Wednesday, June 21, 2017

UPDATED -- Eyes on Main Street Residency -- Wilson, North Carolina

Looking for a residency to hone your skills in Southern photography? 

Eyes on Main Street, the photography festival held in Wilson, NC, is accepting applications for residencies in Wilson. 

Jerome De Perlinghi, director of Eyes on Main Street, has announced that he is inviting applications for six available positions for residencies of one month duration, with 3 places reserved for women and 3 for men. 

The goal of the residency program is the development of several strong photographic portfolios exploring the town of Wilson and its environs.  
Both domestic and international photographers are invited to apply. De Perlinghi says "a strong sense of street photography" is required. 

A detailed account of these residencies and a link to the application form are available on the Eyes on Main Street website, here:

You can also find out more about these residencies in this story from the local newspaper, here:,87137

Candidates apply by submitting a digital portfolio, a link to their website, and a brief cover letter with the application form, before midnight on July 16th, 2017 to:
There is no entry fee, and residency recipients will be notified by August 1, 2017. 

Each selected photographer will have a group exhibition with a selection of his or her images during the 4th edition of the Eyes on Main Street Outdoor Photo Festival, which will run from April - July of 2018.

De Perlinghi says the resident artists will live on Nash Street in Historic Downtown Wilson for one month. 

The Festival will offer comfortable lodging in a small private apartment consisting of a workspace, a kitchen, a bathroom and one bedroom with a one-time stipend of $500 to cover some travel and related costs. 

Utility bills will be paid for by the Festival and a Mac computer with all the needed programs + iCloud will be available to the photographer. 

Transportation to and from the airport will be provided from RDU, Raleigh-Durham Airport, 60 miles from Wilson. 

Wilson, by the way, is a town of about 50,000 people in North Carolina about 50 miles east of its capital, Raleigh.  

Like many Southern towns in North Carolina, Wilson was heavily dependent on the tobacco industry and experienced an economic decline when the tobacco warehouses closed down.

Today, De Perlinghi says, the city is reinventing itself through several arts projects, including Eyes on Main Street and the new Whirligig Sculpture Park, which features the sculptures and constructions of outsider artist Vollis Simpson.  

Tuesday, June 20, 2017

New Southern Photography -- Coming to the Ogden, Fall 2018

Definitely something to look forward to -- the Ogden Museum of Southern Art is opening a show in the fall of 2018 entitled New Southern Photography.

Here is the Ogden's announcement:

"New Southern Photography is a large-scale exhibition organized by the Ogden Museum of Southern Art that highlights the exciting and diverse breadth of photography being practiced in the American South today. 

"The work of twenty -five emerging, mid-career, and established photographers will be featured. Each photographer included will be individually showcased with a monographic installation focusing on a single body of work within the context of a group exhibition. 

"All types of lens-formed imagery will be included from tradition analogue and digital still photography to video installation and new media. New Southern Photography will debut at the Ogden Museum of Southern Art in the fall of 2018, and is available for travel to other institutions through 2021.

"New Southern Photography explores the role photography plays in formulating the visual iconography of the modern New South. 

"Regional identity in an interconnected and global world is central to the exhibition’s narrative. Themes and ideas addressed in New Southern Photography include: memory, the experience of place in the American South, cultural mythology and reality, deep familial connections to the land, the tension between the past and present, and the transitory nature of change in the New South.

"The goal of New Southern Photography is to create a space for conversation about the region. This exhibition will not only highlight recent contributions the American South has made to the world through photography, but also serve as a platform to broaden the understanding and appreciation of this complicated, contested, and often misunderstood region. 

"New Southern Photography follows in the rich tradition of Southern literature, where storytelling is paramount.

"It could be said that photography has been the American South’s greatest contribution to 20th century art. Southern photographers – William Christenberry, Sally Mann, and William Eggleston – are international art superstars who pioneered the “Southernization” of the contemporary global photographic aesthetic. 

"Following the trajectory of Christenberry, Eggleston and Mann, New Southern Photography looks at the photographic innovators of today who are influencing the visualization of the American South to a global audience.

"Work represented in the exhibition will be from the past ten years. 

"Photographers included in the New Southern Photography exhibition are: David Emmit Adams, Kael Alford, Elizabeth Bick, Christa Blackwood, John Chiara, Scott Dalton, Joshua Gibson, Maury Gortemiller, Alex Grabiec, Aaron Hardin, Courtney Johnson, Tommy Kha, Brittany Lauback, Carl Martin, Jonathan Traviesa & Cristina Molina, Andrew Moore, Celestia Morgan, Nancy Newberry, RaMell Ross, Whitten Sabbatini, Jared Soares, Louviere + Vanessa, and Susan Worsham.

"New Southern Photography is being curated by Richard McCabe, Ogden Museum of Art’s Curator of Photography."

Good to see folks on this list of photographers whose names I recognize. Also good to see some names of folks with whose work I am not familiar.  

Will keep you posted as this story unfolds in the weeks and months ahead!

Friday, June 16, 2017

Mark Steinmetz is Having a Productive 2017, and its only June

Athens, Georgia-based photographer Mark Steinmetz (see image above) just closed a show of work from his portfolio South, at the Yancy Richardson Gallery in NYC

Steinmetz' show was featured in the Guardian newspaper, with the title Georgia on My Mind, go here.  

It was also featured in the online ezine L'Oeil de la Photographie, go here. 

Also, in a feature story entitled "how mark steinmetz captures love and lightning in the american south," by Emily Manning, in I-D, go here

Steinmetz' book The Players (see image above) was chosen as an essential book of photography for 2017 by Tank Magazine, go here. 

He has also been featured in a podcast by The Magic Hour, go here

Steinmetz has also joined the growing list of photographers commissioned by Atlanta's High Museum of Art to produce a portfolio of work for the High's Picturing the South series. 

Steinmetz' work will be exhibited at the High Museum later in 2017. 

Earlier this year, Steinmetz had work in the exceptionally fine Southern Accent: Seeking the American South in Contemporary Art show at Duke University's Nasher Museum.

In addition, Steinmetz takes opportunities to get out of the South to produce bodies of work like his portfolio Angel City West, a set of images made in Los Angeles.

This body of work was the subject of a solo show at the Hartman Fine Art Gallery in Los Angeles in February and March of ths year.

So, much to celebrate and look forward to in the burgeoning career of Mark Steinmetz, in 2017!

Congratulations to Steinmetz on this fine work and on all the well-deserved recognition. 

And, its only June -- who knows what the next few months will offer?

Thursday, June 15, 2017

SlowExposures Deadline this Sunday, June 18th

Three Easels Dale Niles

Be aware -- the deadline for submission of your work for this year's SlowExposures Photography Exhibition is this Sunday, June 18th, at midnight.

The folks at the SlowExposures Show Committee put it best:

"This is a great time to make that intuitive, by-the-seat-of-your-pants choice of six of your images for SlowExposures. 

"Do it this weekend before the deadline whizzes by on Sunday at midnight!  

" Pick the five images of the rural South that you love, and then pick a "wild card" for your sixth...after, relax in the knowledge that you did a good thing. 

"Juried in or not, we honor you as esteemed members of the SlowExposures experience. 

"You'll be invited to the Soiree under the pecan trees at Split Oak Farm and we'll see you during all the other wonderful events during this year's "Unplugged" show...because you invested in your vision."

Arnika Dawkins and I are looking forward to seeing your work and to making what I am sure will be a whole bunch of very difficult decisions.  

In any case, we look forward to meeting you at the SlowExposures weekend, September 14th - 17th, in Zebulon, Georgia.

To get your work to us for our review, follow the directions for the electronic submission process at the SlowExposures website, here:

We'll see you in September!

Friday, June 9, 2017

David Knox at the Atlanta Buckhead Library

New Orleans-based photographer David Knox (see image above) is opening a show of work from his Tableaux Montage portfolio on June 14th, 2017, at the Buckhead Branch of the Atlanta Public Library, at 269 Buckhead Avenue, N.E., in Atlanta, GA 30305.

This show is called Ritual and Ruin: Tableaux of a Lost War, and will be up at the Buckhead Library through Monday, July 17th, 2017. 

Knox's images in this show are large in scale, up to six feet wide, or more.

They are constructed from historic photographs of ruined and devastated landscapes of the post-Civil War South which Knox populates with figures, also drawn from historic photographs as well as from his contemporary work. 

According to the folks at the Buckhead Library, Knox attempts, in these images, to evoke the "ghosts of past centuries [that] find undisturbed refuge in the American South from the foothills of the Appalachian Mountains down to the fertile flat lands of the Gulf Coast."

The folks in Atlanta go on: "For New Orleans-based photographer David Knox, the past resides in the present in many forms - land, crops, architecture, and people. 

"In his most recent body of work, he combines historical images from the American Civil War with his own photographs to create photomontages depicting an imagined, surreal world set somewhere in the mid-19th century South. 

"These tableaux weave together the disparate lives of Union and Confederate soldiers of the Civil War, freedmen and slaves, civilians and clergy.

Knox describes his work as creating "photomontages depicting an imagined, surreal world set somewhere in the mid 19th century South. 

"These tableaux weave together the disparate lives of Union and Confederate soldiers, slaves, women, children, clergy, and animals. 

"The characters in these fabled scenes and the symbols around them offer fictional narratives that represent and explore hardship, loss, survival, gender, race, class, religion, death, and resurrection.

He goes on: 

"The pervasiveness of Christianity in the South combined with the apocalyptical wartime destruction of the landscape provide reference for many of the titles, based on verses from the Book of Revelation. 

"The physical pieces, large in scale, are informed by several nineteenth-century printing processes including stereographs, tintypes, wet plate collodions and panoramics."

Given the scale of Knox's prints, they have vastly more power when seen in person than they have in the small scale images I can show here. 

The challenge of photography is of course always time, since the straightforward shot records moments and lifts them out of time. 

That's one reason lots of photographers like to photograph abandoned factories and falling-down houses -- one gets a sense of the passage of time into the image, since the present moment of the object reveals at least something of what it used to look like as well as the way it looks now.

But such images are inherently elegiac, are about loss and decay, and the ravages of time.

Knox builds on that quality in his work, and in the process addresses directly the American South's legacy of exploitation and violence, that quality of the South that Joan Didion tries to capture when she says that Southerners dwell in a memory-haunted landscape which we believe we have "bloodied . . . with history."

Powerful work here, well worth a trip to Buckhead, and to the Library.