In her body of work titled The World is 9, Aïda Muluneh creates wonderful portraits inspired traditional African body art. In this series, she explores “whether we can live in this world with full contentment.”
Go visit Aïda’s website and view more of her wonderful work.
These images are photographs! Not paintings from one of the Hudson River School of painters! And I really love the painterly style in Karen Klinedinst’s body of work, The Emotional Landscape.
It’s worth checking out the rest of Karen’s work on her website.
Al Brydon’s work has some really great mood and atmosphere.
When I first saw his work, it was like a light lit up in my head. Viewing his work has given me new permissions in my own work that I’d never really had, or known existed before.
View more of Al’s work on his website.
Love at fist sight is how I would describe my feeling when I first came across Teresa Meier’s work.
I love the stories her work tells!
Waiting recently won the Juror’s award in the Fictional Narrative exhibition at the Photo Place gallery in Vermont opening up December 6, and will be up until January 5. Waiting and Hubris and Hamartia also can both be seen at the Portland Art Museum Rental Sales Gallery.
If you can’t see her work in person at either gallery, grab your favorite beverage and go check out her website!
I’ve been a long-time admirer of the husband and wife duo Robert and Shana ParkeHarrison.
They’re work is conceptual, and centers around the “Every Man,” who interacts with the landscape and works tirelessly to repair the damage done by man’s insatiable desire for expansion and advancement.
I came across Diana Bloomfield on Instagram earlier this year, and have been quite fond of her work ever since.
For Diana, photographs and memories are inseparable. She often works with gum bichromate, as the process and it’s resulting softness add to the feeling of the photograph’s relationship to memory.
During this year, Diana has been working on creating a piece of art every day, and as part of that project, she has been photographing flowers from her garden, and I love these botanical portraits.
I really like his style. It’s not really what I think of when I hear “street photography,” and I think that’s why I like his work so much.
Oli somehow manages to capture just one person (or a few) in some of the largest cities in America, and that makes the city seem even more vast, like that person is being swallowed up by the brick, concrete, and pavement.
Dornith Doherty was given access to several seed banks across the world and, using the on-site x-ray equipment gathers images and then arranges them into collages. She also was able to photograph the facilities where these seeds are preserved.
View more of her Archiving Eden work and so much more over at her website.
Mary Sloane has some interesting work of dilapidated billboards along highways in the American Southwest.
There's something I really love about Mary's aesthetic and the bland, bleak landscapes in which these billboards reside.
Check out more of Mary's work at marycsloane.com
I would be remiss if I didn't include a post about the late Jerry Burchfield here on 52 Photographers. I can only think of two or three other people who have had such a strong and lasting influence on me as an artist.
I first discovered Burchfield in 2005. I was researching presenters for the National Conference of the Society for Photographic Education held in Portland, Oregon. I was in the middle of completing my BFA project, which dealt with public parks. One of the lectures given was about the transformation of the El Toro Marine Corps Air Station, which closed in 1999, into a park and residential use. Burchfield, Mark Chamberlain and four other photographers embarked on the Legacy Project (you can see the project's website here), photographing and documenting the transformation of the land from air field to public park. My research led me Burchfield's lumen prints, a term he coined. Before then, I (along with the vast majority of the photographic community) was oblivious to the existence of such a thing as a lumen print. At least, as known by that name. The lumen print, which is really a variation of the photogram, has it's roots in the photogenic drawings William Henry Fox Talbot did in the mid-1830's. Anna Atkins followed in Talbot's footsteps, publishing her book Photographs of British Algae: Cyanotype Impressions, which is considered to be the first book illustrated by photographs. Then the photogram process (though still not known by that term) became popular in Europe in a post-World War 1 art movement. First Christian Schad, a German, experimented with the process, humbly (note the sarcasm) naming his works Schadographs, then Man Ray made similar images, and named his works Rayographs. Then the Hungarian Laszlo Moholy-Nagy produced his own work, and named the process the Photogram, which is still in use today.
For over 7 years, Burchfield traveled to the Amazon to make his lumen prints on-site, on the deck of a boat. His aim was to "create images that are free of inherent bias and commentary while still expressing ecological concerns by drawing attention to the beauty of the place."
I was stunned at the beauty of Burchfield's images, and even further stunned when I learned how simple the lumen process is, and that the different colors came from black and white photographic materials!
I learned only a few years ago that Burchfield passed away in 2009 from colon cancer, but his legacy still lives on, and his influence on my work is still greatly felt today.
Richard Long has been a strong influence on me as a photographer for about ten years now. His work appeals to me on several levels, among them, the hiker inside me. My favorite pieces of his are any of the lines made by walking. In making these sculptures by walking, he is "echoing the whole history of mankind." Rebecca Solnit devotes some of her book Wanderlust: A History of Walking, a book I highly recommend, to Richard Long's art.
His work is as much performance art as it is anything else. Similarly to Andy Goldsworthy, his work lives in the ephemeral, and were it not for a photographic record, or in other instances, text works, there would be no evidence of Long ever having made his sculpture.
Visit Richard's website to view more work.
"Time is the shape of an old oak as the winds caress and sculpt the bark, defining the hardship and beauty. Time is the trunk that splits apart in great age to accommodate the tempest. Evidence of time is revealed in the furrowed bark of an ancient tree, gnarled, crooked, and beautiful," says Beth Moon in her artist statement for her body of work titled Portraits of Time. Trees are a great subject to use to define time, and Beth's photographs in Portraits of Time are sublime. From ancient Baobab trees that can live to be over 2000 years old (The Panke Baobab in Zimbabwe died in 2011 and was around 2500 years old), to giant oak trees, to towering cedars, these photographs show the majesty and awe of some of the organisms that grow on this planet.
Her body of work, Island of the Dragon's Blood does much the same thing, focusing on the dragon's blood trees (a name given by the scarlet colored resin that flows through them) and other flora of Socotra, an island in the Arabian Sea.
Beth has some really great work, which you can see on her website.
Miguel Arzabe has some really wonderful work made by weaving posters and flyers from various art shows that he attends. It is "informed by the textile tradition of [his] Andean heritage and other indigenous american cultures. Each piece is an archive of cultural output from a specific time and place."
You can see more of Miguel's work on his website.
I just love the digital composites of Maggie Taylor. They’re all so playful and whimsical! Especially her two bodies of work that illustrate Lewis Carroll's Alice's Adventures in Wonderland, and Through the Looking Glass.
Here’s a video that provides some great context and behind the scenes looks at her process.
To see more of Maggie’s work, visit her website.
I've long been an admirer of and influenced by the work of collaborative duo James Hajicek and Carol Panaro-Smith. I discovered their photogenic drawing work around 2004-2005 when I was really getting into making Lumen prints.
Their work hearkens back to, and indeed is directly born from William Henry Fox Talbot, the originator of photogenic drawings, the experiments for which began in 1834. He discovered that paper coated with a salt solution, then brushed with silver nitrate turned black when exposed to light, and a final coat of salt halted that darkening. He then made what is essentially a photogram, placing botanical specimens on the sensitized paper, and exposing it to sunlight. Thus, the "photogenic drawing," and one of the first successful photographic processes was born.
Today, James and Carol use variations of Talbot’s early formulas, and create beautiful pieces that are layered, possess depth, and have fantastic textures. I remember being stunned at the colors and textures the first time I saw their work, and those same feelings return each time I look at their work.
Their compositions are so simple and organic, as if they clamped the plants between the glass and paper right where the plants grew out of the dirt.
A paragraph, and specifically the last half of it, of their artist statement for their latest body of work, Arc of Departure, resonates in me, and describes the experience of making this sort of work so much better than I’ve been able to in the past:
“The work evolved in stages from its initial intellectual underpinnings through a focus on the physicality of the remaining organic artifact to the spirituality of experiencing “the awe” of being in the immediate presence of this sacred transformative act - magic in its very essence, ruled by serendipity, elusive mysteries, fugitive images, and the ruling master of all – the ultimate impermanence of everything.”
I've been a fan of Brooks Salzwedel ever since I hear his interview on the Art for Your Ear podcast. He uses graphite, resin, and colored pencils to create scenes of a desolate world.
To me, his work has a vaguely photographic quality. I think I saw his work before I heard the interview and learned about his process, and I first thought they were manipulated or collaged photographs, coated with encaustic wax. But I was wrong, and I think I love his work more for that.
His work has so much depth!