Category: on photographers

bookmark: Paloma

Posted on Posted in on photographers, overnight notes, Theory: landscapeTagged

items noted– an artist speaking about impulse. And, to those who are not a participant in current communities conversation, they don’t recognize her Art references. Her practice references, note how smoothly she uses them; how thoroughly she has absorbed that dictionary.

Paloma Dooley.  (b. 1993, New York, NY) lives and works in Los Angeles. a BA in photography from Bard College. In 2016, she completed a monthlong residency at the Vermont Studio Center. recently completed a four-month residency at Quinn Emanuel Artists in Residence. She is a recipient of a 2024 Puffin Foundation Artist Grant. About is brief, unlike her image making method.

“I was born and raised in New York. I spent an influential and magical year of my youth in Roswell, NM, which instilled in me a love of the landscape and being on the road. As a teen, I turned to photography as an outlet for longing, searching, and wonder after losing my dad, who was an artist. I photographed his studio and I photographed in the landscape as a way to work through grief. I attended Bard College and earned a B.A. in Photography in 2015; my thesis project was awarded the Stuart Strizler Levine Award. In 2016 I completed a monthlong residency at the Vermont Studio Center, where I gave an artist’s talk and slide lecture. My work was included in “Too Good to be Photographed,” ed. Paul Paper, a publication that investigates the strengths and failures of photography as a medium, in 2017. In 2018, I was commissioned to create a new body of work, “What it Feels Like to be a Beautiful Rectangle,” for “Augenblick Mal,” a Swiss publication. My recent project Ground Control and accompanying text was published in Carla Issue 21 in August 2020. I am also included in “Primal Sight,” 2021, a groundbreaking look at contemporary black and white photography edited by curator Efrem Zelony-Mindell. When I’m not focusing on my own photographic projects, I am working on the small artist-run exhibition space, Hermitage, that I co-founded in 2020.” – Paloma Dooley

PD: In 2020 my garden became my only creative outlet, and a source of peace and strength amidst the crushing uncertainty of the pandemic. I had lost my job in the art world and felt totally disconnected from photography. Working – and making my own work – was how I had always found my way through the world. Photography was my guide and a mode of exploration, but it didn’t feel available to me at the beginning of the pandemic. Feeling a dearth of change and growth in my own life, I set my camera aside and focused instead on the quick lives of my plants. Growth, abundance, decline, death – caring for my plants was a way to care for myself.

MORE:

looking back: 2016…

With images and texts by Michele Abeles, Takaaki Akaishi, Lotta Antonsson, Walead Beshty, Lucas Blalock,Andrey Bogush, Brian Bress, Bianca Brunner, Stefan Burger, Antoine Catala, Phil Chang, Talia Chetrit, Joshua Citarella, Sara Cwynar, Bryan Dooley, Jessica Eaton, Shannon Ebner, Marten Elder, Jason Evans,Sam Falls, Brendan Fowler, Victoria Fu,Daniel Gordon, Darren Harvey-Regan, Leslie Hewitt, Nancy de Holl, John Houck, Go Itami, Rachel de Joode, Farrah Karapetian, Matt Keegan, Annette Kelm, Soo Kim, Yuki Kimura, Josh Kline, Lucas Knipscher,Owen Kydd, Josh Kolbo, Taisuke Koyama,Nico Krebs and Taiyo Onorato, EladLassry, Brandon Lattu, John Lehr, Anthony Lepore, Alexandra Leykauf, Matt Lipps, Florian Maier-Aichen, Phillip Maisel, Annie MacDonell, Emmeline de Mooij, Carter Mull, Nerhol – (Ryuta Iida and YoshihisaTanaka), Katja Novitskova, Arthur Ou, Matthew Porter, Timur Si-Qin, Eileen Quinlan, Jon Rafman, Sean Raspet, Clunie Reid, Abigail Reynolds, Will Rogan, Asha Schechter, Hugh Scott-Douglas, Shirana Shahbazi, Daniel Shea, Erin Shirreff, Elisa Sighicelli, Brea Souders, Kate Steciw, BatiaSuter, Yosuke Takeda, Miguel Ángel Tornero,Sara VanDerBeek, Artie Vierkant, Anne deVries, Hannah Whitaker, Charlie White, Lindsey White, Chris Wiley, Letha Wilson, and Amir Zaki. – See more at: http://aperture.org/shop/photography-is-magic-3229/#sthash.ydUkCFM5.dpuf

adding the anti-pose of https://americansuburbx.com/2015/10/photography-is-not-magic-photographic-images-and-their-digital-spirit.html

east lyme: pilgrim age

Posted on Posted in art school, book shelf, minimum daily requirement, on photographersTagged , , ,

You know the names of the people, even if you don’t recognize the name of the place. Fellow photographers prompt us. Place probably prompts geographers and letter carriers.
Influence felt and spread. Will you explore for inspiration? What does seeing what they saw provide? I have no answer to either of the questions. I don’t travel to visit places of others. I have never been a pilgrim.

Walker Evans, east lyme… the note idled over a month… for no reason. Okay, one. I considered buying the book. I still haven’t bought it.

Walker Evans lived in this house in East Lyme, Connecticut, from 1967 until shortly before his death in 1975. The house was designed by Evans and his friend Robert Busser, a Yale architecture student. Letters and postcards were often addressed to Old Lyme or Lyme because their Mail truck turned around at Stewart’s Corner, East Lyme.]

Reviewing others’ work provokes a review of mine. Same thing sometimes happens as I edit or revise current work. Few interesting matters ever reach finality.

as test to yourself: Why hold interest in another past place. We don’t see Evans’ time, footprints. A deed with his namespace; perhaps a deposit check could hold as much history– commerce, reverential. Or, is the structure a demonstration of built world a key to His namesake. A keepsake worth travel of two current actors on the artworld.

[Two photographers, James Welling and Mark Ruwedel, just two years apart visited Evans’ home in 2016 and 2018, respectively. This volume places the projects undertaken by both in dialogue, highlighting their similarities and differences.]

[Shooting passersby against a plywood backdrop as they crossed his field of vision from distant right to close left (some noticing him, most not), with the light striking and modeling their features, Evans found that what he was creating with these images was “the physiognomy of a nation.” This book compiles the photographs, contact sheets, small-version printlets, Evans’ annotations to newspaper clippings, drafts for an unpublished text, telegrams and every available print Evans made, along with the Fortune spread as published. Labor Anonymous captures a long-vanished moment in American history, and a crucial project in Evans’ oeuvre.} — here

Welling: (b. 1951)

Ruwedel: (b. Bethlehem, PA 1954)