Heavy II — LA Launch

We’re excited to announce Heavy II is finally launching internationally and we’ll be heading US way for the occasion. Thank you everyone for your patience, we took no joy in splitting the release and we can’t wait to share it with you. Please join us on Saturday the 4th of March, 7-9pm for cold beers and new paper at Family Books for the LA launch of Heavy II.

A compendium of contemporary photography focusing on the conversation; Heavy Volume II is in an exploration of image and text on the printed page. Featuring — Dana Lixenberg, Susan Lipper, Irina Rozovsky, Stephen Shames, Curran Hatleberg, Daniel Shea, Mark Peckmezian, Deanna Templeton, Yoshinori Mizutani, Joanna Piotrowska, Aglaia Konrad and Katrin Koenning, with interviews and essays from Stanley Wolukau-Wanambwa, Wilfred Brandt, Hideko Ono, Claire Monneraye, Ashley McNelis, Geordie Cargill, Alex Ward, Lola Pinder and Jack Harries.

When — Saturday 4th March, 7-9pm.

Where — Family Books, 436 N Fairfax Ave, LA.

Heavy. II. — Melbourne Launch

Please join us on Saturday the 28th of January at Magic Johnston for the Melbourne launch of Heavy II presented by Perimeter Books.

A compendium of contemporary photography focusing on the conversation; Heavy Volume II is in an exploration of image and text on the printed page. Featuring — Dana Lixenberg, Susan Lipper, Irina Rozovsky, Stephen Shames, Curran Hatleberg, Daniel Shea, Mark Peckmezian, Deanna Templeton, Yoshinori Mizutani, Joanna Piotrowska, Aglaia Konrad and Katrin Koenning, with interviews and essays from Stanley Wolokou-Wanambwa, Wilfred Brandt, Hideko Ono, Claire Monneraye, Ashley McNelis, Geordie Cargill, Alex Ward, Lola Pinder and Jack Harries.

When — Saturday 28th January, 7-9pm. Where — Magic Johnston, 27-29 Johnston Street. Collingwood.

Heavy Volume I and II will be available throughout the event. Purchase online here.

The Gray Line is a series of portraits that artist Kristine Potter made at West Point Military Academy, which has trained a large number of high-ranking Army officers and eventual U.S. politicians. Raised in a military family, Potter notes that “a very particular kind of patriarchy and folklore associated with military heroism” pervaded her childhood years. In this series of photographs, made between 2005 and 2010 at the height of the Iraq and Afghanistan wars, Potter attempts to disrupt the binary language that conflict seems to publicly heighten. “I’m not interested in voicing opinions of whether war is right or wrong. It exists. My voice has always focused on the human drama. These are people and they get used in the political sphere. But in the end, they’re not symbols, they’re humans with complex feelings and lives, and I find that compelling.” 

— (Text courtesy of Lightwork.org)

Kristine Potter’ The Gray line opens January 17th – March 3rd at the Kathleen O. Ellis Gallery in Syracuse, NY, with an opening reception and gallery talk on Thursday Feb the 2nd, 5-7pm. Head to Lightwork.org for more information.

Kate Darmody in conversation with Canadian photographer Birthe Piontek.

"from very early on I’ve been interested in taking portraits and trying to understand and express what is “inside” and “beneath” the visible surface. That’s why, over time, my approach shifted from a documentary to a more conceptual way of working as I felt that by “purely documenting” I wasn’t really able to express or access those deeper layers of our complex identities."

Join Luke van Aurich and No Vacancy Gallery for the opening of ‘Good Night’ at the Federation Square Project Space on Friday 13th of January, 6 – 9 PM.

Developing his documentary inclinations, Luke Van Aurich aims to create a space filled with allegorical tropes from the isolated details and themes captured. The series intends to enable the viewer in constructing their own narratives, as the images create environments that act as allegories of our own.

The exhibition ‘Good Night’ showcases a series of black & white film photographic images from 2012 -2016, framed 1/1 editions printed both with a Risograph & Giclée, installations & sound.

Friday Fry Up: Peter Garritano

Peter Garritano’ Hajwalah explores the evolution of the United Arab Emirates drifting culture, it’s push away from the cities and the pursuits of formalizing an illegal sport with a rich history in death and destruction.

Friday Fry Up: Peter Garritano

Peter Garritano’ Hajwalah explores the evolution of the United Arab Emirates drifting culture, it’s push away from the cities and the pursuits of formalizing an illegal sport with a rich history in death and destruction.

This coming Friday Transmitter reopen doors for the launch of Photo II, their first show for 2017 and it’s a must see. Featuring Irina Rozovsky, Eli Durst, Lindsay Metivier and Erin O’keefe, Photo II kicks off on January 6th, 6-9pm and runs through to February 12th, 2017. Don’t miss it. Visit transmitter.nyc for more info.

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In the late 1970’s, when post-modernism in photography was born, two well-defined camps evolved, pitting straight (or traditional) photography against set-up (or conceptual) photography. These divisions were a point of contention. One could not only lose friends but also risk opportunities to be shown or published by identifying with one or another side. While the intensity of these disagreements might seem silly and romantic in retrospect, at a time when few galleries showed photography and publishing a book was rare, the limited opportunities to have one’s work seen heightened tensions over what might constitute a good photograph going forward.

Questions and answers with Vermont based photographer and filmmaker Tara Wray now up on our site.

Made while roaming the rural landscape of central Vermont from 2011-2016, Wray's forthcoming book "Too Tired for Sunshine." is an exploration of loneliness and death, through a lens of absurdity and humour.

Heavy II is now sitting on shelves at Sydney's Beautiful Pages, get it to give, or just for keeps. 📘🎁

Foreigner – Migration in Europe 2015-6 (John Radcliffe Studio)

“What could be argued as ‘factual’ images presented in the media often lack a certain oneric depth and could be seen to present displaced people as a threat to daily life. Refugees’ efforts to travel out of indescribable situations framed as either boats arriving on our coastline as a threat – images of this journey are complex, with intricate political and social reasonings. Zaugmut Bygman states in relation; “For the time being, the “public discussion” is dominated by the resentment of “foreigners”, “the usual suspects” in times of acute uncertainty and fears of a social earthquake approaching.”₆

“Foreigner adds a scope to these journeys and their precarious guests that give shape, hope and a human voice to forced dislocation.”