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James Morgan Dives Deep to Capture The Bajau Laut

The Bajau Laut of “the Coral Triangle” are one of the last nomadic seafaring communities left on the planet, and they are increasingly unable to sustain their way of life. They live on the surface of the most biodiverse marine ecosystem in the world. The 1.6 billion acres of ocean that makes the habitat for countless fish, turtles, and other marine life is being pillaged. Photojournalist James Morgan has tasked himself with documenting these people, and the implosion of their living culture. The Bajau Laut are pulling themselves into pieces to maintain this way on life. In some cases, quite literally. Ibu Hanisa, a Bajau Laut, lost all the fingers on her right hand, her entire left hand, and sight in one eye from a homemade fertilizer bomb. As the environment becomes less stable, it can support fewer fish. The Bajau Laut must fish more aggressively, using bombs and cyanide

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Tevor Hart’s nakedly honest series, ‘Bare’

The female form has captivated artists for millennia. Man picks up a pen and turns his attention to the object of his affection. The challenge the human form poses is to communicate a person, with their history and hopes, into an image. Using nothing but the shape and lines of their body, the imperfections and inconsistencies, the natural movements of life present who they are in totality. Trevor Hart took on the challenge when he started working on his personal project, “Bare.” Starting with a few life models he met through colleagues, the work he created inspired others to get involved. Soon enough friends, family members, and strangers were asking to be the subjects of his expanding project. Over the years it has blossomed into a scope so large it will soon fill a book and its own exhibition in October. Our naked bodies give private exposure to those looking,

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Julia Fullerton-Batten: First Woman to Shoot Campari’s Calendar

The classic Campari cocktail, the Negroni, is shaken not stirred. Appropriate for Bond girl, Eva Green, who will be sipping the iconic cocktail in Capari’s upcoming 2015 Calendar. Campari has been producing calendars for 15 years now, featuring actresses like Selma Hyeck and Uma Thurman, but this is the first time in their history that they’ve used a female photographer. So many of the calendars from past years have celebrated the female form, so it’s only natural Campari would tap Julia Fullerton-Batten to take the reigns. This year’s calendar is called “Mythology Mixology,” visually blending the history of some of Campari’s most famous cocktails with the stories behind the drinks. Julia Fullerton-Batten talks about the creative test the theme offered, saying, “This year’s theme was an interesting challenge, as there was an important job to do in terms of taking historical anecdotes and invigorating them with a modern edge.” But

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Gregg Segal Finds 7 days of Trash Can Be a Treasure

Our possessions speak volumes about who we are and how we want to be perceived. The things we acquire all combine into the statement of “This is who I am.” And everything we throw out reflects a rejection of that which has attached itself to us. The action of refuse distills into, “This is not who I am.” Every article of trash that we collect and abandon is inexorably connected to us, as it reflects an experience and a series of choices that have helped define who we are and what we want. Gregg Segal is working to highlight these connections in his ongoing series “7 Days of Garbage.” In the series Gregg has participants retain the trash they create for a week and photographs them surrounded by their refuse. The images are a stark reminder of our leavings. They remind us that what we leave behind doesn’t vanish, it

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Chris Jelley Finds the Order in Kitchen Chaos

Traditionally the word “brigade” describes a group of thousands of military infantrymen engaged in the theater of war. It represents a powerful force, used as a major piece in tactical decisions in heart of conflict. Each and every member of this brigade will take and follow their orders faithfully, responding simply with a, “Yes, sir.” The focus and militant precision involved in a professional kitchen has necessitated the adoption of the word “brigade” to describe the sous-chefs and cooks supporting the service. Each member of the team shows fealty to their captain with the words, “Yes, chef.” Photographer Chris Jelley adopted that phrase, shouted from grills and mumbled into cutting boards throughout the world, for the name of his book, ‘Yes Chef London‘. Over six visits to Granger & Co. in Notting Hill, London, Chris witnessed and then photographed meal service in their seemingly hectic kitchen. Initially what he saw

Mark Dorf’s latest landscape series, ‘Emergence’

Mark Dorf’s time at the Rocky Mountain Biological Laboratory in Colorado was spent examining environments and landscapes in a way that was entirely new to him. When he wasn’t shooting the landscapes and natural environments surrounding RMBL, he worked with scientists, exploring the relationship between science and art. “Each day I would spend time in the landscape,” Dorf explains his daily work. “Sometimes on my own, but most times with the resident scientists observing and helping with their field work.” What he found is that both scientists and artists use their work to understand the worlds they live in a little better. On their own, both groups forge out and research and experiment to get closer to smaller truths that combine to a larger picture to achieve a richer comprehension with complete context. His work at RMBL, “really caused me to look at and examine the landscape with a different

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Hiroshi Watanabe’s, ‘The Day the Dam Collapses’

Life is a series of mundane, pedestrian moments, tent poled by five or six days of note. A life is measured in missed trains, squeezing another bit of toothpaste from the tube, rushing across the street in front of a stopped car. Most of life will be forgotten, but Hiroshi Watanabe doesn’t want you to forget. In his latest show, “The Day the Dam Collapses,” he harnesses the heartbreaking inevitability that permeates disaster movies. The quiet moments that the audience relishes in, aware of the impending doom, while the characters scarcely notice. They don’t know they’re about to lose everything. In a way, Watanabe is warning us. Asking us to stop, to look, to love. Because, for all of us, a Dam is going to Collapse and wash us away. Our lives will end, we are all in our own disaster movie. But like those characters, we’ll never know until

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Andrew McGibbon’s ‘Slitherstition’

As photographer Andrew McGibbon reminds us, human beings have always had a fascination with snakes. From the first book of the Bible, through contemporary SyFy films, a mixture of wonder and revulsion has created a magic pull we can’t look away from. They’ve always represented an attractive evil, an unpredictable woefully trustable figure. A curiosity that betrays. In his series, “Slitherstition,” Andrew presents to us that which we would recoil from, delivering to us our fear on a jeweled platter. Placing a huge variety of snakes on brightly covered backgrounds he’s highlighted the tension between wonder and disgust. What we see are plump, cold bodies like overstuffed leather cushions, shiny and twinkling like wet candies. Sharp forked tongues and pebbled backs, relax into asymmetrical constellations; living ropes of wrath. Andrew used a mixture of venomous and constricting snakes, all of them predators gilded and glossed in a pageant parade of

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Vincent Fournier “Space Project”

Vincent Fournier’s exploration of the state of human exploration feels like a behind-the-scenes look at deleted hours from “2001: A Space Odyssey.” Like history’s version of the future, the images are constructed in such ways that imply movement, work, and a sense of self-alienation. A performance of understanding. A presentation for explanation. For years, Fournier has traveled the world documenting the locations and equipment that different space programs have used to explore and understand the universe. From space suits in French Guiana, to toy rockets in Kazakhstan, and Observatories in France, to space shuttles at the Kennedy Space Center, Fournier’s “Space Project” offers a comprehensive look at how humans directly interact with space. But Fournier adds his own visual commentary adding bits of humor and shades of surreality. The photographs are not staged in the traditional sense that they’re complete fabrications, but they are compositions inside authentic environments. Fournier structures

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Mikael Kennedy “Portrait / Process” exhibit

Mikael Kennedy’s series of Polaroid snapshots, “passport to trespass,” are like visions of a world through imperfect glass. The processing happening between the plastic and paper in the Polaroid film acts as a fog, throwing an ethereal patina across all the images. Shot almost exclusively in the northeast United States, the photographs document Mikael’s organic and trundling spread of experience over 5 years, from 2006 to 2011. All photographs capture ephemeral moments that can never be reconstructed, but “passport to trespass” takes it to another level. The combination of intimate flashes and inherent otherworldliness make for stolen moments of which we get a shadowed glimpse knowing it has long since passed. Like seeing life through a mist, it’s almost as if the photographs capture the memory of the moment that has passed, and we peer into that memory. “passport to trespass” is part of a group show at the International

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Miles Ladin Sun Stroke Exhibit

Usually true faces are exposed in the dark. When the lights go down and the music turns up, we let loose and indulge basest impulses. The hidden becomes permissible and nothing is on the record. But there’s something transformative about the light of the sun. Whether it’s a Spring Break in Fort Lauderdale, a romp in Tijuana, or poolside in Los Angeles, the bright exposes hidden layers that otherwise have no release. Miles Ladin’s most recent exhibition, Sun Stroke, explores the strange behavior behind the solar phenomenon. Miles’ photos show that this behavior is cross-cultural. From the Ascension Party on Fire Island, to the SummerTramp Party in downtown LA, everyone catches the fever of the sun and it ekes out a wildness that only the heat can contain. Miles is best known for his work with celebrities, documenting them in public environments showing impossible private moments. His images are captured

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Janelle Lynch Book Signing and Exhibit: Presence

When Henry David Thoreau absconded into the forest surrounding Walden Pond, he left to find himself, not expecting the world he ushered himself into. Over his two years living simply, he came to understand the woods around him on an unprecedented level, seeing beyond what even biologists of the time saw. He saw hidden patterns, subtle lives, and tasted the beginnings of Fall in the heart of Summer. He understood the nature that surrounded him in a way that was familial, not just environmental. When Janelle Lynch began her yearlong residency at Burchfield Penney Art Center in 2013, she established a relationship with the Catskills that transcended a trip into the woods. It became the documentation of an alien world. Janelle’s exhibition, “Presence,” depicts her discoveries from her voyages into the heart of New York. What sits inside the borders of her images are earth, flora, stone, and water, but