking in specificity, but allowing in adaptability. Do the people in the images become the people looking at the pictures? Or do they remain separate?

Bill Jacobson’s figure, ground is showing at Julie Saul Gallery through May 13th. To see more of Jacobson’s work click here.

© Bill Jacobson

© Bill Jacobson

© Bill Jacobson

© Bill Jacobson

© Bill Jacobson

© Bill Jacobson

 

Close Encounters: Reframing Family Photography

Close Encounters: Reframing Family Photography

Posted by on Mar 29, 2017 in Qiana Mestrich | No Comments

This is my last guest blog post and it’s been an honor to share my thoughts about contemporary photography with the Baxter St/CCNY audience. I wanted to end my guest blogging stint with a post about an upcoming continuing education course I will be teaching at the School at the International Center of Photography.

Titled Close Encounters: Reframing Family Photography, this course focuses on historical and contemporary representations of family. It is intended to expose students to the range of artists and photographers who have used their cameras to define their concept of family. Though weekly critiques, in this class students will also begin or continue to develop their own body of family work.

Below you’ll find more of the course description plus select images that played like a slideshow in my head when I was thinking about the photographers whose work I wanted to discuss in this course:

Capturing the immediate family as subject matter has almost always been considered a form of vernacular photography, and yet some photographers have made it a part of their life’s work—thus confirming or contesting official discourses of race, gender, and sexuality.

Moving beyond simple snapshots of domestic scenes and the heteronormative, “nuclear” family, this course reexamines the genre of family photography and investigates its cultural politics and new importance, as it is being redefined by historical events such as migration/immigration and queer visibility.

Throughout the term, we will look at and address the family work of a diverse selection of historical and contemporary photographers, including Julia Margaret Cameron, Elinor Carucci, Emmet Gowin, Catherine Opie, Carrie Mae Weems, and other artists, such as LaToya Ruby Frazier, Zanele Muholi, and many more.

Top Image: Renee Cox. Olympia’s Boyz, 2001.

Julia Margaret Cameron. Prayer and Praise, 1865.

Julia Margaret Cameron. Prayer and Praise, 1865.

Lyle Ashton Harris. The Child, 1994.

Lyle Ashton Harris. The Child, 1994.

Catherine Opie. Self portrait / Nursing, 2004.

Catherine Opie. Self portrait / Nursing, 2004.

Emmet Gowin. Edith and Elijah, Newtown (Pennsylvania), 1974.

Emmet Gowin. Edith and Elijah, Newtown (Pennsylvania), 1974.

LaToya Ruby Frazier. Grandma Ruby and Me. From the

LaToya Ruby Frazier. Grandma Ruby and Me. From the “Notion of Family” series, 2001 – 2014.

For more information or to register, visit the Close Encounters: Reframing Family Photography course page on the ICP School website. This is a 5-week, course that will run on Mondays from 6:30-9:30pm from May 22 through June 26, 2017. 

Also note, in June of this year I will also be teaching a one-weekend course titled Layered Narratives: Visualizing Stories Through Photocollage.


Qiana Mestrich is a photographer, writer, digital marketer and mother from Brooklyn, NY. She is the founder of Dodge & Burn: Decolonizing Photography History, a blog that seeks to establish a more inclusive history of photography, highlighting contributions to the medium by and about people of underrepresented cultures.

Read her other guest posts on the Baxter St blog:

Photography at the 2017 Whitney Houston Biennial
Conversation with Marco Scozzaro on Digital Deli
Five Visual Motifs in the Photographs of Ren Hang
Photography and the Black Panther Party
The Black Female Self in Landscape
In Memoriam: John Berger and Uses of Photography Quotes
Forthcoming Photobooks by African American and Black African Photographers
New Image Library Specializes in Race and Cultural Diversity