Yearly Archives: 2012

Henry Horenstein | “Henry Horenstein Honky Tonk: Portraits of Country Music” The New York Photo Review

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From The New York Photo Review:

In retrospect, it is hard to tell which influences were conscious and which simply the tenor of the times. The 70’s were a period of transition in photography as well, with traditional documentary approaches being influenced by conceptual approaches from the art world. Whatever the case may be, these images form an important record of a transitional time in both the country music culture and its environment.

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Henry Horenstein | “Drinking, Dancing, Dolly Parton: Photos Of The ’70s Country Music Scene” NPR

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From NPR.org

The point is: He has extensive documentation of a particular time in country music history. He bore witness to the rising star of Dolly Parton, the heyday of Del McCoury and the twilight of standbys like Lester Flatt. Above all, though, he says, he was “more interested in the last call and the lovers and the pictures like that.”

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Jen Davis | “Photos That Will Change How You Think About Your Body,” Oprah.com

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From Diana Spechler’s article for Oprah.com:

If you sat down with an accomplished self-portrait photographer, the last thing you might expect to hear is “I’m a bit uneasy in my skin right now.” But that’s what Jen Davis tells me as she eyes the voice recorder I’ve set between us on her living room couch. She tucks her legs beneath her. “In fact,” she says, “I have to admit I’m a little freaked out.”

Davis’s inhibitions are understandable. She spent ten years creating striking, seductive images of her own 269-pound frame, and now, suddenly—with the top portion of her stomach cinched by a silicone Lap-Band and the extra weight melting away—her subject is disappearing before her eyes.

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Michael Massaia | “Michael Massaia’s platinum pictures,” Phaidon

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From Phaidon’s review of artworks by Michael Massaia :

Native New Jersey photographer Michael Massaia creates silvery, dreamlike renderings of his home state and neighbouring New York, taking pictures of landmarks and well-loved areas emptied in the dead of night. Many of the images have an eerie sense of stillness; his “Seeing The Black Dog” series captures a phenomenon that sleep-deprived truck drivers describe where they see hallucinatory black dogs on the highway and so know it’s time to pull over and rest. “The instant this decision is made is when I creep out of the shadows with my view camera and capture the moment the dogs melt away,” he tells Phaidon.

Another of Massaia’s projects, “Deep In A Dream,” saw the photographer roaming around Central Park in the small hours during a period in March just before the trees fully sprouted their leaves. Although he uses slow and cumbersome Platinum/ Palladium printing techniques, Massaia says that this doesn’t slow him down unduly as he tends to work quite “mechanically”. “One of the big reasons I do Platinum printing, and use large format film cameras, is I suppose a reaction to the gluttonous nature of what photography has become,” he explains. “In many ways digital image capture has taken so much of the magic out of photography.”

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View Michael Massaia’s series “Deep in a Dream: Central Park”
View Michael Massaia’s series “Afterlife: New Jersey”
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Robin Schwartz | “Getxo Photo 2012,” Le Journal de la photographie

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From Le Journal de la photographie:

Born in New Jersey in 1957, Robin graduated in Fine Arts and Photography from the Pratt Institute in New York. Her work forms part of the permanent collection of prestigious institutions including the Metropolitan Museum of Art and MoMA (New York), and the Smithsonian American Art Museum (Washington). She was credited as a finalist at the Hyères Festival of Fashion and Photography in 2010, she was presented at the annual National Geographic seminar, and also appeared this year in a master talk at the LOOK3 Festival at Charlottesville. She has published three books, “Like Us: Primate Portraits,” “Dog Watching,” and “Amelia’s World,” the latter published by Aperture.

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Brian Finke | “Goings On About Town,” The New Yorker

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Vince Aletti from The New Yorker writes:

Following previous series on cheerleaders, football players, bodybuilders, and flight attendants, Finke shows color photographs of construction workers on the job, usually in New York. Some pictures are of the site itself, but guys in hard hats dominate (only one woman appears here), and most of them go about their business, paying little or no attention to the photographer in their midst. The work may not be staged, but it rarely feels spontaneous; Finke has such a strong sense of composition that even the most casual moments are perfectly framed.

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Henry Horenstein | “Henry Horenstein’s Honky Tonk,” Time Magazine

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From Time Magazine:

When photographer Henry Horenstein photographed Dolly Parton in 1972 he was bold enough to question her choice in clothing. So profound was his respect for her music, Horenstein wondered why Parton often dressed in over-the-top costumes for performances. Her answer was simple: “People don’t come out to see me looking like everybody else.”

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Brian Finke | “Construction,” Picture Dept

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From Picture Dept:

Brian Finke captures moments mundane to the point of intimacy in a manner that feels supernatural. His past work with flight attendants and high school cheerleaders reveals his ability to portray often-stereotyped characters in a remarkable light. Construction continues this process of discovering the diversity within a seemingly uniform group.

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Henry Horenstein | “Honky Tonk,” Design Arts Daily

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From Peggy Roalf’s story for Design Arts Daily:

Henry Horenstein has probably taught more photographers and snapshooters than any other person working today (or at any time, for that matter), between his classes at Rhode Island School of Design (RISD) and his “basic manuals” on Black & White and Digital Photography. When he was a student at RISD, the advice given him by his teacher, Harry Callahan, was to photograph people and places that he was naturally drawn to.

Henry was raised on country music and was a regular at country venues, called ‘honky tonks,’ around Boston. So he began to make pictures in these lively establishments, capturing images of music performances, dancing and a touch of debauchery. Even if he got lousy pictures, Callahan told him, he was sure to have a good time.

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Henry Horenstein | “The heyday of Honky Tonk,” Mail Online

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From The Daily Mail Online:

Black and white photos of the early days of some of country music’s hottest acts show scenes of the quintessential American subculture.

The series of photographs from the 1970s, which purists argue was the heyday of the industry, feature candid shots of artists like Dolly Parton, Jerry Lee Lewis and Waylon Jennings.

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Brian Finke | Brian Finke and “Construction,” The Photographer Discloses

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From The Photographer Discloses

Not only is Brian Finke a talented photographer but his answers to my questions are nothing short of inspiring. In anticipation of his new book Construction published by Decode Books and the show that goes along with it, I am excited to have had the chance to discuss the work with him. From September 6th to October 13th “Construction” will be on display at ClampArt in Chelsea. The show opening coincides with the book release this week.

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Brian Finke | “Flight Attendants,” LensCulture

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From LensCulture:

Brian Finke spent two years of his life, flying around the world, photographing uniformed flight attendants.

He crisscrossed the United States making photographs on Delta, JetBlue, Hawaiian, Hooters Air, Southwest, and Song airlines before going abroad with such carriers as Air France, Qantas, and British Airways. In London, Finke visited a flight attendant school complete with emergency rafts and billowing smoke. And then, continuing east, he traveled Air Asia, Thai, Tiger, ANA, Japan, and Cathay Pacific. He finished his globe-trotting with Icelandair.

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