Appreciation, History and a Place in Contemporary Photography
Foto Relevance is committed to expanding appreciation of contemporary photography-based art. Periodically, artists and genres of photography will be selected for commentary, adding framework and historical context to selected work. Your comments are welcome.
In the 2015 Critical Mass 50 (CM50) of Photo Lucida, there were many fine photographers and works that exhibited imagination and creativity. I had the privilege of being one of the judges where three photographers caught my attention. This is the first of a three part article discussing how each of these three photographers give
The world for a photographer is bringing images to life and then having an individual, corporation or institutional collector building an art collection, or public space, acquire that work. Partnering with an “imaging” group is important for an artist that is asked to produce work beyond what their own tools and resources can provide. There
Humankind has created portraits since its earliest days. Portraiture took a large leap with the development of photography in the nineteenth century. We are intrigued with facial expressions whether looking at an image of a child, adolescent or adult. Consciously or subconsciously we give each part of the face close inspection looking for insight into
Jane Szabo’s series, “Sense of Self”, is a universal visual statement addressing the mental and physical struggles many of us feel. …“Sense of Self” will remind us that no matter how secure we may feel, that sense of security and certainty may be temporary and fragile, at best.
This is Part 2 of a Commentary of my review work at The Medium Festival of Photography in San Diego, California during late October 2015. Part 2 discusses selected non-traditional work by four very creative and experimental photographers. The work takes photography into regions that have roots in the past, but grow in creatively new
I was privileged to participate as a reviewer at the Medium Festival of Photography in late October in San Diego, California. The setting and photographers were exceptional in all aspects. The work ranged from traditional photography (discussed in this Commentary, Part 1) to creative and imaginative conceptual pieces (to be discussed in Part 2 of