If you are a photographer, you already know the importance of portfolio reviews for putting your work out there in front of curators, gallerists, publishers and other movers and shakers of the art world. You may have attended a few of them or at least may have read (scary) stories about them. Or you may have a great story of success to share yourself.
Well, mine is a bit different as I had the chance to sit along with a reviewer at the largest of them, FotoFest, and closely observe a full day of portfolio reviews with a wide range of photographers. And be the recipient of precious insider insights she shared with me. I can’t tell you her name as I don’t have her permission, but as this was a really invaluable opportunity to get to know a less known side of the art world, I thought it might be useful to write about the experience. What I saw was instructive, hopeful and overwhelming all at the same time. Continue reading
As the New Texas Talent exhibition at Craighead-Green Gallery in Dallas is drawing to an end, I realize that I haven’t talked about my new work in the show. The images are done in an arduous process that took months to research and produce that it now deserves to be told about. It’s a process that makes for unique prints that also fits so well in the broader direction I’ve been following in the past couple of years. See some examples above. Continue reading
I wrote a couple of months ago about hand-colored photographs and my search for meaning in hand-coloring. OK, maybe not that melodramatic. But my main concern in approaching a technique, as visually appealing as it may be, is “Why do that?” Is it just because it looks pretty? I do believe it’s necessary, for the work to be compelling and authentic, to use a technique only because you have a good creative reason for it. Continue reading
By Giorgio Zaccaria. A circus artist, ca. 1880, silver bromide print
I just have to write about the Photographic Archive of Milan, not only in aid to those who may need to do research there, but also because it is such a great metaphor for Italy in general. Located in one of the wings of the magnificent Sforza Castle, a brief walk from the Duomo, it is really a pleasure to wander around its vast cobblestone yard before venturing inside.
But, the first surprise: it’s open only in the morning. And materials are available by prior appointment. You need to go in person first and explore the card catalog, arranged by subject matter. Said catalog is only partially digitized and can be found online along with all other public photography collections in Lombardy. Then you can place an order for what your heart desires. However, the staff is so extremely Italianly nice that they offered, in case I needed it in the future, to do any research for me and even send me scans of the images.
Anyway, your patience and skill in navigating the system will be richly rewarded. Continue reading
While I previously said that winter and spring is when I focus on exhibitions, it turned out that it’s not the case this year. I couldn’t resist and have been privileged to have several images invited to three more upcoming exhibition, so now I am trying to figure out the logistics of sending them while I am out of the country. Here’s the news:
Soho Photo Gallery in NYC holds a highly regarded national competition, which this year was juried by Laura Patersen from Christie’s. My invited image is the same one that was (and sold) at Lightbox Photographic last fall. Wish I could attend the opening and meet Laura, but alas, I’ll be in Italy at that time. Continue reading