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| © Christine Collins, Coats, from the series "Acreage" 2005 |
fototazo has asked a group of 50 curators, gallery owners, blog writers, photographers, academics and others actively engaged in photography to pick two photographers that deserve (more) recognition - the underknown, the under-respected as well as not-appreciated-enough favorites. A little more information on the project is available in the first post in the series here.
Today we continue the series with responses from Joanne Lukitsh.
We began the series with responses from Nicholas Nixon, Matt Johnston, Blake Andrews, John Edwin Mason, Aline Smithson, Colin Pantall, Michael Werner, Liza Fetissova, Laurence Salzmann, Bryan Formhals, Richard Mosse, Shane Lavalette, Amy Stein, Amani Willett, Wayne Ford, S. Billie Mandle, Leslie K. Brown, Gordon Stettinius, Marc Feustel, Hin Chua, Adriana Rios Monsalve, Daniel Augschoell, Larissa Leclair, Elinor Carucci, Pieter Wisse, Daniel Echevarría, Natalie Minik, Qiana Mestrich, Jason Landry, Rona Chang and Stella Kramer.
Respondent: Joanne Lukitsh is a professor of art history at the Massachusetts College of Art and Design where she teaches modern art and the history of photography. She has written on historical and contemporary photography, most recently an essay on Julia Margaret Cameron for the National Gallery of Art exhibition, The Pre-Raphaelite Lens: British Photography and Painting, 1848-1875 (2010).
Selections: Christine Collins and Karl Baden
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| © Christine Collins, Leaves, from the series "Acreage" 2005 |
Christine Collins: The photographs in Acreage are images of the rooms and contents of a home and the domesticated spaces presumably around it. The photographs may be images from one home, or several. Looking at the photographs I become aware of a sensibility for photography intent upon using light to please and to dissimulate. The photographs pose the idea that transitions—between contents and container, inside and outside, before and behind—are the visible conditions of domestic places and things we would otherwise consider finite, and bound in time.
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| © Karl Baden, from the series "In and out of the car" |
In and out of the car is a recent series by Karl Baden, best known for Every Day, consisting of "a reasonably detailed visual record" of his own face taken every day since February 23, 1987, and Covering Photography, a web-based resource on relationships between the history of photography and book cover design.
In and out of the car fascinates me for the way Baden "makes strange" such genres of photography as using a camera inside a car, depicting commercial signage and street photography. Baden's photographs provoke me to new ways of seeing these earlier images and to reflecting upon contemporary life. In and out of the car makes visible how the distinctions between inside and outside the car readable in earlier photographs have collapsed into the new visual forms of consumer-saturated, early 21st century life.
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| © Karl Baden, from the series "In and out of the car" |