Ignacio Evangelista was born in Valencia in 1965. He received his bachelor degree in Psychology from the University of Valencia before turning to photography. Ignacio applies an underlying theme of the human trace in his work. His project, After Schengen, of old and deserted border crossing points, was awarded The Project Development Grant from CENTER in Sante Fe.![]()
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Atfter Schengen
The After Schengen photo series is about photographing some of the old border crossing points that still exist out of order in all the states of the European Union. Border crossings have a function of geographical boundaries, but also an coercitive role since they prevent the free passage of people between one and another state. So there are places that, along with a cartographic dimension, are provided with historical, economic and political reminiscences; aspects absolutely related to landscape from a contemporary and transversal perspective.
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These quasi archaeological ruins have become part of the current landscape, forming a presence of the past that lies dormant in the present. The old border crossings are slowly disappearing, some are renovated and reconverted to new uses, some are destroyed for vandals, and some other just fall down due to the passing of time. So, after some few years there will be no possibility to look at these strong signs and symbols of the recent European history.
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To view more of Ignacio's work please visit his website.
Atfter Schengen
The After Schengen photo series is about photographing some of the old border crossing points that still exist out of order in all the states of the European Union. Border crossings have a function of geographical boundaries, but also an coercitive role since they prevent the free passage of people between one and another state. So there are places that, along with a cartographic dimension, are provided with historical, economic and political reminiscences; aspects absolutely related to landscape from a contemporary and transversal perspective.
These quasi archaeological ruins have become part of the current landscape, forming a presence of the past that lies dormant in the present. The old border crossings are slowly disappearing, some are renovated and reconverted to new uses, some are destroyed for vandals, and some other just fall down due to the passing of time. So, after some few years there will be no possibility to look at these strong signs and symbols of the recent European history.
To view more of Ignacio's work please visit his website.
Hattiesburg, MS (2013)
Ruston, LA (2013)
Ruston, LA (2013)
Sometimes This Can Be Difficult
Sometimes This Can Be Difficult is the current state of an ongoing project in which I attempt to explore my immediate Southern landscape, and the individuals I meet within it, through photography using my iPhone. I chose to work with the camera phone as a way to investigate the concept of experience through process, and as a way to force a technology often used to escape the physical world into one used to interact with the environment.
Meridian, MS (2013)
West Monroe, LA (2013)
West Monroe, LA (2013)
Meridian, LA (2013)
New Albany, MS (2013)
Choudrant, LA (2014)
Ruston, LA (2013)
Ruston, LA (2013)
To view more of Zachary McCauley's work please visit his website.
Meridian
Lantern
This Graceland
Relying on the language of self-portraiture, this anthology revolves around my relationship with masculinity and the South, revealing the underlines of alternative histories and heritage.
Tuxedo
Great Kills
Exhale
Golden State
Constellations
Discovery
Glory
Needless
Restoration
The Landmark
Artist Statement
My photography explores the traditions of the self-portrait operating in the terrains of the anthology film, performance, and staged photography. I reposition myself within and outside the boundaries of my picture making as a way to navigate through my own otherness as an Asian, gay Southerner. In using different subject matters, a discontinuity emerges, often to subvert the “artist as protagonist” inherent in self-portraiture while questioning my representation that is almost absent within the media. Thus, there is an implication that the self remains unfixed and the inability to locate myself that exists in my work.
To view more of Tommy's works please visit his website.
Knocknacree
A weekend refuge from the humdrum of city living, the solitude of Stradbally, Co. Waterford seemed the most unlikely of locations to serve as a backdrop to a 26 month photographic study. The serenity when interrogated would part with the most unassuming and generous of characters and over time would reveal its true self. I moved through the countryside in every possible direction and every now and then this quietest of characters would reveal something of itself through its inhabitants. The more time I spent there, the more this hard landscape would soften. The more it would let me in. The more I would understand.
To view more of Dylan's work please visit his website.
Nachtigall, or Nightingale in English, stemmed from Lena Grass' intimate relationship with the dark of night. She professes that being out at night has a special ability to reveal something about ourselves. Nachtigall presents us with this embrace of darkness and search of identity. We see fragments; moments that are unclear but appear to be fleeting and had almost gone unseen.
The book is signed, comes in a hand-numbered edition of 400, and includes a limited edition poster.
Title : “Nachtigall”, 2013
Size : 16.5 x 21.3 cm
Page Count : 64 Pages
Publisher : Self Published
Edition : 400, Signed & numbered, includes limited edition poster
Order Now
Wide Eyed
Wide Eyed departs from a reactionary response to my surroundings, grounded in a sense of wonder and awe. It is approached with the spirit of the wanderer and emphasizes democracy within the project structure. Wide Eyed persists as the undercurrent of my entire photographic process, bridging the gaps between more pointed investigations. As a result, this project avoids specificity in content and conceptual motivations. Rather, it functions more analogously to an archive, a database, a repository for meditations, glimpses and passing thoughts about my relationship to anything I may encounter. Wide Eyed is intended to be a breathing body of images; a space to bounce and veer and double back while maintaining the sensation of being in a place of familiarity without specificity.
To view more of Jon's work please visit his website.
Back Roads
These images come from my project Back Roads about places and/or activities that induces a prescribed experience. Just like how a photograph is framed and groomed, I wanted to explore how nature could be controlled and presented in the same manner. My initial attraction was to scenic overlooks, and campgrounds because of convenience of parking your car and stepping into nature is a double-edged sword — on one hand anyone can have the chance to enjoy these vistas, but on the other hand these landscapes shape the anticipation of how a place will be.
To view more of Chris' work please visit his website.
Bran w/ Cigarette
Hey Whitten, how’s it going?
Ah this is so crazy; I’m doing really well thanks for doing all of this.
So, where are you originally from?
Well, I’m from Jackson Mississippi, about two hours south of where I went to school.
Cody & Jason
Oh! Very cool I was not expecting you to be from Mississippi I don’t know why.
Oh Really? [Hahaha]
I just had a feeling that maybe you weren't, but that’s very cool. So did you know that you wanted to go to Mississippi State for photography? Was that a natural choice since you're so close to the school?
I guess I started taking photographs when I was 18. I went to a community college for two years so I was like 20 when I got done there and then I knew that all of my other friends went to the other school in Mississippi [Ole Miss] so really I just kind of went to Miss State because I didn't really know anyone that was going there. Essentially, it was the idea of me going to a new place where I didn't know anyone that intrigued me about going to Mississippi State.
Vaunte, Cobie, Anthony, Javin, & Jay
And so would you say that there is a good photo program at Miss State? Did you find the faculty helpful for this body of work and others that you made in school?
Looking back, I’m really glad I went there. My first year, which was my junior year, we got a visiting professor who ended up being a very good friend and certainly a mentor. He was great for me. He was very supportive and challenging.
That’s nice. It’s very good to have someone like that. What was his name?
Dominic Lippillo
Very cool. We will have to check him out.
Yeah, he's a great guy and great mentor.
Cadillac, Central Avenue
So lets start talking about your work specifically. How did you decide whom to photograph and how did you approach the people that you did?
Hmm... that’s well, ok well first of all let's start out with saying that the reason I enjoy making portraits is because I'm so intrigued by everyone. I go to the coffee shop every morning to prepare for my day. I love being able to sit and drink my coffee and the opportunity to just watch people and listen. I don't think the experience of meeting someone for the first time will ever get old, especially a stranger I photograph.
One of the reasons I chose to photograph the people I did, was their immediate proximity to me. We only lived a couple of miles apart but I knew that our daily experiences were incredibly different. I photographed men, more so than women I think, partly because of my own experience of being a male. When I was searching for men to photograph, I was looking for distinct outfits, cars, and environments that I attribute to my view of the contemporary African American male in the rural South. When approaching and portraying these men, it only comes from a place of complete respect and admiration. This is very important to me.
Jerry, After One Month
That’s fantastic. So did you find that a lot of people were curious as to who you were or what you were doing with a camera in that area?
Yes, certainly, and there’s all this, “what’s this guy doing” or is he up to no good?
American Flag, Lamar Avenue
Right, right.
A lot of times it was “are you the police?” and I would have to do my best at letting them know I wasn't and hope to gain their trust. Back then, I would just tell them I thought they were beautiful or that the light was really nice and just that I’m this interested curious photographer. So sometimes I would have to coax them a little or show them old photographs that I had. Sometimes I would be really lucky and they would say, “Oh, that’s my boy!”
Oh! No way!
Yeah and so they liked [the photographs] and thought they were interesting and unique so they had seen that I was trusted by these people so then they could let their guard down some and they wanted their own photograph.
Peaches' Friend, Mitchell
At first we assumed that you made these photogaphs with a view camera. Is that what you used? If not, what format did you shoot?
I actually shot with a Canon 5D MKII and a 50mm lens, always, and so that’s awesome that you asked that! I always hope that my work could read as being shot with a view camera. I observe a scene with attention to detail in mind, and how the edges of the frame are thought out. But in reality, I’m actually shooting quite quickly and not setting up a bulky camera or any equipment on a tripod.
Timothy & Tim
Yeah, that makes a lot of sense I think in terms of attention to detail, I also think that just the overall aesthetic and color of your images mimics color film.
Thank you!
I mean is that something you're trying doing in post or does it just come natural?
Yes! Certainly that’s the goal while shooting. There seems to be a certain quality about the rendering of light and color when shooting analog that is nicer and more natural looking than most digital images.
Custom Rims
Well, that sort of answers my other question. Have you considered shooting any other mediums like film or video or even recording audio?
Yes, I have. My first attempt at photographing strangers was shot with a cheap medium format Holga. It was quick and loose, and not very threatening or confrontational to the sitter. After this work, I did a small series of simple video portraits with strangers that were similar to Warhol's Screen Tests. I would set my camera up on a tripod, turn my back, and film for about five minutes without audio. This is an idea that I think I'll come back to one day.
I shoot with a canon AE1for personal photographs and when I'm traveling. For Christmas my uncle gave me a Mamiya 645 that I'd like to begin using more. Since most of the work I enjoy and study are made with a 4x5 view camera, and that's sort of the tradition for the type of work I like to make, I would like to begin working that way in graduate school. I think to some degree I'm a bit nervous to begin working with a view camera, but also completely excited about the idea of slowing down a little when making photographs. [haha]
Yeah, that’s really interesting. It sounds pretty nice. We’d love to see those.
Mr. Thomas & Mrs. Nora
So let's talk about how your peers responded to this work, specifically in your classes when you showed them in critiques.
Oh yeah! Well, its kind of hard to answer, I don't know if my peers really knew how to react to the images. Maybe they didn’t understand why I loved shooting these subjects. I feel like the conversation was never very critical but I understand that speaking in an environment like that can be difficult sometimes. I think most of the questions asked about my work was about aesthetic – “Why do you always put your subjects in the center?”
Yeah, I mean we can relate to that. We had very similar dialogues in our critiques, very low conversations, and you do have to rely on your professors a lot to get the feedback that will actually push the body of work in the right direction.
At any level, I think, it's rare to have people care about work that's not their own, and to be able to talk about it objectively and enthusiastically. I don't know. That situation can be very tense and unnatural.
Perry & Charles
So you mentioned wanting to go to graduate school, do you know where you'd like to go, have you been applying to any?
I applied to several schools. The way in which I went about applying to specific schools was based on a few things: funding, location, faculty, and I also looked at the work that was being made by graduate students.
Very nice. That’s great, man! So regardless of where you decide to go or where you get in, do you want to continue this type of work? Meaning that you're working within the African American communities and the concept around interacting with 'strangers'.
Yeah, I think that I’ll always be interested in this work based on where I'm from and the situations that still exist here. For now, I'm going to continue photographing African Americans because it's still challenging. I question, probably too much, and doubt what I'm doing every day! Some days I decide I'm going to photograph something different but I cant seem to escape going back to the same places. For me right now, the idea of photographing white men seems too easy. I think I'll also continue working with strangers as well. I feel a bit more comfortable when working with people I haven't met before. When I'm taking pictures, it's a very personal and intimate experience for myself – one that I think I'm a little scared to share with certain people. I feel a little more anonymous, maybe. I'm certainly interested to see how a new environment will affect my imagery.
Derrick, Odis, Willie, Billy, Tae, & Eric
It does! So how do you feel that your work represents the South, I know that you said that you cant necessarily escape this region. Can you speak on that a little?
Looking back, I kind of hate the title because I'm saying this is definitely of the South but at the time that's what I wanted to do. I think that some of the specific imagery in the photographs like the cars, men smoking, and camouflage are some things that represent this specific group of people living in the South. In some ways, I was pointing my camera at stereotypes of a people group, but they are also accurate in a way.
Yes, it’s hard to ignore stereotypes sometimes, especially when seeing them in real life.
I think sometimes people in the South want to believe certain issues don't still exist, but I think my work is about challenging or confronting that.
Yes, absolutely! So I think we should wrap up with the future of your work and career. You've been starting to work with galleries and things. Do you have gallery representation right now?
No, my teacher started sending me links to shows that deal with identity or places or portraiture. Those are kind of the shows that I submit to, like juried exhibitions. So that’s how that comes about. But then, when I was still living in Starkville, I forget when I was contacted, maybe April-June of 2013, by Alan F. Rothschild, the creator of The Do Good Fund. He contacted me and this was amazing this was kind of right at the beginning when he was starting this collection, and I wasn't sure what was going on. I was like 'This guys wants to buy my photographs? What does this even mean? 'Cause no one buys photographs and no one buys mine’ and I'm not used to that.
But, Alan contacted me and said, 'we're trying to start this initiative of collecting southern photography and exhibiting in places where people can't necessarily afford to go to a museum and see it, so we're trying to bring it to other places. He found my work through the internet or through my school maybe. I sold him two photographs and I look at the website everyday now because I'm quite amazed at the company that I'm surrounded by, of everyone else’s work he's reached out to or just acquired. It feels amazing. Through that I've had some really fortunate things happening lately. So I don't know if you're interested in all that anyway… Ok, so are you guys aware of Oxford American’s Eyes on the South?
Orange House
Yes, our friend Jeff Rich runs that section of the site.
Yeah! Jeff Rich is also a part of the Do Good Fund and saw my work and through that asked me if I’d like to be a part of it and I was like "of course!" It’s such good company. My mind is... I can't explain it really.
James, 24
It is a pretty incredible list on there. I personally know a lot of these people that are just so talented. It's funny actually, Jeff Rich was our professor. He used to teach at SCAD before he moved to Iowa this past year. We are hopefully going to see him next week!
How was he as a professor?
He was really talented photographer and a very nice guy.
I kind of wish I would have applied to Iowa after seeing that he worked there.
Antonio's Brother
Jeff is the type of guy if you ever wanted to email him to critique your work I know he would love to help out in any way.
That's fantastic. When it hadn’t been published yet on Oxford American, I sent him an email kind of saying how thankful I was and I told him "If you ever need anything, let me know" and he said "I might actually take you up on that." I guess he's trying to make more work on the Mississippi River and he was like "Maybe I’ll be down in Memphis and I might need something from you." I said that’d be great. I'm kind of just overwhelmed by everything right now.
You should be excited! You’re making really good work and its getting the attention it deserves.
Thank you so much. And another thing, I love the work that ya’ll feature and its crazy that you wanted my work to be on the website.
Thank you. That’s very nice of you! Thanks for taking the time to talk with us. We really appreciate it!
Frederick, Coach, & John Outlaw
"I can't say for certain what it is that drew me to these places, but I can say I had a sincere interest in the people that lived there, the unique styles of clothing they wore, and the vibrant colors that surrounded them."
To view more of Whitten's work please visit his website.
2014 SPE National Conference
Collaborative Exchanges: Photography in Dialogue
In an age of interconnectedness, photographers are no longer solitary practitioners peering at the world through the singular eye of the viewfinder. Rather, photography is positioned at the heart of the contemporary art discourse, establishing relationships with a broad array of ideas and media. Photographers are reaching outside of themselves more than at any point in history, to collaborate with other artists and writers, expand international relationships, engage with and empower communities, organize into teams and collectives, hybridize across media and materials, and build online resource groups and community non-profit organizations to facilitate their ideas. This conference illuminates this new paradigm and celebrates the spirit of cooperation and social linkages. Join us in Baltimore for the 51st gathering of SPE and a celebration of the power of community and social exchange to propel new thinking in photographic practice.
1400 artists, educators and photographic professionals for programming and dialogue that will fuel your creativity. Explore our exhibits fair, participate in one-on-one portfolio critiques & reviews, informal portfolio sharing and take advantage of student volunteer opportunities for reduced admission. Other conference highlights include a print raffle, silent auction, film screenings, exhibitions, tours, receptions, a dance party and more!
Downloadable Conference Program Guide
Baltimore, MA
March 6th-9th, 2012 @ Hilton
Keynote: Joan Fontcuberta
Featured Speakers: Joan Fontcuberta, Zoe Strauss, Nicholas Kahn and Richard Selesnick
Honored Educators: Susan kae Grant
See https://www.spenational.org/conference for more details.
Barrow Cabin 10, Summer 2010
Barrow Cabin 10, Winter 2012
Barrow Cabin 03, Summer 2010
Barrow Cabins
These pictures depict seasonal hunting cabins built by the native Iñupiat inhabitants of Barrow, Alaska, as seen through the extremes of the Arctic summer and winter. The cabins are situated at the Northern most stretch of the United States, along the shores of the Chukchi Sea, part of the larger Arctic Ocean. Iñupiat families travel from Barrow to the cabins to hunt for waterfowl in the summer and seals in the winter.
Barrow Cabins is an extension of my continued interest in cultural and environmental modes of improvisation. Each structure has been fashioned out of whatever makeshift materials are on hand, from weathered plywood to old shipping pallets collected from the nearby-decommissioned Navy Base. Children’s swings are rigged from two by fours and plastic milk boxes, while old school chairs and car seats serve as patio furniture. Scraps of carpet and particleboard become footpaths across the loose ocean gravel and spongy permafrost tundra. I first photographed the cabins in 2010, in the midnight and early morning hours of the Arctic summer when the sun hangs almost perpetually at the horizon. The hunters are gone, their cabins and the hunting grounds empty.
In December 2012, I returned to photograph the cabins during the frigid grip of the Arctic Winter Solstice, when a brief four-hour window of dusk-like light illuminates the otherwise lightless days. The resulting winter images act as a sort of "negative" or luminous erasure of the photographs made during the summer. Seen together, both the summer and winter series are a meditation on the passage of time and seasonal shift along the extreme horizon of the Arctic.
Barrow Cabin 03, Winter 2012
Barrow Cabin 02, Summer 2010
Barrow Cabin 02, Winter 2012
Barrow Cabin 01, Summer 2010
Barrow Cabin 01, Winter 2012
Barrow Cabin 07, Summer 2010
Barrow Cabin 07, Winter 2012
Barrow Cabin 06, Summer 2010
Barrow Cabin 06, Winter 2012
Barrow Cabin 05, Summer 2010
Barrow Cabin 05, Winter 2012
The Arctic Ocean, Summer 2010
The Arctic Ocean, Winter 2012
Johnson's work is in the permanent collections of institutions including the San Francisco Museum of Modern Art, the George Eastman House, Rochester, NY, the Seattle Art Museum, the Museum of Fine Arts, Houston, TX, and the Nevada Museum of Art. His second monograph “Sawdust Mountain” was published by Aperture in 2009. A large exhibition of that work was presented at both the Henry Art Gallery, Seattle, WA and at the Aperture Foundation and is currently traveling nationally. His first monograph “Borderlands” was published by Twin Palms Press in 2005 and was the subject of a large solo exhibition at the Museum of Contemporary Photography in Chicago. His work is represented by the Rena Bransten Gallery in San Francisco and the G. Gibson Gallery in Seattle.
To view more of Eirik's works please visit his website.
Again and Again
Again and Again wanders through the neighborhoods and encounters the people of Christchurch, New Zealand in 2012, while the area is still encountering near daily tremors after a significant earthquake and severe aftershocks destroyed much of the central city and numerous homes in the coastal suburbs. The project is a study that was born out of my desire to explore the impermanence of place and how we cope with constant change. Christchurch is well known by its nickname, "The Garden City."
To view more of Peter's work please visit his website.
Boardwalk, Yellowstone National Park, WY
Upper Mesa Falls Overlook, Caribou-Targhee National Forest, ID
Parklife
For some years I have been spending more of my leisure time visiting and documenting federal and state park and forest land, places in America where the public is allowed and encouraged to visit the ‘wilderness’. Since my family never really went on the traditional cross-country car trip when I was a kid, I’ve been making various journeys to the places I missed; the places, near and far, that I used to spot in my father’s tattered road atlas. As an adult, my nostalgic interest in exploring parks and forests has evolved into a fascination with the quirky way that Americans vacation in nature. The parks, which obviously set aside dramatic natural wonders for our enjoyment, also generally include modern conveniences like benches for rest, restrooms, concession stands, campgrounds, marinas, and hotels. While there as visitors, we walk along specially marked paths through the wilderness and snap photos from designated vista points. Life in public parks is a curious, non-commercial arrangement of government workers, generic signage, busy parking lots, sunburned kids, and frustrated parents. As I’ve been participating in this rite of American vacationing, I’ve become amused and enamored by how we interact with the wild and the infrastructure we put in place to do so. Parklife aims to capture it in all of its oddity.
Riverside Campsite, Delaware River Valley, NY
No Swimming, Yellowstone National Park, WY
Canoe in River, Delaware Water Gap National Recreation Area, NJ
Grazing Buck, Yosemite National Park, CA
River Swimmers, Yellowstone National Park, WY
Snack Bar, Robert Moses State Park, NY
Flagpole, Bear Lake State Park, ID
Restricted, Adirondack Park
Flag, Woodland Valley State Campground, Catskill Park, NY
Visitors, Yellowstone National Park, WY
Castle Geyser, Yellowstone National Park, WY
Vernal Falls Overlook, Yosemite National Park, CA
Park Map, Delaware Water Gap National Recreation Area, PA
To view more of Sean's work please visit his website.
Something Is Missing
This body of work investigates the idea of temporary nature and transition, through the banality and the anonymity of empty hotel rooms, dingy and ordinary exteriors, and portraits in places that I like to call "temporary houses." The hotel rooms are mostly recently left by the guests, in a place between past and future, with traces of a gone moment soon to be erased, just like those who have spent the night there. The portraits are handled in the same way as the empty rooms. It does not matter who those people are, they are used to express one specific condition: everything flows undaunted, the man can not be exempt from the nature of change. “Something is missing” is a set of feelings that have accompanied me for eight months away from home. As I walked down the street seduced by melancholy hotels in Hollywood, I was fascinated by the idea of " wandering,” a concept very present in the American culture : wandering around looking for something. I was looking for a certain type of character and building that expressed perfectly what I felt in the exact instant. Within the project there are places and people who belong to my life on the other side of the ocean, a metaphor for the visceral feeling of finding a place I could call home.
To view more of Eleanora's work please visit her website.
Outline
In the 1950's and 60's, an area that is now known as the province of Flevoland was reclaimed from the IJsselmeer. A large dyke surrounds this polder, which lies five meters below water level. The dyke forms an elevated outline, protecting the land from flooding.
This series portrays Flevoland and its essential outline. It shows how life, infrastructure and nature got implemented after this part of the former Zuiderzee was reclaimed and land was created.
To view more of Jordi's work please visit his website.
Corrections
Linn County Juvenile Detention and Diversion Services were established to provide monitoring and rehabilitation services to youths while they are on probation. I have spent the last year working in one of the diversion programs, and this project is a product of a conversation I had with a youth regarding his electronic ankle monitor: “I want this thing off today... this fucking thing is giving me blisters, is an invasion of privacy, and goes against my well being.”
He was angry, and at the time of the conversation I understood that at a very basal level he was angry because he felt that I was attempting to exert some sort of control over his life, and I was right to a point. The more I thought about this anger, however, the more I pondered the concepts of privacy and control in the juvenile corrections system and the role that I played when it comes to them. I interact with these youths at a critical point in their lives where control is an integral part of the day-to-day. My job is to be a consequence, to insert myself into the lives in an attempt to control and correct adolescent malfeasance, while the adolescents themselves are struggling with exerting control over their development into who they will be as adults.
Photographing these individuals is an appraisal of their experiences in the juvenile corrections system; an attempt to access the crux of how the system aims to work towards providing a sense of empowerment through these broader concepts of privacy, control, development, and ultimately rehabilitation to instill a true sense of correction.
To view more of Zora's work please visit his website.
Cadillac Central Avenue, Whitten Sabbatini
Aint-Bad Magazine is currently seeking photographic works and writings that strongly define the following : The American South.
The American South is both a reality and a fiction, a conceptual and a cultural entity. As such, it has been famously challenged and perpetuated through photography in the form of singular iconic images in the work of photographers like William Eggleston and in the form of the photo-essay, bridging journalism and fine art as in the work of Walker Evans and James Agee.
Issue No. 8 of Aint-Bad, a magazine founded in Savannah, Georgia, seeks photographs and essays or photo-essays which engage in contemporary conceptions of The American South and how it is defined and being re-defined; how it effects the rest of the U.S.; the socio-cultural impact of the region as a new reality and a new fiction.
We are accepting works made in the following states: Alabama, Arkansas, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, Texas, Virginia, West Virginia.
A select number of artists chosen for this issue may also be included in an exhibition at The Atlanta Contemporary Art Center in Atlanta, Georgia in June 2014 and an additional exhibition opportunity in Savannah, GA is being formulated.
Submission Guidelines :
Size your images to the following :
- 1200px on the longest side 72dpi, sRGB, jpeg format.
- Label the files with your name and numeration. (Example: - - firstname_lastname_1.jpg)
- Date the work and include relevant titles.
- Please include a short artist statement, artist biography and a link to your website.
- By submitting your work to Aint-Bad Magazine you agree to our Terms and Conditions.
Deadline for submissions: May 1st, 2014.
Entry fee - $15
~ SUBMIT ~
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Map of Memories
A Known World
To the observant wandering child, the landscape is a place of fantasy and fame. With this naive view, the scale of the world is skewed down; a field, a stand of trees, or an old road can hold the magic and possibility of the American west in 19th century frontier days. As I grew up and moved away, my childhood home remained in the same place. In the transition from adolescent to adult, my views of landscape have changed; but the woods near my parents’ house still hold the same mystique and wonder that I remember from my youth.
I have been re-visiting and picturing this landscape for some time now in order to collect and archive the memories of my past. These photographs are documents of my personal history, a meaningful childhood remembered.
The Known World
Christian and Friends Old Heritage Road
To view more of Adam's work please visit his website.
Unquestioned
I am interested in imagery that shows human engagement with nature and urban environment. I photograph the landscape of Israel, a new country that has hastily urbanized within a span of a century. I photograph in places or environments infused by collective dreams of an aspired reality, yet baring traces of a temporary or transitory reality, sense of deterioration and human signs of atrophy. Working in large format, I construct and stage each frame, often applying technical processes in post-production as a means to accentuate a state where symbols replace what they represent.
To view more of Yoav's work please visit his website
Points
With my recent work I am focusing on how photography contains and specifies unique perspectives, drawing attention towards splendor and the uncanny. Traveling in search of highly aestheticized situations and objects, I am intrigued by that which is looked at in specific sub culture communities. Ranging from obscure animal competitions to agricultural contests, notions of winning, standardization, and the “best” provide a complex analysis of subjective realities. The pictures extend this process of study, further exalting the subjects.
Cox teaches at the Lamar Dodd School of Art at the University of Georgia in Athens GA as the 2013/2014 Visiting Faculty Fellow.
To view more of Rachel's work please visit her website.
Co-op City, 2012
Golden Lady, 2012
Superior Apartments
Superior Apartments seeks to capture and present the complex layers of development that have taken place in the Bronx - a virtual laboratory of urban development. In its history, the Bronx has had dramatic cycles of promise, possibility, loss and revival. For much of its history since becoming part of New York City in the late 1800’s, the Bronx, with its solid brick apartment buildings and homes, was a step up the ladder for recent immigrants. In the 1920’s, apartment construction flourished along the Grand Concourse (the borough’s “Champs Elysee”), producing the nation’s largest collection of art-deco buildings. But by the 1970’s, the Bronx became synonymous with urban decline.
Brown Bricks, 2012
Whitestone Cinemas, 2013
View of West Farms, 2012
Gun Post Lanes, 2012
Carvel, 2013
Despite changes that have taken place since that time, the reputation of the Bronx has largely remained frozen. In Superior Apartments, I try to look at the Bronx objectively as it exists now. While some of the photographs in this project include places that have become run-down, Superior Apartments is not a photographic study of urban ruin and decline. Instead, it is a presentation of the range, chaos, irony, richness and beauty of the urban landscape.
Tracy Towers, 2012
Scenes of the Bronx-1850, 2010
Pawn-Hope-Insurance, 2013
Yellow Chevy, 2013
Dr. Jay’s Ladies 2013
Bronx Park, 2012
Skating in the Bronx, 2013
Spuyten Duyvil, 2013
To view more of Ira's work please visit his website.