Spreads from MATTER, Digital Offset, 60 Pages, 2011
Photographs: Jessica Eaton, Matthew Gamber, Bill Sullivan
Design: Mary Voorhees Meehan
Text: Peter Hall
Size: 8.5" x 11"
Pages: 60, Color
Digital Offset, Soft Cover, Perfect Binding
Limited Edition Book (Edition of 100), Signed: $40 + Shipping
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Produced with support from Humble Arts Foundation, New Photography Grant
Lost Color Of Mannes re-imagines scenes in the early life of Leopold Mannes, the co-inventor of Kodachrome. Revisiting sites in New England and New York State, these vignettes are a desire to resurrect the historical color that Mannes himself may have experienced prior to 1935. Using the camera as a surrogate for the Manne's eye, what colors did Mannes see? What qualities of light compelled both he, and his co-inventor, Leopold Godowsky, to want to reproduce them on film?
Commissioned by Humble Arts Foundation for Manual Transmission, a group projection exhibition
The photographs in Any Color You Like are an experiment in how photography can confuse our perception of information. These photographs are of objects whose primary function is to stimulate the way we see color.
A black-and-white image might depict an object of the present, but its character is forever is locked into the past. When these items are rendered in a traditional black-and-white format, the information that remains is merely an abstraction of its previous form.
Empty Cabinet, HD Video with Sound, 3:00, 2010
Empty Cabinet is a collection of views seen on the ground glass of a view camera. The title is adapted from a passage written by seventeenth-century empiricist John Locke on the topic of human understanding. The camera obscura, if transformed into an analogy of Locke's concept of the mind, is a carrier of information external to itself.
The apparatus is a model for empirical observation while simultaneously harnessing the romance of natural occurring phenomena through technology. This theoretical paradox is embodied in photography's conception during the nineteenth century.
Included in ASPECT V16: Lo-tech, with commentary by amani olu
The chalkboard was once considered to be distortion free, and a photograph was once considered a transparent window onto the world. By photographing chalkboards with film, the syntax of both technologies becomes apparent. The temporary schematics drawn on these boards to emphasize abstract ideas are now embedded in the slate. A useful chalkboard has no history; a used chalkboard is history. What was once empty is now full of information.
As one of the first photographic methods, the photogram was empirically valued for its ability to trace an object by direct contact. To view a photogram is to witness the recent absence of an object. The desire for contact outweighed the shortcoming of its description. Television programs are broadcast and lost. Pressing the photographic paper against the tube, heat and light emanating from the tube are self-inscribed, fulfilling the desire to span distances, making illusions more present.