yes
working my ass of on how to get it in
Wednesday, March 31, 2010
Tuesday, March 30, 2010
Vox Populi Project Space - Accepting Applications
The Vox Populi Project Space (VPPS) serves as a versatile rent-free incubation space within Vox Populi, in the active arts building at 319 North 11th Street. The space is open to artists, curators, gallerists, designers, and others seeking to pilot a project. The Project Space aims to mitigate risks involved in these upstarts by providing administrative support and the physical space needed to realize discrete projects which have as a primary focus an interest in fostering contemporary visual art, dialogue, and debate in Philadelphia.
Click title to take you to site.
Click title to take you to site.
Monday, March 29, 2010
There are exceptions to all of general guidelines that I use for making my photos, nothing is locked down. But they are all are flat, embracing 2 dimensionality. And almost all of the portraits are images made in collaboration with the person posing for the portrait. And from start to finish I have worked to make images that are not precious, images that can stand up to poor quality color coping, lose all highlight and shadow and withstand huge color range shifts, and still retain their integrity. For the most part I've been able to hold fast to that although it's been a struggle.
Photos that are direct and subtle simultaneously. Photos without great sentimentality. Photos that look like snapshots but with formal elements. Photos that reference the history of photography and the history of painting. Photos that are all constructed within the moment, with no set up. No staging, simple, familiar. And photos that will work being shown outside, under a highway.
Happy Passover.
Photos that are direct and subtle simultaneously. Photos without great sentimentality. Photos that look like snapshots but with formal elements. Photos that reference the history of photography and the history of painting. Photos that are all constructed within the moment, with no set up. No staging, simple, familiar. And photos that will work being shown outside, under a highway.
Happy Passover.
Sunday, March 28, 2010
Just recently noticed that I've been using a messed up file of "Everything." I had to fix the exposure on the ground and then cropped the sidewalk up and not the ground. I'm just thinking of it like a mis-minted coin.
Firefighters is another photo that has to have some work done pre-printing. The ground is way blown out and I'm going to do the same kind of digital burning that I had to do for "Everything." It's a real shame I have a pretty limited knowledge of photoshop skills.
Firefighters is another photo that has to have some work done pre-printing. The ground is way blown out and I'm going to do the same kind of digital burning that I had to do for "Everything." It's a real shame I have a pretty limited knowledge of photoshop skills.
Nuclear accident at Three Mile Island, March 28, 1979.
From History.com...
"At 4 a.m. on March 28, 1979, the worst accident in the history of the U.S. nuclear power industry begins when a pressure valve in the Unit-2 reactor at Three Mile Island fails to close. Cooling water, contaminated with radiation, drained from the open valve into adjoining buildings, and the core began to dangerously overheat.
The Three Mile Island nuclear power plant was built in 1974 on a sandbar on Pennsylvania's Susquehanna River, just 10 miles downstream from the state capitol in Harrisburg. In 1978, a second state-of-the-art reactor began operating on Three Mile Island, which was lauded for generating affordable and reliable energy in a time of energy crises.
After the cooling water began to drain out of the broken pressure valve on the morning of March 28, 1979, emergency cooling pumps automatically went into operation. Left alone, these safety devices would have prevented the development of a larger crisis. However, human operators in the control room misread confusing and contradictory readings and shut off the emergency water system. The reactor was also shut down, but residual heat from the fission process was still being released. By early morning, the core had heated to over 4,000 degrees, just 1,000 degrees short of meltdown. In the meltdown scenario, the core melts, and deadly radiation drifts across the countryside, fatally sickening a potentially great number of people.
As the plant operators struggled to understand what had happened, the contaminated water was releasing radioactive gases throughout the plant. The radiation levels, though not immediately life-threatening, were dangerous, and the core cooked further as the contaminated water was contained and precautions were taken to protect the operators. Shortly after 8 a.m., word of the accident leaked to the outside world. The plant's parent company, Metropolitan Edison, downplayed the crisis and claimed that no radiation had been detected off plant grounds, but the same day inspectors detected slightly increased levels of radiation nearby as a result of the contaminated water leak. Pennsylvania Governor Dick Thornburgh considered calling an evacuation.
Finally, at about 8 p.m., plant operators realized they needed to get water moving through the core again and restarted the pumps. The temperature began to drop, and pressure in the reactor was reduced. The reactor had come within less than an hour of a complete meltdown. More than half the core was destroyed or molten, but it had not broken its protective shell, and no radiation was escaping. The crisis was apparently over.
Two days later, however, on March 30, a bubble of highly flammable hydrogen gas was discovered within the reactor building. The bubble of gas was created two days before when exposed core materials reacted with super-heated steam. On March 28, some of this gas had exploded, releasing a small amount of radiation into the atmosphere. At that time, plant operators had not registered the explosion, which sounded like a ventilation door closing. After the radiation leak was discovered on March 30, residents were advised to stay indoors. Experts were uncertain if the hydrogen bubble would create further meltdown or possibly a giant explosion, and as a precaution Governor Thornburgh advised "pregnant women and pre-school age children to leave the area within a five-mile radius of the Three Mile Island facility until further notice." This led to the panic the governor had hoped to avoid; within days, more than 100,000 people had fled surrounding towns.
On April 1, President Jimmy Carter arrived at Three Mile Island to inspect the plant. Carter, a trained nuclear engineer, had helped dismantle a damaged Canadian nuclear reactor while serving in the U.S. Navy. His visit achieved its aim of calming local residents and the nation. That afternoon, experts agreed that the hydrogen bubble was not in danger of exploding. Slowly, the hydrogen was bled from the system as the reactor cooled.
At the height of the crisis, plant workers were exposed to unhealthy levels of radiation, but no one outside Three Mile Island had their health adversely affected by the accident. Nonetheless, the incident greatly eroded the public's faith in nuclear power. The unharmed Unit-1 reactor at Three Mile Island, which was shut down during the crisis, did not resume operation until 1985. Cleanup continued on Unit-2 until 1990, but it was too damaged to be rendered usable again. In the more than two decades since the accident at Three Mile Island, not a single new nuclear power plant has been ordered in the United States."
"At 4 a.m. on March 28, 1979, the worst accident in the history of the U.S. nuclear power industry begins when a pressure valve in the Unit-2 reactor at Three Mile Island fails to close. Cooling water, contaminated with radiation, drained from the open valve into adjoining buildings, and the core began to dangerously overheat.
The Three Mile Island nuclear power plant was built in 1974 on a sandbar on Pennsylvania's Susquehanna River, just 10 miles downstream from the state capitol in Harrisburg. In 1978, a second state-of-the-art reactor began operating on Three Mile Island, which was lauded for generating affordable and reliable energy in a time of energy crises.
After the cooling water began to drain out of the broken pressure valve on the morning of March 28, 1979, emergency cooling pumps automatically went into operation. Left alone, these safety devices would have prevented the development of a larger crisis. However, human operators in the control room misread confusing and contradictory readings and shut off the emergency water system. The reactor was also shut down, but residual heat from the fission process was still being released. By early morning, the core had heated to over 4,000 degrees, just 1,000 degrees short of meltdown. In the meltdown scenario, the core melts, and deadly radiation drifts across the countryside, fatally sickening a potentially great number of people.
As the plant operators struggled to understand what had happened, the contaminated water was releasing radioactive gases throughout the plant. The radiation levels, though not immediately life-threatening, were dangerous, and the core cooked further as the contaminated water was contained and precautions were taken to protect the operators. Shortly after 8 a.m., word of the accident leaked to the outside world. The plant's parent company, Metropolitan Edison, downplayed the crisis and claimed that no radiation had been detected off plant grounds, but the same day inspectors detected slightly increased levels of radiation nearby as a result of the contaminated water leak. Pennsylvania Governor Dick Thornburgh considered calling an evacuation.
Finally, at about 8 p.m., plant operators realized they needed to get water moving through the core again and restarted the pumps. The temperature began to drop, and pressure in the reactor was reduced. The reactor had come within less than an hour of a complete meltdown. More than half the core was destroyed or molten, but it had not broken its protective shell, and no radiation was escaping. The crisis was apparently over.
Two days later, however, on March 30, a bubble of highly flammable hydrogen gas was discovered within the reactor building. The bubble of gas was created two days before when exposed core materials reacted with super-heated steam. On March 28, some of this gas had exploded, releasing a small amount of radiation into the atmosphere. At that time, plant operators had not registered the explosion, which sounded like a ventilation door closing. After the radiation leak was discovered on March 30, residents were advised to stay indoors. Experts were uncertain if the hydrogen bubble would create further meltdown or possibly a giant explosion, and as a precaution Governor Thornburgh advised "pregnant women and pre-school age children to leave the area within a five-mile radius of the Three Mile Island facility until further notice." This led to the panic the governor had hoped to avoid; within days, more than 100,000 people had fled surrounding towns.
On April 1, President Jimmy Carter arrived at Three Mile Island to inspect the plant. Carter, a trained nuclear engineer, had helped dismantle a damaged Canadian nuclear reactor while serving in the U.S. Navy. His visit achieved its aim of calming local residents and the nation. That afternoon, experts agreed that the hydrogen bubble was not in danger of exploding. Slowly, the hydrogen was bled from the system as the reactor cooled.
At the height of the crisis, plant workers were exposed to unhealthy levels of radiation, but no one outside Three Mile Island had their health adversely affected by the accident. Nonetheless, the incident greatly eroded the public's faith in nuclear power. The unharmed Unit-1 reactor at Three Mile Island, which was shut down during the crisis, did not resume operation until 1985. Cleanup continued on Unit-2 until 1990, but it was too damaged to be rendered usable again. In the more than two decades since the accident at Three Mile Island, not a single new nuclear power plant has been ordered in the United States."
Saturday, March 27, 2010
"Claudia and Béla"
Actually, this series might be titled
"Watch Out, The Cute Levels of These Two Are So High You Might Be Blinded By Their Adorability"
Polaroid day was an amazing success. Thanks to everyone who came and got their photo taken.
Thanks to my mom, Christine, Alison, Ashley and my lady, LB. Thanks to Marianna for all of her help and a get well shout out to her mom. And thanks to my friend and archivist, Stephen Millner.
Here's some links of interest related to the great attendees of polaroid day...
Tasting Freedom: Octavius Catto and the Battle for Equality in Civil War America
by Daniel R. Biddle and Murray Dubin
Art Blog
Fresh Air from WHYY
Grid Magazine
Friday, March 26, 2010
Thursday, March 25, 2010
Change Up In Available Polaroid Backgrounds
Get ready for good times if you're getting a polaroid on Saturday.
First, sad to say I don't have the Paula's Union Hall backdrop because I donated it to DePauw. I totally forgot about that. But! You will have your choice of 4 backdrops.
Elevator Button Photo Mural as seen above.
or
Fire Alarm Photo Mural
or
Krass Brothers Last Day
or
Lights At Phillies Game
#9
#193
5,975 km / 3,713 miles
Lottery gambling and addiction: An overview of European research
Pathological gambling
The Lottery by Shirley Jackson
Game Theory
Theory of Social Situations
"No such thing as luck. A meaning behind every little thing, and such a meaning behind this. Part for you, part for me, may not see it all real clear right now, but we will, before long.” -Richard Bach
Wednesday, March 24, 2010
Examples of How I-95 Is Structured
These 3 photos are in it...
1.
The photo above was made in Las Vegas during NBA All-Star game weekend. LB and I were at the slam dunk/ 3 point shoot out night at leading up to the UNLV It's taken from the top of the stairs looking down. When I made it was just a throwaway photo, one I hadn't given a lot of thought to... but it was one that I put in to consideration for inclusion in America. Even though the image became the cover of the book, I was still on the fence about it's inclusion in 95 until I decided that the implications of "red carpet" were important to include as a part of the installation. Are there other photos I prefer to this one? Yes, plenty. But are there other photos that can connect so strongly to the other "red carpet" photos? No. And are there other photos that have such a complete 2 perspective form? No. This photo was made from the top of a flight of stairs looking down, but could easily be the camera at a low angle looking head on at a flight of stairs. And of the photos that could go into the first aisle, I like this because it implies coming and going due to the dual perspective. And, finally, "red carpet stairs" precedes "door in open structure," an invitation to transgression and a red carpet rolled out for both the entrance and the exit.
Then there's this winner, "hotel room ceiling red carpet," a photo that's important for a few reasons. Obviously, it's a direct reference to "The Red Ceiling" by William Eggleston . It's of great importance to me to have photos that directly connect to art history. I could go on and on about that, but I'm not going to.
Formally and theoretically, reflection plays a big part in the installation and this image uses reflection in more than one way, a literal reflection of the carpeted walls creating a somewhat confusing extension of the walls to the ceiling, and it's a image that reflects the historical importance of Eggleston's Red Ceiling.
And here's another important one. It's a photo of the floor where a friend was found dead after having shot himself in the head. The bags on the floor are where his head was, the medical examiner people put them down because the floor was soaked. He was laying on his back with his head facing left. His head bled mostly toward the right, toward his records. Now that was a pretty traumatic experience. And this photo causes me great anxiety every time I look at it. I'm putting a lot of myself out there and that's an important part of the installation. I ask a lot from people; for them to trust me with images I make of them, some of which talk about past or ongoing tragedies or difficulties. And I ask a lot from people who look at the photos. So I demand a lot from myself in terms of including very personal images in the installation and this is a really demanding photo.
I could go on and on about each of these 3 photos.
The decision on which photos to include is just one part of the process of constructing the installation, where they're placed is as important as the individual images. Because these photos have vibrant color fields happening, they have to be placed at a pretty good distance from each other. Plus, if it's possible, I'd like each of these photos to be facing different directions.
Do people need to know any of the reasons for why these photos were chosen? Or do they need to know about the decisions that went into the placement of photos in the installation? No, they don't. Anyone who sees them can make their own narrative, of the indvidual images and the connection between the photos.
And that's how all the images are picked out and ordered, all 231 of them. Some are more difficult than these 3 and some are less, but this is a pretty good description of how it goes.
-----
I was going to write some long thing about these 2 lottery photos, but I'm too tired.
-----
1.
The photo above was made in Las Vegas during NBA All-Star game weekend. LB and I were at the slam dunk/ 3 point shoot out night at leading up to the UNLV It's taken from the top of the stairs looking down. When I made it was just a throwaway photo, one I hadn't given a lot of thought to... but it was one that I put in to consideration for inclusion in America. Even though the image became the cover of the book, I was still on the fence about it's inclusion in 95 until I decided that the implications of "red carpet" were important to include as a part of the installation. Are there other photos I prefer to this one? Yes, plenty. But are there other photos that can connect so strongly to the other "red carpet" photos? No. And are there other photos that have such a complete 2 perspective form? No. This photo was made from the top of a flight of stairs looking down, but could easily be the camera at a low angle looking head on at a flight of stairs. And of the photos that could go into the first aisle, I like this because it implies coming and going due to the dual perspective. And, finally, "red carpet stairs" precedes "door in open structure," an invitation to transgression and a red carpet rolled out for both the entrance and the exit.
Then there's this winner, "hotel room ceiling red carpet," a photo that's important for a few reasons. Obviously, it's a direct reference to "The Red Ceiling" by William Eggleston . It's of great importance to me to have photos that directly connect to art history. I could go on and on about that, but I'm not going to.
Formally and theoretically, reflection plays a big part in the installation and this image uses reflection in more than one way, a literal reflection of the carpeted walls creating a somewhat confusing extension of the walls to the ceiling, and it's a image that reflects the historical importance of Eggleston's Red Ceiling.
And here's another important one. It's a photo of the floor where a friend was found dead after having shot himself in the head. The bags on the floor are where his head was, the medical examiner people put them down because the floor was soaked. He was laying on his back with his head facing left. His head bled mostly toward the right, toward his records. Now that was a pretty traumatic experience. And this photo causes me great anxiety every time I look at it. I'm putting a lot of myself out there and that's an important part of the installation. I ask a lot from people; for them to trust me with images I make of them, some of which talk about past or ongoing tragedies or difficulties. And I ask a lot from people who look at the photos. So I demand a lot from myself in terms of including very personal images in the installation and this is a really demanding photo.
I could go on and on about each of these 3 photos.
The decision on which photos to include is just one part of the process of constructing the installation, where they're placed is as important as the individual images. Because these photos have vibrant color fields happening, they have to be placed at a pretty good distance from each other. Plus, if it's possible, I'd like each of these photos to be facing different directions.
Do people need to know any of the reasons for why these photos were chosen? Or do they need to know about the decisions that went into the placement of photos in the installation? No, they don't. Anyone who sees them can make their own narrative, of the indvidual images and the connection between the photos.
And that's how all the images are picked out and ordered, all 231 of them. Some are more difficult than these 3 and some are less, but this is a pretty good description of how it goes.
-----
I was going to write some long thing about these 2 lottery photos, but I'm too tired.
-----
Tuesday, March 23, 2010
Sluggo Agonistes by Michael Macfeat
Sluggo Agonistes, Minotaur
by Michael Macfeat
Click the link to see the series. I think of this one all the time... possibly one of the greatest things I've ever seen.
I-95 Volunteer Call
I need help for I-95 this year. So if you can help out, I would be incredibly appreciative. I need help with 2 big things... cleaning as always... and a new thing I need a lot of help with for this last year, giving out maps and helping with info during the show.
Cleaning is scheduled for
April 24th at 1PM
and
May 1 at Noon
and the morning of the show, anytime before noon on May 2nd.
AND!
If you can help on the day of... giving out maps, answering questions, smoothing down photos... that would be great. The info training meeting for volunteers will be on May 1 at 3PM at PAP Headquarters.
Please send an email to mariannaatpap@gmail.com and let her know if you can help with either of these things. THANKS!
More information about these dates is forthcoming.
----
I-95 prep is in full gear.
PAP staff working
Cleaning is scheduled for
April 24th at 1PM
and
May 1 at Noon
and the morning of the show, anytime before noon on May 2nd.
AND!
If you can help on the day of... giving out maps, answering questions, smoothing down photos... that would be great. The info training meeting for volunteers will be on May 1 at 3PM at PAP Headquarters.
Please send an email to mariannaatpap@gmail.com and let her know if you can help with either of these things. THANKS!
More information about these dates is forthcoming.
----
I-95 prep is in full gear.
PAP staff working
Congratulations!
to Ashley Flynn for getting into the Art Institute of Chicago's MFA painting program and to Julia Staples for getting into Tyler's and RISD's MFA photo programs.
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