“There were a lot of great submissions which made the final culling very difficult. But I hope we have a JRNL 3 that will be of interest to the wider photo community” says JRNL 3 Guest Editor Joanna Milter. Having work looked at, pondered, and eventually selected by such an influential connoisseur of contemporary photography as Joanna represents a uniquely meaningful publication opportunity, one we are incredibly excited to have been able to offer to the FotoFilmic community. As Joanna stated, many, many laudable analog works from meriting photographers came through, each of them meeting her eyes, attention, and calibrated consideration.
The wait is now over and we couldn’t get more excited to announce the 12 next JRNL photographers going to press in December! Big congratulations to them for such a ringing endorsement of their work!
The title of the exhibition acknowledgesmany galleries’ policy to not accept “unsolicited submissions.” In Ejecta Projects’ first call for entries, the curators sought artists who may be deterred by this exclusivity. While many artists’ submissions to galleries and exhibitions, when rejected, are simply discarded, all artists’ proposals for Unsolicited Submissions have been color printed, folder bound, and are prominently displayed in the exhibition as a library of artwork. All visitors are encouraged to peruse this library during our normal operating hours.
Observations in the Ordinary is a survey of contemporary photography exploring the world around us. Showcasing images from 134 artists, this 140 page hardcover books measures 9.5 x 9.25″ and features a foil stamped cover. Curated by Noah Waldeck. With work from:
Mitch Fresta, Martin Buday, Peter Nicholson, Leah Frances, Kyler Zeleny, Chris Round, Fred Guillaud, Dino Kužnik, Rob Stephenson, Romain Saccoccio, Arthur Van Erps, Catherine Davis, Mitchell Hurst, Nanó Wallenius & Elias Asselbergh, Xavier Aragonès, William Mark Sommer, Jamie Tilley, Marinos Tsagkarakis, Ray Markham️, Paul Turner, Andrew Turner, Daniel Lebedev, Alexander Dumarey, Dirk Häerle, Ryan Parker, Ron Waite, Emily Najera, Simon Martin, Casey Bennett, Brendon Kahn, Kelvin Bugler, Jan Nijs, Nick Dantzer, Michael Martin, Ivaylo Andreev, Jeroen Bruggenwirth, Emmanual Monzon, Michelle Martins, FeiFan Zhang, Mark Adams, Karl Walsh, Julien Legrand, Lucy Seaton, Lars Ekberg, Benjamin Ramsey, Ben McCann, Jack Garland, Mathieu Houde, Nicholas Gaffney, Nick Zukauskas, Maxwell LaBelle, Simon Byrne️, Arnaud Teicher, Mériol Lehmann, Giona Bridler, Jeannette Kuhn, Kyle McDougall, Nathanial Schmidt, Akos Major, Markham Tuck, Matt Peers, Maciej Leszczynski, Sam Heaney, Ian Baguskas, Mark Griffiths, Maëlle Collin, Vincenzo Pagliuca, Aaron Missling, Mike Bodall, Nicolas Bowen, Joshua Oldfield, Julian Reid, Julien Hairault, Kimberly Maruska️, Brant Slomovic, Yorgos Efthymiadis, Julie Meresse, Ezra Fike, Hong-An Tran, Alnis Stakle, Zisis Kardianos, Travis Shaffer, Franck Doussot, Paul Sisson, JW Lawson, Fred Mitchell, Mathieu Lion, Peter Ydeen, Daniel King, Alana Celii, Alessandro Zanoni, Andy Feltham, Lucy Krebsbach, Maurice Lye, Sam Stockman, Guillaume Tomasi, Marco Kneise, Marcela Gómez, Samuel James Pierce, Marcos Zegers, Matthias Jung, Sean Wysong, Ivan Echevarria, Gleb Simonov, Cody Schlabaugh, Samantha Shroyer, Taylor Rhoads, Jeff Downer, Brad Ziegler, Cam Bartkus, Sem Langendijk, Steve Koss, Kristen Bartley, Ioanna Sakellaraki, Lisa Gidley, Glendon McGowan, Joseph Ritchie, Levi Mandel, Kristin Kirkley, Stanley Bloom, Lewis Ableidinger, Lawrence Braun, Leonardo Magrelli, Olivier Pirard, Richard Lakos, Matthew Portch, Sebastian Rogowski, Ben Davies, John Sanderson, Noah Waldeck, Joel Jimenez, Dave Jordano, Will Cox & Daniel George
LANDSCAPES 2019: IN RELATION TO THE LAND
It is always a powerful lesson to jury a large group of photographs, with the aim of selecting just a tiny fraction for an exhibition. As a curator for an academic research center, I work with an amazing collection of photographs from throughout the history of the medium. The process of jurying, however, opens my eyes to what photographers in this immediate moment are seeing, thinking about, and concerned with.
Two themes emerged, each of which support the exhibition title “In Relations to the Land,” and have been interpreted by these photographers with intensity and passion. On the one hand, photographers are deeply attuned to environmental concerns: wasteful farming practices, melting glaciers, destructive storms, rising water levels, pollution, alternative energy sources, and loosening regulations. In the activist mode of Ansel Adams, W. Eugene Smith, or Edward Burtynsky, these photographers use their craft to direct our attention to issues that we, as American citizens, might otherwise overlook. On the other hand, the interaction between individual people and the landscapes that surround them remains a meaningful source for artistic production, as it has been for artists like Harry Callahan, Sally Mann, or David Hilliard. Here we see personal landscapes in which people encounter the specificity of place through their unique perspective and reveal the narrative of their life (or that of their family) with sizzling insight.
We cannot separate ourselves from the land on which we live, learn, explore, and survive. Through the vision of these 36 photographers, however, we may be able to see it more acutely. What will we take away? How will we extend the lessons of this exhibition into our own lives and perspectives? It is for each of us to contemplate, based on the broad and diverse photographs brought together, all expressing how we exist in relation to the land.
Rebecca A. Senf, Chief Curator, Center for Creative Photography, at the University of Arizona, Tucson
Welcome to Shift. The second installment of our Stettie Ruth pop-up events; a come-one, come-all multi-media installation and performing arts evening in celebration of artists and Mountain Time Arts, our favorite local non-profit that produces incredible art projects.
Last minute changes test one's creative mettle, the strength of an arts community, and the ability to adjust expediently. Hence, our second event, which started at one location and moved to another, is aptly titled Shift. In this way, we celebrate the aforementioned qualities that most artists are accustomed to and become a driving force for creativity.
As the season shifts with more sun, while casual encounters with friends and neighbors on the sidewalk happen spontaneously, let's also consider shifting to a new way of engaging in the arts with a positive expression of the cultural shift we all feel taking place here.
The Vernacular of Landscape is a survey of contemporary landscape photography curated by Noah Waldeck from Subjectively Objective and co-edited by Float Photo Magazine. Showcasing images from 58 artists from around the world, this 60 page perfect bound books measures 8.5×5.5″ and features a debossed recycled paper cover.