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Thursday, April 30th, 2009

Home from PhotoLucida

View from the final descent near Albuquerque, New Mexico

It was an exhausting four days of reviews (and after parties) and I am still recovering from all the excitement and visual stimulation. I am happy to be home on a rather uneventful flight.

Enjoy a few more images from photographers from my last two days of reviews at the event.


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Wednesday, April 29th, 2009

Andrea Diefenbach and Stan Gaz at ClampArt


IMPACT: PHOTOGRAPHS BY STAN GAZ

ANDREA DIEFENBACH: AIDS IN ODESSA
In the Project Room

April 30 – June 6, 2009

Opening reception:
Thursday, April 30, 2009
6.00 – 8.00 p.m.
For more information contact:
ClampArt
www.clampart.com

521-531 West 25th Street
Ground Floor
New York City 10001
646.230.0020 T
646.230.8008 F
Gallery hours:
Tuesday – Saturday,
11:00 a.m. – 6:00 p.m.

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Wednesday, April 29th, 2009

Money troubles hit the Getty

The LA Times is reporting that the J. Paul Getty Trust, that runs the Getty Museum will be laying off 97 workers. In typical, hyper real greed, upper management will be taking a 6% pay cut. Wow, how nice. Note that the upper management is currently paid over $390,000 and the current CEO apparently is making $1,100,000. Isn’t this a non-profit organization?

Read more of the ugly details here.

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Wednesday, April 29th, 2009

THE EDGE OF VISION

THE EDGE OF VISION:
ABSTRACTION IN CONTEMPORARY PHOTOGRAPHY
CURATED BY LYLE REXER

Exhibition on View: Friday, May 15–Thursday, July 9, 2009
Panel discussion at The New York Photo Festival: Friday, May 15, 5:00 pm
Opening Reception with Live DJ: Saturday May 16, 7:00-10:00 pm
Talk & Book Signing with Lyle Rexer: Tuesday, June 16, 6:30 pm

From the beginning, abstraction has been intrinsic to photography, and its persistent popularity reveals much about the medium. The Edge of Vision, curated by Lyle Rexer, showcases the work of nineteen international contemporary photographers who base their practice in some form of abstraction from highly conceptual to more documentary approaches. The works explore diverse aspects of the photographic experience, including the chemistry of traditional photography, the direct capture of light without a camera, temporal extensions, digital sampling of found images, radical cropping, and various deliberate destabilizations of photographic reference. This abstract use of photography often combines other mediums such as painting, sculpture, drawing or video. All artists join a broad contemporary trend to look critically and freshly at a medium commonly considered transparent.

The exhibition is divided into two sections. The wall labeled “Propositions” displays a range of approaches yielding abstract images. The other walls of the gallery constitute a series of installations exploring in greater depth distinct and radical investigations of photographic processes and meanings. What, after all, is a photograph, and where does its meaning lie? In the picture itself? In the world or its phenomena? In us? These questions are as vital and open today as they were 170 years ago, when no one knew exactly what a photograph should look like or what it might disclose.

The Edge of Vision is accompanied by a new book, The Edge of Vision: The Rise of Abstraction in Photography by Lyle Rexer (Aperture, May 2009). Illustrated with more than 150 images, this unprecedented and highly anticipated book documents this phenomenon internationally from the early days of the medium through the present day.

Lyle Rexer is a New York–based independent curator, writer and critic. His previous books include Photography’s Antiquarian Avant-Garde (2002) and How to Look at Outsider Art (2005); he contributed an interview with Chuck Close and Bob Holman to A Couple of Ways of Doing Something (Aperture, 2006).

Featured artists in the exhibition: Bill Armstrong, Carel Balth, Adam Broomberg and Oliver Chanarin, Ellen Carey, Roland Fischer, Michael Flomen, Manuel Geerinck, Shirine Gill, Barbara Kasten, Seth Lambert, Charles Lindsay, Edward Mapplethorpe, Chris McCaw, Roger Newton, Jack Sal, Penelope Umbrico, Randy West, Silvio Wolf, and Ilan Wolff.

WHEN AND WHERE:

Opening Reception with Live DJ:
Saturday May 16, 7:00-10:00 pm

Exhibition on View:
Friday, May 15–Thursday, July 9, 2009

Talk & Book Signing with Lyle Rexer:
Tuesday, June 16, 6:30 pm

Aperture Gallery
547 West 27th Street, 4th floor
(between 10th and 11th Avenue)
New York, NY
(212) 505-5555
www.aperture.org
Subway: C, E to 23rd Street and 8th Avenue or 1 to 28th Street and 7th Avenue

FREE

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Tuesday, April 28th, 2009

Lydia Panas at Wallspace

LYDIA PANAS
PORTFOLIO
28 april – 6 june, 2009
WALLSPACE
seattle, washington
opening reception:
first thursday, may 7, 6-8pm

Wallspace
600 first avenue, suite 322
seattle, washington, 98104

for more information:
www.wallspaceseattle.com

206 749 9133

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Monday, April 27th, 2009

Fraction Issue 7

The work is rolling in for Issue 7 of Fraction, our one year anniversary issue. We have six new photographers as well as some new written word. Issue 7 will be out on May 12th.
As always if you would like to be included on our mailing list to be notified of new issues, please send us an email to fractionmag@gmail.com with subscribe as the subject line.
Thanks for looking and stay tuned for Issue 7.

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Monday, April 27th, 2009

David Taylor at UNM

Photographer David Taylor will be speaking at UNM on Tuesday April 28 at 12:30pm. See the image for more details.

A statement from his project “Frontier/Frontera” :

“Frontier/Frontera is an ongoing project that reevaluates the narratives that make up our understanding of the American West, with particular attention to the U.S./Mexico borderlands. The literal meaning of the word “frontier” is identical in both English and Spanish.
However, its vernacular usage in each language is strikingly different. In the American psyche the frontier is an elusive destination; the locus of such national allegories as individuality, self-reliance and freedom. It is “The-Great-Out-There-Just-Beyond-the-Horizon.” Conversely, “la frontera” adheres to literal definitions – it is the border or borderline; it is a barrier.

The American West is still portrayed as a compilation of its romantic icons: grand vistas, rugged cowboys, savage natives and lonely cacti. The ongoing settlement of the western states is, in part, fueled by our investment in those icons. By contrast, the U.S./Mexico Border currently exists as a militarized zone in our national consciousness: it is a state of politicized reality that is in direct conflict with our idealized image of the West. Furthermore, to migrants, the border is an obstacle between them and a living wage.
The frontier is a moving target with meaning that is contingent on vantage point. As my work describes, it is both a plane of unlimited promise and a liminal border with boundaries that are yet to be negotiated.

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Monday, April 27th, 2009

Portfolio Reviews at NY Photo Fest

The dead line to register for portfolio reviews at the New York Photo Festival has been extended to May 13. The festival itself runs from May 13 to May 17. I would attend if I could as the line up of events and talks is rather impressive.

More details here…

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Saturday, April 25th, 2009

Two Days (So Far) of Photography at PhotoLucida

My bio/questionnaire for PhotoLucida stated that I was willing to view a wide range of photography and that I did. I have a stack of papers with contact info for photographers that must have taken out at least one small tree. I saw a few photographers whom I have met before and whose work I really love including Aaron Rothman, Besty Schneider, Alejandro Cartajena, Ellen Rennard, Colleen Mullins, Shawn Records and Adrian Chesser. Some new “discoveries” that I really enjoyed were

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Thursday, April 23rd, 2009

At PhotoLucida

David asked if I would write a few posts from PhotoLucida in Portland, Oregon. I arrived yesterday via Oakland, CA which took me for the first time over the awe-inspiring view of the Sierra Nevada Mountains. The range went on for miles and at many of the bases I could see aerial geometrical shapes formed by farmlands below. I took photos from the plane window which I might post later. They are no David Maisel images, but very lovely, nonetheless. Upon arriving in Portland, I took the shuttle to the hotel filled with reviewers and two photographers, Aline Smithson and Susan Burnstine, hitched a ride. I will review Aline’s work later today.

This morning I sit in my hotel room, preparing to review twelve portfolios for the day. Altogether, I will officially review 48 portfolios. I hope I will be able to post some of the photos that strike me as the event goes on.

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