Thursday, April 15, 2010

New Topographics

Robert Adams. "From Lookout Mountain, at Buffalo Bill's Grave. Jefferson County, Colorado" 1970. Gelatin silver print, 11 x 14 inches.

" many of the photographic canvases of Robert Adams and Lewis Baltz square, instead emphasizes the domestic containment of the land. Further, landscape's traditional midline placement of the horizon for compositional balance between earth and sky is often repositioned by New Topographics photographers above or below midline, or is even absent, rendering the landscape cold and cluttered, unbalanced, or constrained rather than pristine and endless."

-Kelly Dennis

"while New Topographics photographers appear to be of western landscapes, trees, deserts, houses, roads, and construction, they are nonetheless about the aesthetic discourse of landscape photography, about "a man-made wilderness" (Ratliff, 1976, p. 86): that is, they are about the American myths of the west, suburban expansion, the American Dream, and the exploitation and destruction of natural resources."

-Kelly Dennis

Dennis, Kelly. "Landscape and the West: Irony and Critique in New Topographic Photography." UNESCO Univsersity and Heritage 10th International Seminar (2005). Web. 7 Apr. 2010. .

Wednesday, April 14, 2010

Edgar Martins

Series: The Diminishing Present
98 x 127 cm

Series: The Diminishing Present
98 x 127 cm

Series: The Diminishing Present
98 x 127 cm

Series: The Diminishing Present
98 x 127 cm

Edgar Martins "Topologies" is a very interesting body of work where he seems to explore the globe in seek of terrestrial descriptions that related to one another. I chose to focus on him because of the epic landscapes that he photographs, pristine, crisp, and clean. His work is very formal and very minimal (in a landscape sorta way) something that i admire in the work. I feel that this relates to my work very well, since I focus on the land and its markers and subtle (or obvious) descriptions and want to represented it similarly. Much of his work is small apertures and long exposures, a method that i have been using all along. He is from Portugal.


artists share a common interest in the exploration and observation of our culture's various contemporary topologies, including our expanding urban landscape, the rapidly growing and vast global Internet, the interface of pop culture and fine art, the mapping of land, and our relationship to space. They blend printmaking, drawing (by hand or on the computer), photography, and digital collage, in which images are found and electronically cut and pasted. This dialog between processes has been a vital part of art history and continues to be.

-Cara Forrler (Davidson Galleries Director)

Topologies" is Portuguese photographer Edgar Martins' first book with significant distribution taking selections from each of his major series of large-format photographs. The images, which abstain from any digital manipulation, were taken in Portugal and Iceland and focus on what may be the world's least photographic scenes: barren landscapes with no conventional subjects. Instead, he opts for cold, isolated locations. But despite the lack of people or things (the cover image is the single appearance of a human), there's an acutely unsettling notion underlying the shots that is both arresting and intrinsically beautiful.

-Doug Black



Sunday, April 11, 2010

Guy Batey

untitled, from the Melancholy of Objects series. 2008-2009. dimensions not specified.

untitled, from the Melancholy of Objects series. 2008-2009. dimensions not specified.

untitled, from the Melancholy of Objects series. 2008-2009. dimensions not specified.

Piano, from the Melancholy of Objects series. 2008-2009. dimensions not specified.

I chose to blog about Guy Batey becuase of how he creates portraits of found objects in the land/cityscape. The composition of the photographs are very inspiring to me, since much of my work revolves around the found object, that being a bike jump/ramp, trail markers, and other scars and manipulations in the land. I have felt that many of my photographs seem to do that, centralized the object and let the landscape fall into the periphery, to create a balance within the frame and a very centralized aesthetic.

I also like the sculptural and architectural space that is apparent in the work. These seem to be documents of abandonment, but also in a sense found sculptures. They're photographed in a centralized theme that puts the focus straight on the center object and creates spatial tensions within him images. The found nature and unaltered (from the photographers point of view) object creates a visual poetry of our space and remnants of human behavior.


"This is the world of the found object, and Guy's Flickr set begins with things----often trivial, humble objects--- and the way we apprehend them. This set of pictures of objects is more a phenomenological approach to things, than one that works within art history---eg., the object as an arsenal in the surrealist avant garde expressing the return of the repressed. The uncanny is present but it avoids collapsing things into fetishism or the return of the repressed desire as understood by psychoanalysis.

These found objects are humble, common objects that have been accidentally found and not deliberately planted."

The Melancholy of Objects is a series of portraits of
objects I've found in Southwark, south-east London. This
is my neighbourhood. I've lived here for years and walk
these streets almost every day. The streets are full of the
stuff of life - discarded, lost and forgotten. Some of the
objects talk to me. These photographs are my reply.

-Guy Batey

No gallery representation

Monday, April 5, 2010


East Coast:

Sasha Wolf (NYC)

I chose this gallery because of its emphasis on post-documentary photography, figuring that it could fit well with my work. The work represented in the gallery is diverse and it seems that they have a focus on emerging artists out of graduate school. My photography could work into that gallery since my work explores the ideas of the landscape devoid of action and people re-contextualizing the space.

Pablo Lopez

statement + bio

Guido Castagnoli


Guido Castagnoli was born in Turin, Italy in 1976. After receiving a degree in Advertising Graphics and Communication he began his professional career as an art director of a prominent advertising agency in Milan. His interest in photography began when he shot his first images using an old family-owned Leica. During the following years he left his position at the advertising firm to devote himself entirely to photography. His works have been exhibited in public and private institutions in U.S.A., Italy, Germany, England and Japan. Since 2001 he work as freelance photographer in advertising and editorial assignments.


Provincial Japan.
Guido Castagnoli's photographic investigation of the urban landscape of small Japanese towns takes us far from the stereotypes associated with contemporary Japan. There is no frenzied megalopolis, no rapidly expanding techno-city. Nor are there signs of the kind of extreme minimalism often associated with Japanese culture. Instead we encounter an atmosphere of quiet and refined suspension amid the somewhat surrealistic landscape of the Shizuoka district.

Although the settings depicted in the photographs will likely be unfamiliar to American audiences, the subjects, the focus on space and structures, and the conspicuous absence of people are reminiscent of the work of photographers like Stephen Shore, Robert Adams and others from the New Topographic movement. Provincial Japan is a series about the Japanese vernacular landscape. It is all the more noteworthy in the context of an American audience as it references America's own kitsch and vernacular culture in ways that resonate.

Amado Gallery

I chose Amador Gallery becuase its aesthetics with its artists, they share a complex range of documentary and landscape and its very democratic work. Although i feel that this gallery is stretch and isn't big on emerging artists, but it seems very well represented and it seems that it could offer a lot of money.

Mark Power


As a child Mark Power discovered his father's home-made enlarger in the family attic, a contraption consisting of an upturned flowerpot, a domestic light bulb and a simple camera lens. His interest in photography probably began at this moment, although he later chose illustration - specialising in life drawing and painting - instead. He (accidentally) 'became a photographer' in 1983, and worked in the editorial and charity markets for nearly ten years, before he began teaching in 1992. This coincided with a shift towards long-term, self initiated projects which now sit comfortably alongside a number of large-scale commissions in the industrial sector.

To date Power has published four monographs: The Shipping Forecast, a poetic response to the esoteric language of daily maritime weather reports in 1996; Superstructure, a documentation of the construction of London's Millennium Dome in 2000; The Treasury Project, about the restoration of a nineteenth-century historical monument, in 2002: and 26 Different Endings (2007) which looks at those landscapes unlucky enough to fall just off the edge of the London A-Z (a map which could be said to define the boundaries of the British capital). Meanwhile, The Sound of Two Songs - Poland 2004-2008, and A-380, about the development of the worlds' largest passenger airplane, are both due to be published in 2008.

In 2007 he tried his hand at curating. Theatres of War featured the work of five artists whose work is concerned with contemporary conflict and surveillance. It opened at the Oskar Schindler factory in Krakow, Poland in May.

Mark Power joined Magnum Photos as a Nominee in 2002, became an Associate in 2005, and a full Member in 2007. Meanwhile, in his other life, he is Professor of photography at the University of Brighton, a city on England's south coast where he lives with his partner Jo and their children Chilli (b.1998) and Milligan (b.2002).

Boris Becker


The artist Boris Becker is among the most important representatives of the German photographic scene. As a second-generation student of Bernd and Hilla Becher, he sets off with his camera in pursuit of motifs that are more structural in nature in terms of form and concentrates more on colour accents rather than reacting to the usual art historically motivated sign stimuli of urban or nature views, for example.
Since the mid-nineteen eighties, he has developed a wide spectrum of thematic complexes. His series of bunker photographs in which he produced an almost encyclopaedic compendium of German bunkers from the Second World War encompasses 700 images, forms the most comprehensive group. This was followed by photographs of apartment blocks and other architectonic constructions.
Alongside these works, Becker has also regularly taken photographs of landscapes. Becker’s most recent works include the group of photos entitled ‘Artefacts’ containing images of individual or accumulated objects as well as ‘Fakes’ with photographs of objects that were ‘faked’ to smuggle drugs, for example.

West Coast:

G. Gibson Gallery

I like that this gallery has a focus on the contemporary landscape and seems to offer emerging artists representation. I also like that it's not just photography too. There's a good representation of mixed media, painting, and sculpture. It's in Seattle as well, and that just seems cool and a city that takes its art seriously.

Laura McPhee

Laura McPhee’s stunning large-scale color photographs juxtapose idealized images of the land against the disarming reality of life in the twenty-first century. Boston-based photographer McPhee spent more than two years in a remote area of central Idaho capturing images that address Americans’ conflicting ideas about landscape and land use and our values and beliefs about our relationship to the natural world. For McPhee, this valley in Idaho is a microcosm of America and the dilemmas that communities and people nationwide face when dealing with land issues.

Generous support for this exhibition was provided by The Alturas Foundation, a family foundation representing four generations in the American West dedicated to visual arts and American culture. The Alturas Foundation is proud to have sponsored Laura McPhee as its initial artist-in-residence.

Eirik Johnson

Eirik Johnson is a photographer currently based in Boston, MA. His work has been exhibited at spaces including the Museum of Contemporary Photography in Chicago, the George Eastman House in Rochester, and the Aperture Foundation in New York. He has received several awards including the Santa Fe Prize in 2005 and a William J. Fulbright Grant to Peru in 1999-2000. His work is in the permanent collections of institutions including the Museum of Contemporary Photography, the National Fulbright Foundation, and the Joseph and Elaine Monsen Collection. His first monograph, BORDERLANDS, was published by Twin Palms Publishers in 2005. Eirik Johnson is represented by Yossi Milo Gallery in New York, Rena Bransten Gallery in San Francisco and G. Gibson Gallery in Seattle, WA. Johnson is an assistant professor of photography at Massachusetts College of Art.

Robert Koch Gallery
(San Fransisco)

The Robert Koch Gallery has a huge collection of many big names in photography and represents quiet a few bigger named artists of today including Brian Ulrich ,Edward Burtynsky, Joel Meyerowitz, and Jeff Brouws. I'm aiming high with this gallery since it represents many big photographers, but once my work develops more and becomes more polished, I feel that my work could be very versatile within the gallery system.

Joshua Lutz

Joshua Lutz's large-format photographs of urban sprawl and suburban portraiture capture intimate details of places and their inhabitants in a soft, moody palette. The subtle tension in Lutz's photographs between natural and man-made structures expands upon themes of Stephen Shore and the New Topographics. From an image of an airplane take-off framed by trees and a cell phone tower in his Meadowlands series to rows of wind turbines amid factories on a grassy plain in his new Am✡Dam series, Lutz's photographs offer new views of the post-suburban landscape, capturing on film the spirit of simultaneous progress and decay.

Mike Smith

Born 1951, Heidelberg, Germany.
U.S. Army. Vietnam 1970-71. Germany 1972. Rank E-5. Honorable discharge.
BFA, Massachusetts College of Art, Boston, MA, 1977.
MFA in Photography, Yale University, School of Art, New Haven, CT, 1981.
Professor of Photography, Department of Art and Design, East Tennessee State University, Johnson City, TN, 1981-present.


Bau-Xi Gallery of Contemporary Fine Art (Toronto)

I like that I chose an international gallery that isn't too far away. I've always had an affinity to our neighbor to the North. I've heard of many great photographers coming from Canada that seem to focus on similar issues of land use that I do. I also know that the Canadian Art Scene is doing fairly well, the Ontario School of Art and Design has a great reputation and Toronto just seems like a great place. It has a focus on emerging artists that focus on the lands around them too.

Toby Smith

Toby Smith graduated from London College of Communication in 2008 with an MA in Contemporary Photography. This was after being awarded the Nikon Discovery Award in 2008 for his seminal body of work, Light After Dark. For this series, Smith has visited every Power Station in England, shooting at night using large format film and exposures lasting many hours to produce compelling imagery of something perceived as crude when looked at in the hard light of day. Smith mixes his ongoing personal projects, including access to the nuclear sector, with reportage assignments where photography can both inform and inspire audiences to advocacy relating to the subject matter. He has recently completed an undercover investigation into the illegal timber trade of Madagascar published across Europe December 2009.

Smith has been published by The Guardian, Saturday Times, Sunday Times, Stern Magazine and other awards include silver medal at Royal Photographic Society 2008. Light After Dark was syndicated by Getty Reportage and went on to be nominated for the Prix Pictet 2009 and took 3 prizes at the PX3 awards 2009.

Eamon Mac Mahon

Since 2004, Toronto-based photographer Eamon Mac Mahon has spent up to three months of each year working in the wilderness of northwestern Canada and Alaska. These slow journeys via bush plane have allowed him to intimately photograph remote landlocked communities, and the vast areas of uninhabited land surrounding them. His work has appeared in various publications including the Walrus, National Geographic, W and New York Magazine, as well as exhibition spaces such as The Power Plant, The Detroit Institute of the Arts, the Griffin Museum of Photography in Boston and Higher Pictures NYC. Mac Mahon’s photographs, on display for Contact, 2008 at Pearson International Airport, were described as “magnificent and mysterious” by Kate Taylor for the Globe and Mail. Mac Mahon also spends much of his time creating video projections for stage productions, short films and documentaries.

Fotogallerie Wein (Austria)

Lukas Schaller


born 1973 in Lienz, Tyrol, Austria
lives and works in Vienna, Austria

1993-1997 Media and Communication Study, University of Vienna
1998 Schule für künstlerische Fotografie (Friedl Kubelka), Vienna
since 1999 Freelance Photographer


1998 Architektur aus Tirol, Photographs, Galerie Museum, Bolzano
2000 Trentino/Südtirol/Tirol, Photographs, EXPO2000, Hannover
2001 Franzjosefshöhe, Photographs, Soho in Ottakring, Vienna
2002 PhoneHome, Photographs, Soho in Ottakring, Vienna
2003 Ganz Galtür unter einem Dach, Photographs, Alpinarium Galtür, Galtür
2003 AustriaWest, Video, Architekturtriennale Mailand, Milano
2004 de luxe at belle étage, Photographs, Vienna
2005 la cité manifeste à mulhouse, Video, Photographs, aut, Innsbruck
2005 Realitäten, Photographs, Fotogalerie Wien, Vienna
2006 Debut, Galerie Fotohof, Salzburg
2006 Stadt-Landschaften/Eingriffe, Dorottya Galeria, Budapest

2004 Residency in London
2005 Residency-Award, BKA/Arts Division of the Federal Chancellery Austria, Paris
(Photoatelier Paris

Eva Würdinger


born 1975 in Vienna, Austria.
lives and works in Vienna and Dunedin


2000-2005 MFA Photography and Visual Arts, Academy of Fine Arts, Vienna - Prof. Eva Schlegel
1995-2002 MA Education and Science in Art, Academy of Fine Arts, Vienna


2009 State Scholarship for Photography by Austrian Federal Ministry for Education, the Arts and Culture
2005 Residency for Photography in Rome by Austrian Federal Chancellery
2003 Residency for Visual Arts in Budapest by Municipality Vienna

Thursday, April 1, 2010



Andrew King is wrapping three original paintings in weatherproof packaging and stashing them in different places in the Ottawa Valley. To find them, and keep them for free, you’ll need a GPS, the Internet and an ability to solve puzzles.

On Feb. 2, the Cube Gallery is hosting an event entitled Canadiana. King will have seven pieces on display, three of which will contain clues to the GPS co-ordinates of the hidden paintings. “It will be kind of like The Da Vinci Code,” King said in an interview.

- Christine Huang

Spiritual geocaching is a project based on the idea that certain physical locations on this planet may hold spiritual significance. From Moses on the mountain top, to Jerusalem, and Mecca, many cultures have embraced the idea that certain locations may hold a spiritual value.

The concept of this project is that certain areas in the wild are extremely calming, and in this state of relaxation a person residing at this location will become more meditative and approach the spiritual. By using a combination of biofeedback and gps data, it may be possible to locate these locations and then post them on the internet so that others may enjoy the healing properties.

-Heather Clark


Well, I stumbled upon this activity through my research of of geopolitics and spatial relationships. It really seemed odd at first. But then I thought about it, and what I am currently doing is similar with my art. In GeoCaching, people go out into the world on...basically...treasure hunts. They need to be hooked up with a GPS phone or device and also to the geocaching website to be able to find coordinates to places where people have hidden "Treasure" in waterproof boxes (it seems they're usually ammo boxes or something along those line). It's a modern day treasure hunt for the tech people. Although it seems like i have been doing the same thing with my art, except the treasure to me are these bike trails and ramps that are hidden in the state parks, local parks, forest preserves, national forest, etc. I feel that this is an odd thing to blog about on my research page, but it seems to fit in quite nicely. My work is involved in mapping and specific places in America (to some degree, I still haven't fully realized what exactly it is or how to explain it). I go into primarily remote and isolated areas that are usually devoid of, let's just say most people, and i explore the terrain and the given paths. But before i get to these places I use a map and internet tools and forums to find these places. The directions on the internet are always vague and usually not that precise, so there's an element of the hunt and the journey that revolves around my work. So i go into these trails and hike. I hike for miles with a camera and tripod on my should in search of man altered terrain. The trail markers, the ramps, the remnants of people are my treasures. Just like in geocaching, people's little treasures are there somewhere. Like i said, i too feel this is an odd entry, but i feel that it's just crazy enough that it makes sense. Or maybe I'm just sleep deprived. But it seems like there's a place where my art making and this geocaching intersect like on a map.