Come see our new exhibition ‘A Postcard Show,’ !tomorrow!, Friday 2/28, 7-11pm, 914 N. California in Chicago. Great art, snacks, good times, byob. See you there!
First up, we proudly present Kelly Ichinose. Kelly’s work doesn’t waste any time bringing you exactly where she wants you to go. Her work has a commanding presence, drawing you in with her colorful and well managed compositions and then leaving you there in the room with her subjects to digest the layers contained within.
Kelly has a masterful manner of setting up her scenes and managing her compositions, ones which she can set up under almost any circumstances— all a testament to her resilience and adaptability as a photographer that allows her to have eagle focus on her scene. We are so pleased to offer more of Kelly and her work in this week’s Ten Questions…
Orchid Requiem: Courtship (detail)
It is with great pleasure and respect that we present Janice Tieken. Her work has such an enchanted and poetic presence, light on its feet but powerful— visual poetry.
Janice Tieken attended Brown University in Rhode Island, graduated from Otis Art Institute in 1974 with a BFA, has an MA in psychology and maintains her California Marriage Family Therapist license though on hiatus from that profession. She brought art AS therapy to various populations with serious mental illness diagnoses, using the act of making art itself to enhance the sense of creativity and self-esteem in those who very much need that support and boost. She also wrote a recovery book via a HUD grant for earthquake survivors – Homeward Bound – and won a large grant to design and administer Project COPE, a program for disaster preparedness training, both physical and emotional. During these years her own art pursuits were squeezed into spare time until she could return to it full time in 2001.
"Grasses in snow, Detroit," Harry Callahan, ca. 1942, gelatin silver print, 23.1 x 31.8 cm. (George Eastman House)
Whenever I think about winter photography, my mind immediately goes to Harry Callahan. While he made many photographs of snow, (his work philosophy was just to go out every day for a walk and make pictures) his work is not about winter or the weather but very much about the rhythm of life. When I first saw this photograph, I did not know it was a photograph at all. I had assumed it was an abstract ink drawing or painting. After many many years, I still look upon this image with delight because that moment in which this image revealed itself to me has not lost much of its power. It reminds me that there are always a multitude of ways to see; that the job of the artist is to magically enchant the everyday world around us; that dead grasses in the snow can come alive and dance and live forever in a photograph. Callahan’s work operates much in the spirit of this notion. His every day walks were a magical exercise in enchanting what he saw with his camera- imbuing the ordinary with the extraordinary just by trapping light with his shutter.
To see and learn more of Harry Callahan’s work, check out this link, try a Google images search and check out the George Eastman collection of Callahan’s work.
Telling stories is the driving force behind Margaret Waage’s Photography. As an independent freelance photojournalist, Margaret produces content for various media outlets throughout Connecticut. Margaret holds a B.A. from Empire State College at State University of New York and will earn a M.S. in Interactive Media from Quinnipiac University in May 2014.
Robert Wojtowicz; Missing since: 20/01/1995; Age at disappearance: 22
Read on for more about this unique and powerful artist…
This week we caught up with Kirstie Shanley, who is definitely one of the most dedicated, driven and hard-working photographers I know. She treats each and every of her literal millions of images with the kind of care that you would a unique and special adored child. No surprise, as this is her approach to all her professional endeavors.
Something that caught my eye this week was this article:
To see the photos you have to follow this link:
These photos are beautiful to me- I prefer darker work, and typically I mean that quite literally. I am drawn to strong shadows and higher contrast, sharp or blurry subjects in dubious natural light or semi-lit scenes. There is also something wonderful that can happen in low lighting with color photography— something in the blues and the reds that gives the photos a sensual wet bleeding ink quality that I adore.
The manner in which the type of work shown above is treated and talked about is what I have the main issue with. There is a colonial spirit about sometimes, and certainly I don’t believe this is always actively intentional, but rather a sneaking tradition that has shaped the way we still think and we blindly abide.
Picture in your mind what you might conceive as “gritty street photography” and you’ll likely conjure up something that fits the typical mold because this is how certain work is always described and talked about. These “gritty street photos” depict the poor, the homeless, prostitutes, and the “seedy nightlife” of urban areas. Most often too, they are devoid of white people. I believe that sometimes, but not always, these photos that are described as “dark,” “gritty” are typically photographs made by a white photographer who is “slumming” in an impoverished area full of people of color. There is a way to treat this kind of photography and I do not fault the photographer here. I have not read his artist statement nor looked at any of his writing. What I take issue with is journalism and media and their treatment and dressing of the subject.
We need to stop viewing or writing about this type of photography as “noble,” to start. A photographer does what he or she does to make beautiful images and to sometimes tell a story. These “vernacular” photographs as I like to refer to them certainly fit into a spectrum of intentions but we must, as with all other photography, investigate the circumstances of the photographs, the artist’s statement and mission and whether the photographs were commissioned as part of photojournalism work or part of another project.
These encoded manners of speaking are the responsibility of the media and the art world to challenge. They are old conventions and contain too many old encoded trickeries that we should aim to avoid.
Aside from all that, I did really enjoy these photographs.
Another edition of the unpopular opinions of
[The Artist: Daniel Shea]
Daniel Shea is currently based in New York City and works part-time as an adjunct professor of photography at The Maryland Institute College of Art. He received his MFA from the University of Illinois in Chicago. He has been exhibited in galleries including: The DePaul Art Museum, Andrew Rafacz Gallery, the Moscow Museum of Modern Art, and Asia Society in Beijing. Shea has also been published in Chicago Magazine, Rolling Stone Magazine, The New York Review of Books, The New York Times, and TIME Magazine just to name a few.
tryhardmagazine asked: hey - i saw that wouter mentioned our magazine in your interview. i just wanted to let you know that the website opened today! we'd love you guys to take a look www(.)tryhardmagazine(.)com -- love your website by the way! :) cheers, Ben
Thanks for the feedback and we are very glad you like our site!
Sorry for the delay in response, we actually just figured out today we had messages. (d’oh!)
We will definitely give your website a look, thanks for the link!!
Hungry Ghost Collective
Anonymous asked: Hello, I understand that you are interviewing my wife Ellen Jantzen for an article on her work. I also use photography as one of my art forms, would you like me to send you some links? Best, Michael Jantzen
Firstly I would like to sincerely apologize for the delay in our reply to your email. I was actually unaware that we could receive messages at all on Tumblr. (Sometimes I am a bit Luddite.) Someone from the collective saw them today so I am attending to that.
We would love to look at your work. Please send us a link either here or email firstname.lastname@example.org
Thank you for contacting us! We typically select photographers for our features a few weeks in advance so I will get back to you after we take a look at your work and see where we can fit you in the queue.
Hungry Ghost Collective
This week, we are pleased to present to you a fellow Chicago Photographer, Liz Chilsen.
Liz hails from Wisconsin, but has made roots here in Chicago. Her work has a voice underrepresented in fine art photography- that of the inside looking out. Whether isolationist, voyeuristic or plainly curious, it is a perspective I am particularly familiar with as someone who is stuck indoors for many months of the year. Yet I don’t believe that orientation is required to appreciate her work. She strikes a chord with a very relateable perspective- all of us view the world from a place of our own security, the place of our choosing, and how far we choose to look can alter how we see that which is right in front of us, reflected in her romantic study of depth of field.
I’ve seen a couple articles floating around in the past week or two on this topic and thought it deserved a little more. I think this is going to be a topic of discussion for some time. I feel a push and pull with this issue often and explore it in my thoughts often and often discuss it with friends and my fellow Hungry Ghosts.
As a starting point, I will refer you to the Item of the Week:
How does the camera shape our experiencing of a thing?…
Happy Monday, everyone! Today I’d like to share with you some work I love by Japanese photographer Miyoko Ihara (pictured above with her Grandmother Misao and the cat Fukumaro). Her work has gained a lot of popularity on the internet over the past couple years, and with good reason.