Windows, New York, New York
We asked contributor Phillip March Jones to share the process and inspiration behind his daily photo project, Pictures Take You Places.
Seeing is everything. But it takes practice.
Modern Antiquity, Atlanta, Georgia
La Plage, Trouville, France
For the past couple of years I have been traveling almost constantly for various projects in the United States and abroad. As a result, I am often away from the studio and distracted from the kind of intense focus required and afforded therein. These circumstances have led me to rethink my artistic practice and even the way I interact with the world. The newfound freedom of a portable studio has forced me to develop exercises to keep my eye and mind focused and has led to several new bodies of work, including the creation of a daily photo project titled Pictures Take You Places.
In 1939, Eugene Von Bruenchenhein met a 19-year-old girl named Eveline Kalke, whom he nicknamed “Marie,” at a state fair in Wisconsin. The two married in 1943, and settled into their daily lives in Milwaukee where Eugene worked as a baker. Unlike most bakers, Eugene spent his free time composing poems on the subjects of love, nature, reincarnation and time travel. He made fantastical paintings of unknown universes, ceramic vases pieced together from dozens of hand-sculpted leaves, towers and thrones fashioned from chicken bones, concrete masks, and perhaps most importantly, elaborately-staged photographs of his wife and muse, Marie.
Cemetery Shadow, 2012
Contributor Phillip March Jones, introduces us to artist and photographer Lina Tharsing, who currently has an exhibition of her paintings on display at Poem 88 in Atlanta through October 19, 2013.
A few years ago, Walgreens launched a clever promotion for a reusable film camera in a world full of digital devices. The cheap plastic cameras, which retailed for about ten dollars, advertised “free film for life” in big letters. The catch was that you had to have the film processed at Walgreens, but it seemed like an opportunity to Lina Tharsing, a young painter and photographer from Lexington, Kentucky.
Lina Tharsing is best known as a painter but has been making photographs since she was a child. According to Tharsing, “I remember my first roll of film exactly. I was only eleven, and in an effort to amuse a bored child, my mother handed me a camera and told me to go out into the yard and take some pictures. At that moment, my view of the world changed, the lens revealed something my eyes hadn’t seen before. It was the ability to capture a fleeting moment and freeze it forever, to frame a scene.” Tharsing carries a camera with her everywhere she goes in a relentless pursuit of light and a self-described “singular moment where reality and fiction intersect.” She seeks out the brightly lit tree in the middle of a forest or the deep shadow that forms a portal into some other dimension. The resulting images of figures, interiors, suburban scenes, and natural landscapes challenge our perception of truth, offering a composed tension of multiple realities that would otherwise be forever lost.
Portal Light, 2012
A physical place can be filled with such meaning. Just think of your hometown; do you have recollections of your favorite spot? Or maybe you couldn’t wait to get away and that feeling is still palpable. Returning to places that I have lived before, I have a sense memory of how to get around and I associate feelings and memories with specific locations. In a city as large as Manhattan, the sheer number of these feelings and remembrances must be infinite, many times the number of inhabitants.
As we head to Manhattan this week with our newest collection, this conversation feels especially interesting. Our own personal map of the city, marked with new clients and boutiques, will guide us as we write another chapter into the Alabama Chanin story.
In 2007, Becky Cooper became interested in locations and maps after studying Italo Calvino’s Invisible Cities and she was inspired by an internship with non-profit organization CultureNOW, where she worked to map Manhattan’s public art spaces. She told the New York Times, “I’m really bad at geography. But I think it helped me to see maps more as a biography.”
Yesterday, we shared a post by contributor Phillip March Jones on self-taught musician, song writer, and artist Lonnie Holley. Holley’s second album, Keeping A Record of It, was just released by the Dust-to-Digital label in Atlanta, Georgia. Find more information on the Dust-to-Digital site.
Keeping a Record of It (Harmful Music), 1986, Lonnie Holley, Salvaged phonograph top, phonograph record, animal skull 13 3/4 x 15 3/4 x 9 inches, Courtesy of the Souls Grown Deep Foundation. Photo: Steve Pitkin
Lonnie Holley, at the age of 63, is finally getting his proverbial moment in the sun. The artist’s second album, Keeping A Record of It, was released today by Atlanta’s Dust-to-Digital label, and he is currently touring the US with Deerhunter and Bill Callahan. Earlier this year Holley performed at the Whitney Museum of American Art during the Blues for Smoke exhibition, and a solo-exhibition of his visual work is scheduled to open at the James Fuentes Gallery on September 15 in New York. Holley’s life has not, however, always been this glamorous.
Lonnie Bradley Holley was born on February 10, 1950 in Birmingham, Alabama. From the age of 5, Holley worked various jobs, picking up trash at a drive-in movie theatre, washing dishes, and cooking. He lived in a whiskey house, on the state-fair grounds, and in several foster homes. His early life was chaotic and Holley was never afforded the pleasure of a real childhood.
Holley performing at the Whitney Museum of American Art, New York, NY. Photo: Matt Arnett
Yesterday, we heard from Heather Wylie about her Bohemian Bop venture, her love of printmaking, and how she got into screen printing t-shirts. Today, Heather shares with us a recipe for screen printing at home, based on her own self-taught experience and by following You Tube videos and a few books on the subject, including Printing by Hand: A Modern Guide to Printing with Handmade Stamps, Stencils and Silk Screens by Lena Corwin, which we wrote about here a few years ago.
As Heather mentioned yesterday, printmaking requires many steps and each step demands careful attention in order to get the desired outcome. Anyone can print at home, but it is a lengthy process.
Amos Kennedy became an artist in an unusual way. At age 40, he left his corporate, white-collar job and secure middle class life to pursue a passion for printing, took to wearing overalls, and learned to live on an artist’s salary. He prints posters for The People, keeping the message clear and the price affordable. His work ranges from the inspirational to the informative, often creating and printing work for festivals and events. In 2008, film maker Laura Zinger directed “Proceed and Be Bold,” a documentary about Amos Kennedy and his non-traditional path into the art world.
Last year at MAKESHIFT 2012, one of our gatherings revolved around “Worn Stories,” an idea based on the blog, Sentimental Value, by Emily Spivack, friend of Jessamyn Hatcher. Spivack’s blog – and soon to be book, titled Worn Stories – shares the stories of garments purchased from Ebay. Those anecdotes were written by each item’s respective seller and, “are a window into people’s lives,” Spivack told the New York Times in a recent article highlighting her “Sentimental Value” exhibition at the Philadelphia Art Alliance.
Spivack also created and writes Threaded, the Smithsonian’s fashion history blog. Needless to say, Spivack has become an authority on connecting stories and clothing, which she views as works of art. Anyone who has ever made or purchased an Alabama Chanin garment knows the value we place on the quality, timelessness, and story of each project. Spivack’s mission rings very true for us.
Emily Spivack’s exhibit, Sentimental Value is on display through August 23,2013.
For more information, click here.
We recently shared a few thoughts and memories of the library, collected from friends and neighbors, about the role libraries have played and continue to play in our lives. The draw of the library is foremost, the books. It is a democratic place to learn, escape, and relax. For many of us, the library conjures childhood memories of our local facility, perhaps a favorite librarian, and certainly the stack of literary treasures we inevitably brought home with us. German photographer Candida Höfer’s series of color plates, Libraries, captures the architecture and physical structures that hold those treasures and the art of those sacred halls.
This impressive volume contains 137 color plates of Höfer’s work, including the British Library in London, the Escorial in Spain, the Whitney Museum and the Pierpont Morgan Library in New York, the Bibliothèque nationale de France in Paris, the Villa Medici in Rome, and the Hamburg University Library, among many others. The images are mostly devoid of people, drawing the eye and mind not to the functionality of a space, but to the colors and aesthetic of a building with a single purpose.