Category Archives: Podcasts

Photo Talk – Laura Noble on collecting photography, her private collection and the business of photography

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Laura Noble in front of the cover of The Art of Collecting Photographs and a photo by Maeve Berry from her series Incandescence. © iPhone photos Miranda Gavin.

Last week, I caught up with collector, gallerist and writer Laura Noble at her talk for the monthly Photologyy  series on photography. The monthly talks are hosted by Hastings-based Alex Brattell and take place downstairs at the Bullet Coffee House. The following post is a collection of comments and insights from Laura. There is  a 15min audio podcast which I recorded after the talk where I get to probe a little deeper about her flying fascination.

Laura trained as a painter and decided, after completing her studies, that she needed “a library and a studio” and got a job in The Photographers’ Gallery bookshop. She wrote The Art of Collecting Photographs in 2006. Photography entered the art market in the 1970s and photographs gained value and status through creating exclusivity by restricting reproduction. With an endlessly-reproducible medium, such as photography, this is of paramount importance. “That’s the wonderful thing about photography, it’s not just a recording medium now, but an art form.”

“The bulk of my collection is things that fly” – a realisation that helped narrow down her field of collecting. She recalls how her collection of photographs started slowly and how she likes to buy living photographers’ work  – her first buy in 1991 was Hidden by John Kippen. Noble “didn’t spend masses of money to start with” and “rotates the photographs in her home as otherwise she “stops seeing them”. However, when people feature in her collection they “generally have their eyes closed”.

Her first digital work was of the undercarriage of a plane with the LA sky removed. These form part of a series of planes shot and manipulated post production, which “look like pinned butterfly specimens”.

Other works she owns include:

Forbidden Zone by Jonathan Olley, which she describes as “an incredible body of work shot” in the beech and pine forests of Verdun, where some of the First World War’s bitterest battles took place. “They still lose a man a month trying to clear the forest of ammunition and diffuse the bombs.” On his website, Olley writes: Recent estimates made by The French interior Ministry state at least 12 million unexploded shells lie undiscovered in the hills overlooking the City of Verdun.

One of Maeve Berry‘s crematorium photos from her series, Incandescence, which she exhibits on aluminium and Diasec so that the viewer sees themselves.

A photograph from Deborah Baker‘s, In Paradiso series, for which Baker uses digital post-production techniques, for example, montage and layering, using photographs she has taken in the woodland garden she has cultivated for eight years. “The prints are divine,” she adds.

One of Chris Steele Perkins’ photographs from his Japan series, Fuji; a Jeffrey H Short image; a print by Emily Allchurch, from her Tokyo series which pays homage to Utagawa Hiroshige’s, One Hundred Famous Views of Edo (1856-58); and a Mischa Haller print.

Photographers need to have a good working knowledge of the medium and to “know what’s out there” as it is “so easy to do work that has already been done”. Make work long term and keep doing it, she advises. Often it takes someone else to put forward a photographer’s work. “Take a look at your work in a mirror – painters do it all the time,” she adds when discussing composition.

Editioning is useful in photography: “It’s not worth breaking an edition, except if you’re William Eggleston,” she warns. Adding that “you are signing their own death warrant if you break an edition” and “if you want your work to fetch a decent price, you need to create editions”. As to the word giclee, she laughs. “I never use the word. Do you know what it means?” Someone in the audience shouts out “Spurt”.

Click on the play button to hear a 15m 50s long audio podcast with me in conversation with Laura Noble recorded after her talk. Laura talks about what her collection says about her and more…

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Photo Stroll and podcast – Susan Derges in conversation with Gareth Evans at Purdy Hicks

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Pavement Network, iPhone Miranda Gavin on the way to Susan Derges in conversation at Purdy Hicks last week. I was getting into the zone…

SUSAN DERGES AT PURDY HICKS
Last week, I attended a well-structured, informative and informed in conversation led by Whitechapel Gallery film curator Gareth Evans with Susan Derges at Purdy Hicks Gallery in south London. The show closes on 19 January.

A small brook on Dartmoor,  Devon near the artist’s studio is the focus for this new series of images. Two different views of the brook’s surface, from above and below, explore themes of reflection and immersion that echo experiences of place as a site of memory and loss, the flow of time and changing perceptions.

The talk lasted just over 30mins and touched upon the development of her latest body of work Alder Brook (see the work in the photos below), the role of agency in her work, her recent move to using a camera once again, and the place of perception, illusion and magic in her oeuvre. Derges’ work, at least for me, is also informed by notions relating to shallowness and depth – terms that are used when talking about fields of vision as well as water (one of the key elements in her work).

For any of you who are fans of her work and for those who don’t know of it, this in conversation is a must. Derges, guided by Evans’, takes the audience through her work while maintaining a level of mystery around the photographic processes at play behind Alder Brook. It makes sense. Magic dissipates when we peel back the illusion and reveal its production.

I hope you enjoy the in conversation as much as I did. Roll over the link below, click and listen to the podcast. You need to be patient with it uploading as it’s quite a large file. Enjoy.

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Click for more…

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Photo Show – City of Home by Alina Kisina on show at Light House Media Centre in Wolverhampton

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City of Home, © Alina Kisina

Last year I posted on Ukrainian photographer Alina Kisina‘s show City of Home and am delighted to report that her latest work from the series is on show at the Light House Media Centre, Wolverhampton until 25 January 2013.  The exhibition includes new work specially commissioned by Light House.

And if you’re still thinking about Christmas presents, there is a special edition of three of her latest works available, including the two images posted here, for sale during the holiday season. Only 50 of each print will be produced and each will be numbered, signed by the photographer, and have a certificate of authenticity. Each unframed A4 print costs £75 + £7.50 p&p. A set of all three images can be bought for £200 + £12.50 p&p and includes an archival box and a set of gloves.

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City of Home, © Alina Kisina

Professor Raoul Eschelman, author of Performatism, or the End of Postmodernism, writes about the work:
“Alina Kisina’s photographs of urban spaces in her native Kiev are not documentary pictures in the usual sense of the word. Rather, Kisina’s work mixes abstraction and representation to create evocative images that elude easy description or categorization. The most striking aspect of her art is its bold use of reflections. These juxtapose different levels of reality in a way that confounds our notions of up and down, in and out, fore and back. But her aim is not simply to confuse us. Rather, the overlapping planes of reality draw us dynamically into her photos to produce a sensation of depth suggesting another, more profound dimension beyond the mere givens of the picture.
“In many of the photographs in the Light House exhibit, this is done in a way that is best described as dramatic. Powerfully etched lines, curves, and forms draw us into a receding space marked by extreme glare or by patches of bright light that seem to dissolve material reality within them. The photos of this kind take the form of dramatic epiphanies—intuitive, overpowering insights into the nature of reality experienced through commonplace forms and scenes.”

There is also a great interview with Light House about her work. Finally, Coventry-born photographer, teacher and supporter of Kisina’s work, John Blakemore, spoke to her in a filmed interview that will be available shortly.

Colombo Art Biennale 2012 audio podcast with festival founder and director Annoushka Hempel

With just 12 days to go till the Colombo Art Biennale (CAB) opens – from 15-19 February – the Roaming Eye (tRE) caught up with CAB  festival founder and director Annoushka Hempel to find out more ahead of the opening.

Annoushka kindly spared 30 mins to talk to Hotshoe Blog about how the festival started in post-conflict Sri Lanka, its aims, the type of works on show, funding, the theme ‘Becoming’, and future developments and hopes. The festival takes place across three sites Park Street Mews, JDA Perera Gallery and the National Art Gallery.

The audio is just under 30 mins long and it’s really worth listening to every second. So, why not tune in while you cook, clean or just sit back and listen.

Click on the link below – it goes lime green – then follow it the podcast named CAB Annoushka Hempel_Audio1 and click again for it to load. Enjoy.

Colombo Art Biennale 2012 interview with Annoushka Hempel

For those who like visuals, watch this video I am  (1m 59s) – a multimedia exploration of identity through the lives of Sri Lankan elders. It reflects on the question: Was there a time when Sri Lankans didn’t describe themselves as Sinhalese, Tamil, Muslim or Burgher? and is a journey seeking a generation who identified themselves based on kith and kin, livelihoods and hometowns as they did in times of lore and in so doing it sheds light on questions about identity and experiences of conflict.

Kannan Arunasalam’s journey took him to Jaffna, Kandy and Galle, where he visited churches, kovils, temples and mosques and was welcomed into people’s homes and workplaces. He met and photographed elders; many wise men and women who trusted him with their life stories.

Also here’s another video snippet (1m 13s) with Nigel Sense (Australia) – one of the featured artists at the Colombo Art Biennale 2012.

Photo resource – video clips on photography from Miranda Gavin and New Year wishes for a wonderful 2012

Happy New Year Hotshoe Blog readers everywhere – May 2012 bring you health, happiness and shelter from the storms. Goodbye 2011.

I was interviewed for the Open College of the Arts in the summer and the videos appeared over a month on the OCA blog. As we’ve come to the end of the year, I thought I would also share them here. Bear in mind there is my first foray  into online presentation so be charitable! I’m sharing it because I think there are things worth disseminating and if it leads to fruitful discussion, the more the merrier.

From the OCA Blog Introducing Miranda introduction: “Jose and Mark went to interview Miranda during the summer and she was very generous with her time. The result is we have a treasure chest of arresting and salient video for our photography students. As we want the points Miranda makes to have their full impact Mark has edited the video in short subject based pieces and we will be releasing them onto WeAreOCA on a weekly basis. So to start, here is Miranda talking about submitting work for publication.”

Submissions from Open College of the Arts on Vimeo.

Looking for outcomes from Open College of the Arts on Vimeo.

If you bear to watch more, or if of help, there are two more over.

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