Friday, July 23, 2010
Wednesday, July 21, 2010
Monday, July 19, 2010
Friday, July 16, 2010
187. Paula Tognarelli, Griffin Museum of Photography
167. Tina Shelhorn, Galerie Lichtblick
180. George Slade, Photographic Resource Center at Boston University
49. Jon Feinstein, Humble Arts Foundation
Thursday, July 15, 2010
61- Christopher Gianunzio, Philadelphia Photo Arts Center:
The biggest problem with Philadelphia these days is that's the Philadelphia Photo Arts Center is so far from Portland. After opening last year, PPAC, under the direction of Sarah Stolfa and Christopher Gianunzio (two great photographers in their own right), has impressed us with hosting talks from Mitch Epstein, Chad States, Doug Dubois, and Tim Davis, as well as hosting a Photo Book Art Fair with a wide variety of great publishers. Oh, and did we mention that they've got a great digital lab and a handsome gallery space...
A NYC / LA gallery with past shows of emerging contemporary work that have included Philip Toledano, Eric Ogden, and Scott Davis and a current group show, The Naked Truth, curated by Ruben Natal San Miguel, blogger/collector/CMjuror and all around super photo enthusiast.
Daniel's the namesake of a great NYC gallery that specializes in the emerging photo scene, both on the walls in the gallery and through his series of auctions of emerging photography. Among the highlights of his past year's shows was Timothy Briner's "Boonville," a project that was described by the New Yorker's Vince Aletti as "an exhibition that begs to be expanded into a book."
Since 1976 The Photo Review has been publishing portfolios, reviews, interviews and critical analysis from the likes of Stephen, Peter Hay Halpert, Barbara L. Michaels, and A.D. Coleman. The Photo Review also puts out The Photograph Collector, a monthly newsletter with tips for collectors, curators, and dealers.
Wednesday, July 14, 2010
Tuesday, July 13, 2010
They've decided to enter instead. That seems like a pretty good endorsement, right?
ONLY 12 MORE DAYS LEFT TO REGISTER FOR CRITICAL MASS 2010.
Monday, July 12, 2010
It's so exciting to see this work finally break out into the world in a big way, especially because it's so good and I've noticed it coming together and finding an audience over time. Count me among those who have seen and appreciated this work in bits and pieces in a variety of places over the past few years (including CM2008, a year that included Darius Himes and Karen Irvine, the curator at MoCP, as jurors) and I'm excited to finally get to see the whole shebang. Or in this case, would that be a flock rather than a shebang? A huge congrats, Paula.
Sunday, July 11, 2010
"As a photographer and photography editor, I look at a lot of pictures. When I use the phrase "a lot," I mean thousands upon thousands, every month. This process has made me weary of traditional portraiture..."
- Taj Forer
Our very own Laura Moya has a great interview with Taj Forer and Lisa Law over at Finite Foto.
p.s. note the list on the left. I'm guessing Monday's update will put us up over the magic number.
Thursday, July 8, 2010
Wednesday, July 7, 2010
Tuesday, July 6, 2010
• Is there a time limit on work submitted? That is, does the work have to have been made within the past year or something?
- Our opinion is that good work is good work and CM is a program designed to put good work in front of good people who actually buy, publish, and exhibit, good work. If you started a project twenty years ago and just finished it up yesterday, you're welcome to submit.
• Can I enter if I'm a student?
- Yes. That good work philosophy applies here as well. In fact, I'd say that if you're a student who's making good work and looking for a way to get people outside your weekly crit to take notice, CM is definitely among the best ways to accomplish this.
• sRGB seems to work for photos with neutral colors, but there is a major shift with any color intensity. Many of the images I intend to send are color-intense. Why srgb?
- Given that our jury of 200+ photo professionals are all over the world, looking at your work on a wide variety of computers, under a wide variety of viewing conditions, the best we can do is keep the playing field consistent for all. Like it or not, sRGB is the industry standard color space for the web. UPDIG is a great resource for more info on the confusion inherent in this brave new digital world.
• Your information concerning pricing does not say whether Critical Mass/Photolucida charges a commission on sales. Do you?
- Absolutely not. Photolucida is, in a sense, a non-profit matchmaking service, not a broker. Our funding comes in from donations and grants, as well as the entry fees from our participants.
• Non-profit? Come on... emerging photographers don't have that kind of money. If you really want to help emerging artists, you should make it cheaper. Those artists have no money for games like these.
- Your cynicism is understood in this day and age, but Critical Mass is a totally unique program, unlike anything else out there. In a sense, it's more of a sourcebook or reference tool for emerging contemporary photography than a competition. Any artist serious about their work can easily recognize the value of having your work seen through CM. Just look at that list of jurors to the left and also peruse the Top 50 from past years and tell me that this program is a game.
As for the cost, yeah sure, I hear you. But in the end, we're a small non-profit and it takes money to build software, publish books and send them out to everyone who participates. We keep the costs as low as we can. As a photographer who entered CM twice before I joined the Board of Directors for photolucida, I always considered it a simple business expense. If I could enter now, I would.
Let's take a little stroll down memory lane. A little CM history from Christopher Rauschenberg, one of the founders of both photolucida and Blue Sky Gallery, and perhaps most importantly, a photographer himself:
When we were inventing Critical Mass, we started with one core principle - everyone who enters must get their money's worth - and with the concern that the total cost of going to a portfolio review was just too expensive for many photographers. We were looking for an affordable way to get the work of photographers into the eyeballs and brains of curators and publishers, and we realized that we could accomplish that by using the power of the digital revolution. Our original deal was "fifty reviewers for fifty bucks" and it was designed to provide reviewers with everything they might need to fall in love with someone's work and to start making something happen for that work. Based on our experience, we asked for ten images from each artist, plus a statement, print sizes and prices, and contact information. We gave this to the reviewers on CD but also in ink and paper, with the thumbnail pages. That first year 600 photographers entered Critical Mass and three of us built a 6600 page document in Quark Xpress, then pdf-ed it and added 24,000 navigational links. We also made a traveling show of work by ten of the highest rated photographers. Things have changed a little since then- we don't paste it up by hand anymore (having hired a web design firm to run an automated process through the website) and we've added the book program and increased the number of curators and publishers to 200, but it's still our vision to try and bring into Critical Mass every curator and publisher to whom it is worth a dollar to show your work, so that you can take care of getting your photographs into the eyeballs and brains of all those curators and publishers in one fell swoop.
Monday, July 5, 2010
Avalanche - Click here for the funniest movie of the week
Have you been watching that sweet juror list over there on the left? It's still growing.
And of course, for those skeptics among you (I've always been one too), the list that's especially interesting is that of the pre-screening committee. Well, note that when we invite jurors, we make it clear that they're all invited to be among the pre-screeners, but it takes a special breed of photo enthusiast to really want to dig in and look at every single entry in a condensed period of time. Well, these strong men and women really really want to see great work and know that sometimes great work falls outside the common ground of democratic consensus. In addition to our Executive Director and our Board of Directors, this year's Truly Beloved and Esteemed Pre-Screening Committee (as of 7/5) consists of these true heroes:
Crista Dix, Director, wall space Gallery
Jon Feinstein, Humble Arts
Melanie Flood, Melanie Flood Projects/Portland Art Museum Photo Council
Kate Menconeri, Independent Curator
Claire Annette Mussard, Curator/Consultant
Ruben Natal-San Miguel, Collector
Tina Schelhorn, Galerie Lichtblick
P. Elaine Sharpe, Independent Curator
George Slade, Curator/Program Manager,Photographic Resource Center at Boston University
Susan Spiritus, Susan Spiritus Gallery
Laura Valenti, Program Director, Newspace Center for Photography
If you've been around this business for a little while, I'm sure you recognize these names, thus what a coup it is to have these folks stepping up to pre-screen. Looks like it's shaping up to be the best year yet.