I love this couple!

And check out this ’stache— he reminds me of Clark Gable.

This is my favorite picture of the moment:

© Nelson Chan

Go check out his website here.

I didn’t really mention this before but I have some work in a cool group show at the Cushing-Martin Gallery at Stonehill College and it opens today!  It includes work from such fantastic artists as John O’Reilly and Lalla Essaydi, as well as some other really interesting artists.

Read the statement about the show by clicking on the postcard below:

Installation for the show was this past weekend.

Here is my little nook and the awesome student who helped me install— note my oh-so-classy blankets that I used to help wrap my work.

Here is my nook all finished (there’s the main gallery as well as two outside nooks that include sculpture, video, photographs, paintings and more):

Here is what the outside of the building looks like, for your reference, for when you come to see the show and/or come to the Artists Panel on November 20th!

Announcing my solo show at the Griffin Museum’s Aberjona River Gallery in Winchester, MA. The most exciting part for me is that I’m going to do a “Senior Sunday” artist talk on Sunday, December 6, at 3 PM. I really appreciate the opportunity to talk in depth about my work, especially because this particular series feels so personal to me and I have a lot to say about it. If you can make it to that, you’ll get an update on the family I photographed (people always ask me about Ana and Julio and how they’re doing) and I may show some images that haven’t been seen before.

Click the image for more information.

Kevin Van Aelst’s work makes me so happy.  I am filled with nerdy glee when looking at it and I want to share that nerdy glee with you, assuming you aren’t filled with it already from being previously familiar with his work.

© Kevin Van Aelst

© Kevin Van Aelst

© Kevin Van Aelst

© Kevin Van Aelst

Even his commissioned work makes me happy:

© Kevin Van Aelst

© Kevin Van Aelst

© Kevin Van Aelst

There is soooooo much more on his website, so make sure you take a look over there.

You would think by reading our blog that Caleb’s work is really taking off and meanwhile I have disappeared from the face of the photo world. Not entirely true (about me), but close. I’ve been working a lot at my day jobs, which are almost all photo-related, but I haven’t been doing a lot of promoting my own work. The reality of having bills and day job get in the way of my photographic career is a big theme for me right now. But it’s not the worst problem to have. I used to worry about it more until a gallery owner who showed my work last year told me “You can’t make your work and do it well if you can’t pay the bills, so make sure you take care of yourself too”. I am actually working on 2 different projects. One is going very slowly. The other one is coming along relatively steadily but I haven’t told anyone about it yet — mostly because it’s the kind of project I expect to work on for a long, long time before it comes to anything.

But there’s good news! I have a solo show coming up at the Griffin Museum’s Aberjona River Gallery in Winchester, MA. The show will run November 12 to January 10, with both an opening and an artist talk in early December. I’m really looking forward to it. I’ve been swamped with work, but I’ll post details shortly.

Last weekend was Photographica, and while Steph was off working for NESOP at Photo Plus Expo, I was scrounging through boxes of old photos for some gems to take home.  Here’s a few things I bought:

Tomorrow night is the Photographic Resource Center’s annual benefit auction.  I’ll be there running around like a crazy person to make sure everything goes smoothly, but if you don’t have any Saturday plans (or even if you do— cancel them!) I’d love to see you there!  We have some amazing pieces to auction off, great food and beer and wine, a raffle, lots of bidding and excitement…

So after I mentioned Pelle Cass’ image in a previous post, he was kind enough to mention me in his blog!  And then I find out that Aline Smithson of Lenscratch did a feature on him, too!

I really enjoy his work, both for its conceptual nature and for how visually exciting it is.  Seriously, go check out his website.

© Pelle Cass

This afternoon I spoke at Erik Levine’s Sculpture class (with some students from another teacher’s digital media class, too) as a visiting artist.  It was definitely a learning experience for me.  All the notes I’d made for myself suddenly seemed to make no sense when faced with a room of expectant faces, and I did my best to talk about my work in a coherent and clear way, but I realized how much I still have to learn about what I’m doing.  Instead of being frustrated or embarrassed, I actually am happy to know that there is still more discover and a reason to keep on shooting.

I hope it doesn’t seem like I bombed because it actually went really well.  I found myself making connections out loud that I hadn’t made before and I got some great questions and feedback.  One student said something I hadn’t thought of in this particular way (and I’m paraphrasing)— that even as much as my work is about finding these people I imagine a place to exist, a place where they fit, the work is also about the experience of not fitting in, of me not fitting into the clothes or fitting into the scene, of me sticking out as something that doesn’t belong— that the project might be in part about me looking for a place where I do fit.  That gave me a lot to think about.

As Erik walked me back to my car we had a great discussion about teaching and speaking about art.  I really respect him as an artist and as a teacher, and he gives me hope that maybe one day I could be a good teacher and one day I will be able to speak more confidently about my work.  He reminded me that it’s a learned skill, one that you have to work at.

Now a few quick shots from the campus.

As I was waiting for Erik to help me find a place to park, I noticed this coyote decoy with the ubiquitous “NOT ART” stencil on it.  That’s like, the most perfect spot for it.

The studio I spoke in after all the blinds were drawn to prepare for my presentation:

Look! A flyer with my name and picture on it!

Last night I went to an AMAZING a.r.t. show, Sleep No More, at The Old Lincoln School in Brookline:

Award-winning British theater company Punchdrunk makes its U.S. debut with Sleep No More, an immersive production inspired by Shakespeare’s Macbeth, told through the lens of a Hitchcock thriller.  The Old Lincoln School in Brookline, Massachusetts, will be exquisitely transformed into an installation of cinematic scenes that evoke the world of Macbeth . You, the audience, have the freedom to roam the environment and experience a sensory journey as you choose what to watch and where to go. Rediscover the childlike excitement of exploring the unknown in this unique theatrical adventure.

I honestly don’t really know what to say about it because it’s the kind of thing you have to see for yourself.  Part art installation, part contemporary dance, part silent play, part haunted house—- I can’t remember the last time I was so completely enthralled and inspired.  Experiencing Sleep No More was a great reminder that I’m not nearly dreaming big enough.  When you dream big, the art you make doesn’t just make people pause to think or amuse them for a moment; it has a profound affect on all who experience it.  I want to be a part of something that big.  I need to keep dreaming.

Oh, and PS, the show was followed by an intimate one-night-only set by the ever-entertaining Amanda Palmer.  Yeah, my night was pretty good.

Two images from this year’s PRC Benefit Auction have generated some really interesting reactions from exhibit attendees—

TRIIIBE’s Fine

and Pelle Cass’ Tree, Boston Public Garden

illicit similar and yet drastically different reactions.  Both really seem to captivate their audiences and spark imaginations, however most viewers assume that the TRIIIBE image is a Photoshop construction (one woman with different wigs) and that the Cass image is a very real moment in time where a tree is over-run with animal life.  What’s hilarious is that the TRIIIBE image shows identical triplets without digital manipulation and the Cass image involves the layering of multiple exposures taken over a period of time.  So the question is, why do most people assume the first image is manipulated and the second isn’t?  Is it that the TRIIIBE piece is done in a very controlled studio environment and with details that point out that it is a constructed scene?  And that conversely the Cass piece is set in an space that is recognizably real and familiar (at least if you live in Boston) and the image, I suppose, does not go out of its way to point out how it is made?  I guess I just find it really fascinating that most viewers don’t really question what they are looking at, that they immediately jump to the conclusion that one is Photoshopped and the other isn’t, based on reasons about which I can only speculate.   Thoughts?

these are just a few of the exhibits I would check out:

Unseen: A Photographers Salon at Randall Scott Gallery

Robert Bergman: Selected Portraits at P.S.1

Amy Stein’s Domesticated at ClampART

Dress Codes at ICP

Robert Frank’s The Americans @ The Met

I’m sure I’m forgetting a few, too.

But what I really want to do is go back in time to Jason Lazarus‘ “Texting for Forgiveness” performance at Packer Schopf Gallery on October 11th.  Sigh.  I f-ing love Jason Lazarus.