Monday, 17 December 2012

Tosja's Top Five



1. Story Teller - Tim Walker
Alice gone wild in a stylish Wonderland, there seem to be no boundaries to Tim Walker's imagination and his ability to bring it to life in his photos. High fashion meets  high fantasy.



2. Unconscious Places - Thomas Struth
It is quite amazing how Thomas Struth has managed to turn bustling cityviews into almost surreal and scenery-like places which seem bereft of any human habitation. A rather fascinating collection of photos and certainly an interesting take on urban life and the way it responds to humanity or perhaps not.



3. Nostalgia - Sergei Prokudin-Gorskii
A wonderful telescope into the past. 19th century Russia in full colour and rich detail.



4. The Bitter Years - The Farm Security Administration Photographs through the eyes of Edward Steichen
One can't help but relate this powerful photo collection to the world's present economic problems and  the results of that. These haunting and poetic photos still speak for themselves and provide a lot of insight into what the results of a depression can be.



5. Yamuna Walk - Atul Bhalla
A detailed and reflective sight on the Yamuna River and the way this river relates to present-day India.

Tosja Coronel

Friday, 14 December 2012

From The Archive - El Raval

Untitled © Joan Colom / Courtesy Foto Colectania

Barcelona fans around the world have been enjoying the fact that they own the world's greatest footballer, Lionel Messi. Earlier this week he beat a 40-year record for the number of goals scored in one season. Okay, so he's Argentinian, but that won't stop them celebrating.

Since Messi plays for Barcelona, we thought we'd share with you the beautiful work of Joan Colom, who spent the late fifties and early sixties photographing the El Raval district of the city.

Joan Colom - El Raval was shown in Foam from 16 March to 20 May 2007.

Jonathan Crawford

Thursday, 13 December 2012

No Canada

Canadian Art Photography and the Canadian Imagination, Penny Cousineau-Levine

I missed Penny Cousineau-Levine's Faking Death: Canadian Art Photography and the Canadian Imagination when it came out in 2003, only a few years after I moved from Canada to Ireland. So the discovery of it in a Belfast bookshop has offered a reminder of a photographic culture that, while well documented within Canadian art discourses, is generally unknown to the wider public. While some photographers covered here - Jeff Wall, Roy Arden, Donigan Cumming, Ken Lum - are familiar, 'international' figures, there remain many artists whose names I hadn't seen or heard since I was a university student back in Newfoundland (and, in some cases, who I was happy to forget).

Of course, there are exceptional photographers here as well: Carol Conde and Karl Beveridge's incorporation of political documentary images into domestic settings, often just visible through a window frame or on a wall calendar; Jin-me Yoon's installations of text and childhood photos that explore her Korean heritage; Mark Leslie's unsentimental, diaristic account of living with AIDs. This is where an overview of Canadian art photography really proves useful, offering an insight into a diverse body of work that all too often doesn't cross south of the 49th parallel. However, Cousineau-Levine has a specific agenda here that goes beyond writing a primer on a select group of artists. She explains her reasons in the introduction, drawing on her experience as a lecturer:

"When shown Canadian photographs alongside those made in Britain, the United States, and elsewhere, whether documentary photographs or portraits or landscapes, the almost universal response of [my] students was that they could see 'nothing' in these images, that there was 'nothing' there."

The attempt to fill this void, to map out an inherently 'Canadian' photographic culture, leads to some smart observations, such as the prevalence of images that feature frames within the picture frame, as if re-presenting or preserving an exterior natural world, in the work of Michel Lambeth or Lynne Cohen. Perhaps less convincing is an attempt to impose a psychoanalytical framework to Canadian photography through the metaphor of the anorexic, a condition that, for Cousineau-Levine, encompasses "the interminable Canadian 'identity crisis'; the country's [...] lack of a firm sense of self; the unrelenting preoccupation with death, entrapment, and flight from the physical manifest in our photographic practice; the Canadian inclination to adopt the 'look' of images from somewhere else [...]" And so on.

The relative merit of these readings notwithstanding, what strikes me is the author's insistence that her students' response is something to be refuted, that the 'nothing' they see in Canadian photography is a failure rather than a virtue. The imposition of a coherent, national character to a range of practices, each stemming from different backgrounds, ethnicities and experiences, feels curiously old-fashioned, and out of step with a globalised, multicultural society. Furthermore, this desire to find a national photography betrays the very insecurity and 'lack of a firm sense of self' that the author criticises in her students. One hardly needs a Canadian equivalent to the Great American Novel or the Young British Artists; it is the ambivalence towards such national qualifiers that, in itself, best points towards the Canadian imagination.

Chris Clarke (critic and curator, Lewis Glucksman Gallery, University College Cork)

Tuesday, 11 December 2012

Everything Has Been Done Before

Murmur Study © Christopher Baker

"Everything has been done before." It is a quote, that if you are attending art school somewhere you will no doubt have heard at one time or another. I'm going to let you in on something: it's not true.

"Everything has been done before" is a way to let you, as a student, know that it is okay if you are working on something that someone else has already explored. But everything has not been done yet. Part of the reason it is not true is that there is a lot out there to make work about. But the other, more important reason, is that both our culture and human behavior are changing drastically and at a speed that is startling. There are all sorts of new behaviors and technologies that can be investigated. For example, there was no art being made with Flickr or Twitter seven years ago because, seven years ago, there was no Flickr or Twitter. Now we have artists like Christopher Baker and his Murmur Study, "that examines the rise of micro-messaging technologies such as Twitter and Facebook's status update," or Erik Kessels' installation at FOAM last year exploring the vast amounts of digital image making and sharing using Flickr. In this installation he printed out every photograph uploaded to Flickr in a 24-hour period. These are new and unique pieces of art. They explore aspects of our human culture that were non-existent only a few years ago.

24 hrs photos installatie Erik Kessels © Gijs van den Berg
As another example, someone like Michael Wolf could never have made his Street View series without the advent of Google's technology. He could have traveled around Paris and made photographs, but that has been done before, many times. He could have tried to explore notions of surveillance; that imagery would have been drastically different. Instead he was presented with a new "thing", saw the way that it could comment on the ever-surveilled nature of our society, and used the "thing" itself to make that comment.

Untitled, from the series, Google Street View © Michael Wolf

These are the arguments I bring up when I hear someone say, "everything has been done before." I cringe when I hear it. Many ideas have been explored, but we, as a culture, are continually moving forward. This constant progress creates new problems and issues that art can attend to. Those that say, "everything has been done before" are resigning themselves to the idea that nothing new can ever be made. I would find it hard to make work, and really what would be the point, if I believed that to be true.

Can I tell you what to do? No. Can I tell you what the next major issue to explore will be? No. But what I can tell you is that if you sit in the edge of what's happening in regards to the progression (and in some cases regression) of our every increasing digital culture and keep your eyes open to the world around you, you will see new avenues opening all the time. I find the most relevant work is made in this space because it talks about how we as humans relate to the world around us, a world that is ever-shifting. So take heart that there is always something new around the corner, waiting to be discovered, and there is always more art to be made.

Evan Baden (Foam Magazine #22/Peeping)

Monday, 10 December 2012

The Difference

Since 2007 I have had a side-job teaching at the University of Applied Sciences in Utrecht (Hogeschool Utrecht). They have a minor in Photojournalism and Pictorial Communication at the Faculty of Communication and Journalism, the only possibility in the Netherlands to study photojournalism on this level. It's a mix of learning how to tell a story in pictures, theory about photography and trying to capture the essence of a newsworthy item. As with all minors, the abilities of the students are very diverse, which is difficult and challenging at the same time. For me it's also a way of keeping in touch with 'normal' higher education. After so many years in art school you tend to think that that's the way higher education works. Believe me, it's not…

This became very clear on the Friday when the weather was freaky and the news channels warned of mayhem on the roads. After cancelling a meeting in the morning I made my way from Deventer to Utrecht for the class at the HU. Not really to my surprise only 7 students out of 21 showed up for class. The Facebook page of the group was filled with excuses about buses not going or other problems. Needless to say I was seriously pissed off.

Of course I did plan lessons and after that had time to spare to talk with the students about their study and how things were turning out. One of the students asked about the difference between the Utrecht School of the Arts (HKU) and the University of Applied Sciences (HU). Oh dear…

I said something that is perhaps pretentious and debatable, but I'm going to repeat my answer here anyway.
I said that the level of self efficacy of the third graders at the HU was the same as the first graders at the HKU. Hence my big frustration with the HU: the teachers and the whole institution are treating all the students there as kids. The University is so large and the bureaucracy so overwhelming that it's hard for students to break free from this and create their own path. So one of the first questions I get when the minor begins in September is, "how many pictures do you want for a good grade?" The first time this question was asked I was stupefied. Now, a few years later, I really can understand where this is coming from. It's the system. Of course not always and not all the time (there are, of course, always mediocre students that try to score points with the minimal amount of effort, also in art schools) but it's a tendency that is recognized by the students and teachers alike. How to create independent, creative (photo)journalists in a system that crushes creativity and independent thinking?!

I can easily plug the video from my last entry, where Ken Robinson explained how we should alter the way we look at education. And not only in primary schools, but on the whole playing field.

Robert Philip is a photographer and course leader at the Utrecht School of the Arts.

Friday, 7 December 2012

From The Archive - The Kate Show

Kate and Terry © Terry Richardson

This week much of the press (the British press, at least) has been about a certain 'Kate', her recently announced pregnancy and morning sickness.

So, seeing as it's Kate-week, here's a perhaps even more famous one, Kate Moss. Foam put a show together back in 2006 to celebrate this model, muse and now mother. It also examined how a public personality such as hers can be shaped the media. Something I'm sure the young Duchess of Cambridge, Kate Middleton, will be well aware of by now.

The Kate Show ran from 15 September until 14 December 2006.

Jonathan Crawford

Thursday, 6 December 2012

Patriotic Shopping


Is This Place Great or What? © Brian Ulrich
When I was about 10 or 11 I discovered two things that made my teenage life more complicated in school and society. The first was that God and The Bible was a fairytale and the second was that the whole USA deal was bullshit. At that time I was attending a strict Roman Catholic school and living in Argentina, where every governmental decision was dictated to by the American government. I rapidly became disillusioned with the media portrayal of 'living the American dream' whilst behind the scenes they always had their own agenda. America has always intrigued me, this amazing country with vast expanses of beautiful landscapes and full of…shopping malls.

Is This Place Great or What? © Brian Ulrich
Last month I met up with Brian Ulrich in Switzerland, I was really interested to know a bit more about his beautiful book 'Is This Place Great or What?' A great reflection on consumerism in America. As soon as he started to talk about it all my childhood memories came back to me:

Brian Ulrich: I've shown this project and people have said, 'aren't you afraid that the government will come and take you away, because you're talking about this stuff? Patriotism of shopping.' No I'm not afraid…one of the reasons that I'm doing this project is because I hate being afraid. It's not because I hate the place where I live …in fact I love many things about American culture and specifically the American people.

After 9/11 we started to get messages from the media, which had moved away from a grieving process. Most of them were based around fear, built around the idea that 'The Terrrorists' are coming again, don't sleep too deep… along with this came these directives for the citizens of America to go out and fight the terrorists by shopping.

SK: Can you explain patriotic shopping?

BU: The idea was that, especially in NYC, the economy of tourism was hit really hard. Giuliani was the first one to come out and say "come back to NYC, come back to Broadway, spend and it will all be ok, we need to re start our economic engine". And other politicians started to adopt this rhetoric, and of course as it gets reiterated it changes and then all of a sudden the president said, "We need to call on the nation's best shoppers to fight the terrorists". So, you are supposed to use your credit card to go out and buy shit so that it would build the economy and again it became so clear how fragile this economic model is to me.

I was thinking when I started the project that whatever I was going to potentially photograph will be the end of capitalism… like capitalism finally catching up with itself and the economic model being totally unsustainable, just crashing… that the crash wasn't going to be Armageddon but it was going to be: 'WE have to find the solution to the capitalism problem'. But what I didn't realise at that time is that capitalism is more like a virus that adopts whatever it needs in order to survive and grow, so for me that's what these pictures are about.

SK: You include objects and archival material along with your images, can you tell us more about it?

BU: I started to come across objects. Once I wanted to take a picture of a sign and I was really frustrated because I couldn't take an interesting picture of it. I got so angry that I went back one night with a ladder and ripped the thing from the front of the mall and I took it back to my studio and I got a guy to make me a new neon and then I started to show it as a piece. Another thing that I collect are credit cards expired from stores that they don't exist anymore.

Prosperity © Brian Ulrich
I found a huge archive of photographs in the mall and that takes me to another thing, the great prosperity, which was a time in American economic history when the middle class had the biggest growth and the greatest amount of surplus cash. It was right after WW2 up until the 1970s. And then there was a concerted effort to steal money from the middle class to the point where now the middle class has no money. So I started to notice that these press agencies are selling all their old 5x4 negatives on e-bay. And I think the power of them is that they were anonymous pictures, re-contextualised.. What became clear to me was all this great trajectory and that just extended my project backwards. In a sense I was able to photograph the past by collecting these pictures.

Prosperity © Brian Ulrich
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After our conversation I had another look at the book and a quote from the great comedian George Carlin came to my mind;

"…This magnificent landscape that we inherited… well, we actually stole it  from the Mexicans and the Indians, but hey! it was nice when we stole it! it looked pretty good, it was prestine, paradise, have you seen it lately? Have you taken a real good look? Its fucking embarrassing. Only a nation of unenlightened half wits could have taken this beautiful place and turned it into what it is today: a shopping mall, a big fucking shopping mall".

Seba Kurtis (Foam Magazine #25/Traces)

Wednesday, 5 December 2012

Film &Foam - Marijke Appelman

video still from Closing The Gap, 2012 (video installation with soundscape) © Marijke Appelman
 For the site-specific exhibition, PLOT, artist Marijke Appelman has produced two new works. They are based on the time she spent between Istanbul and Amsterdam during the first week of her residency at &Foam
.
Closing The Gap (video installation with soundscape) and Because It Is About Time (sculpture) reflect on time, space and patterns. They will be shown as part of the Film &Foam programme.

Marijke Appelman (Haarlem, 1979) lives and works in Rotterdam, The Netherlands.
Her works are based on an appreciation of art and life. Both poetic and straightforward, everyday situations and materials are used in installations, objects, performances and video. The result is a kind of environmental art, but one whose environment is cultural instead of natural.

Appelman's work will be on show from 6 December 2012  until 6 January 2013, with an official opening on 6 December from 17.30 at &Foam, Vijzelstraat 78.

Jonathan Crawford

Tuesday, 4 December 2012

The Disappearance of Darkness

Art Photo Studio: closed due to retirement, Toronto, Ontario 2005
The Disappearance of Darkness: Photography at the End of the Analog Era by the Canadian photographer Robert Burley is a carefully produced and edited collection of photographs that represent the collapse of the analog photographic industry. Over a period of a decade, Burley traveled the world to photograph once powerful companies such as Kodak, Polaroid, Ilford and Agfa spiraling into perpetual decline.

View Of Kodak Head Offices from the Smith Street Bridge, Rochester, New York, 2008, Chromogenic Print, 76cm. x 99cm.

In the first instance, that decline is quite literally signified by the destruction or abandonment of factories that produced photographic paper or film. In parallel to the rise of digital technologies, these products (and the workers that produced them) became victim to a quickly shifting economy that saw no place for 'old' technologies. As people gather to witness the destruction of Kodak buildings in places such as Rochester in upstate New York or Chalon-sur-Saone in France - accredited with being the birthplace of photography - Burley produces photographs that are at once laden with nostalgia as much as they are matter-of-fact statements on an industry in crisis.

Executive Entrance, Building 7, Kodak Canada, Toronto, 2005, Chromogenic Print, 76cm. x 99cm.

The first image neatly foretells the narrative explored in the rest of the book: it shows a 1960s style photo studio with several black and white portraits on display in the shop window. The photographs are produced and framed with great care, making ordinary subjects look like Hollywood film stars. Yet a tiny sign at the main door reads 'Art Photo Studio is closed due to retirement. Owner'. The closed-down photo studio is perhaps less emblematic for the decline of the photographic industry, than it is a symbol to the respect and pride this industry once commanded. The Kodak Head Office in Rochester, for instance, towers over the rest of the landscape like a cathedral of commerce. Below its magnificent structures, however, lies a city visibly scarred by the collapse of a once proud company.
Burley's photographs also reveal the internal struggles that Kodak et al were experiencing in the built-up to the collapse of the photographic industry. Adjacent to the executive entrance of a Kodak building in Toronto is a image display that shows a woman wearing a yellow raincoat as she stands on the edge of a cliff looking out towards the sea. Quite clearly, Kodak was preparing itself for a storm as captured in this photograph from 2005. Directed at the executives entering the building, the sign reads 'The next big idea is right in front of you', almost as if to beg them to save the decline of the company. It was not to be. A thousand dollar investment at the height of Kodak's stock price in 1997 now buys little more than a cup of coffee. If the woman hasn't drowned in the sea, she is barely holding on to the edge of the cliff.

Awaiting the Implosions of Buildings 65 and 69, Kodak Park, Rochester, New York, 2007, Chromogenic Print, 76cm. x 99cm.

It is with considerable irony that all the photographs in the book were produced with precisely the declining technology that it also seeks to represent. Technical notes at the end of the book give a breakdown of the analog processes used. In a sense, the book represents a meta-photography - or a photography about photography. The images suggest that photography has underwent such momentous and wide-reaching shifts that the very definition of a 'photograph' is also shifting. Is it an image that is framed and put on display? Is it an image that is tangible and exchangeable? Or is it an image that is posted, blogged, re-blogged and shared? Allow a child to play with an iPad, allow it to scroll, zoom and flip photographs, then the categorization of a photograph as a still image even becomes debatable. In as much Burley's work represents the end of an era and the collapse of an entire industry, his work also alludes to a future that has yet to be determined.

Darkroom, Building 3, Kodak Canada, Toronto, 2005, Chromogenic Print, 76cm. x 99cm.

Marco Bohr is a photographer, writer and founder of visualcultureblog.com.

Monday, 3 December 2012

Inside The Camera's Belly

Untitled, from Mythologies, 2012 © Esther Teichmann
 A giant camera stands on the edge of a cliff overlooking the sea. Its blue and yellow exterior echoes the city's pastel hues of fairground nostalgia. She expects it to be shut, but finds a sleepy man wrapped in a blanket behind the box office entrance. Handing him a dollar, he springs into action, reciting its history, taking her through black double doors into the camera's belly.

Untitled, 1932  and The Phenomenon of Ecstasy, 1933 © Brassai / Prayer, 1930 © Man Ray

The woman walks into darkness, eyes adjusting to the change in light whilst the man describes the apparatus' mechanisms. The lens in the centre of its conical roof focuses the image that is thrown onto the mirror, that rotates in a slow motorised movement, projecting upon the concave circular dish in the room's middle. By the time his automated explanation is complete and he has left her alone, her eyes have adjusted.

Untitled, 2012 © Christopher Stewart

The eggshell lacquered projection bowl now holds the most exquisite image-tiny crystalline waves break silently over jagged cliffs, water droplets spray in minute detail. It is more perfect, more breath-taking and so much more mesmerising than the harsher landscape outside. She wants to climb up into the dish, its circumference fitting a curled up body almost exactly. She could sleep here, waves crashing over her skin, dancing on her eyelids, covering her with its continual circular motion. She realizes once again that she could happily never leave, would prefer to live inside a camera, inhabiting the secluded intensity of the pro¬jected spectral image.

Untitled, from Mythologies, 2012 © Esther Teichmann

She will come back here one day and he will stand behind her. Together they will inhale the image in silence, breath suspended, waiting for that moment when the late afternoon sun hitting the water, dances across the mute waves, flooding everything inside her in an overexposed glow of too much light.

Esther Teichmann 2012 (Foam Magazine issue #32/Talent)


In David Knowles novella, The Secrets of the Camera Obscura*, the giant camera nestled on top of Point Lobos in San Francisco, is at the centre of a tale of love and obsession**. Returning always to the special powers of the camera obscura and its ability to both focus more clearly whilst simultaneously transforming the world beyond it, we are taken on a journey through history which links vision to desire and murder***.

San Francisco Camera Obscura, 2012/ Life Magazine, March 1st 1954
"The fog rolls in from the ocean and the camera screen goes gray…. Of course, the stories always involved the giant camera.

Her body was discovered by a tourist at Lookout Point nearly one month ago, lifeless on the concrete path, decapitated, only a few hundred yards from the camera. What's even more disturbing is the fact that I saw her on the cliffs the day she died. Only hours, as it turns out, before the crime took place. I watched her through the camera obscura.

…The only clues are the black letters, GIANT CAMERA, painted on the east wall. In those words lies the  key to understanding the machine, for when you pass into the small dark chamber you have entered the insides of a camera, a camera in which you are the film, or more precisely, your memory is.

…The difficult part comes in describing the emotions which gazing down at the screen evokes. I'm not sure one could adequately write down this phenomenon. Really, it falls under the category of you have got to see it for yourself."

Untitled, 2012 © Christopher Stewart

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* David Knowles, The Secrets of the Camera Obscura, San Francisco, Chronicle Books, 1994, extracts from p.11-13.
** www.giantcamera.com 1096 Point Lobos, San Francisco, CA 94121.
*** Detailed Close-Ups of Far-Off Scenes Life Magazine, March 1st 1954.
"The camera obscura is a centruies old invention, often attributed to Leonardo da Vinci. Some years ago an encyclopedic description of the device caught the eye of Floyd Jennings, a San Francisco businessman, who built one as a tourist attraction on a cliff overlooking Seal Rocks. Basically , his camera obscura is a 20x20-foot darkened room with a 150-inch focal length lens through which light from the outdoor scene enters to form a lifelike image on a white-topped table. The effect is startling… And since there is no extraneous light, the colours are revealed more visivdly and faithfully then they normally appear outside."

Friday, 30 November 2012

From The Archive - Weegee

Gangster © Weegee

On Monday this week, not a single incident of crime was recorded in the city of New York. Unbelievable but true. it's probably back to normal by now with the odd shooting or robbery to keep the cops busy.

Weegee would have probably been disappointed with this strange lull in criminal activity. After all, as he famously said, 'murder is my business'. Here we look at some of his work from Foam's 2007-2008 show, Weegee - from the Berinson Collection. You can read more about the photographer and the exhibition in this press release.

Jonathan Crawford

Thursday, 29 November 2012

Onorato and Krebs - Blockbuster

More weird and wonderful-ness from Swiss duo, Taiyo Onorato and Nico Krebs. This time in a short film. This movie shows their 16 mm projection and soundmachine, Blockbuster, from 2012. The piece was filmed while installed for "Wozu Zeit"at RaebervonStenglin, Zurich.


Onorato & Krebs appeared at Foam with their show, Light of Other Days, between 8 June - 22 August 2012.

Jonathan Crawford

Wednesday, 28 November 2012

RijksakademieOPEN 2013 - Daniëlle van Ark

'The Work of Art in the Age of Mechanical Reproduction' | 2012 | 140 x 105.5 cm | ink on paper

Daniëlle van Ark is among 55 international artists letting folk into their studios at RijksakademieOPEN 2013.

Daniëlle's work has featured in Foam Magazine issue #14/Meanwhile and she currently showing work for Foam in Museum van Loon (unitl 21 January 2013).

You can wander around the Rijksakademie studios, Sarphatistraat 470, on 1 and 2 December from 11am - 7pm. For extra information take a look at the Rijksakademie blog.

Jonathan Crawford

Friday, 23 November 2012

From The Archive - No Man's Land

Untitled, from the series 'No Man's Land', 2000-2004 © Larry Towell
Hamas and Israel have been battering each other once again over Gaza. More than 1500 Israeli airstrikes and more than 1000 Hamas rockets launched over the last week or so.

Larry Towell's series 'No Man's Land' investigated the importance of land as territory to both sides is in this long-running conflict. The Magnum photographer worked in the region for over ten years. Towell's work was shown in Foam back in 2006.

A ceasefire came into force on Wednesday and still seems to be holding. How long will this one last, is the perhaps pessimistic, but inevitable, question.

Jonathan Crawford

No Man's Land was on show in Foam from 14 April - 18 June 2006.

Thursday, 22 November 2012

Nostalgia

Nostalgia, The Russian Empire of Czar Nicholas II

After perusing the books that are waiting to be added to our photography library at Foam, I found something quite special.

'Nostalgia' - a voluminous collection of colour photographs depicting Czarist Russia mostly between 1909 and 1915.

Sergei Mikhailovich Prokudin-Gorskii (1863-1944) was a chemist and photographer. Between 1909 and 1915 Prokudin-Gorskii took on a systematic journey to achieve his ultimate goal; to document all of Russia in colour photography. His life's work can be considered one of the earliest examples of travel photography.

Prokudin-Gorskii wasn't the first to use colour photography in his time, his greatest technical achievement in photography however was his ability to take colour photography out of the lab and into the field. He used colour-sensitive glass plates in order to achieve the luminous colours that we can still enjoy today.

It is really fascinating to dive into Russia's history and see it all in colour. An emir wearing a very turquoise robe, women in their traditional dresses, mosques in Samarkand decorated with tiles in rather exquisite patterns and colours. It really opened my eyes to a past long gone.

The book is on display in Foam's library, which can be visited upon appointment. Please contact exhibitions@foam.org

To consult the collection's database, please visit: http://www.fotografiebibliotheek.nl

Tonsja Coronel

Tuesday, 20 November 2012

Open Door Day

This Saturday it's open door day again at the HKU, like in so many other schools this time of year. It's always quite a fuss to organize and it seems that the whole academy is in stress-mode the week before. When I get out of bed early this Saturday I'm sure I can think of a lot of more fun things to do than go to the school and tell the same story a zillion times to shy pre-students and their somewhat assertive parents.

It's funny; at the moment I'm there and I see how good the classrooms look and every department is looking better than ever, it's actually very good to be there. I hear first-graders (who are now studying for three months) talk to the fresh youngsters and their parents like PR pros, explaining better what's going on in the classrooms than I ever can! I finally get a chance to catch up with colleagues and students in between the conversations we have with our visitors and really can show and tell how we try to educate people in a profound way.

I have a reccurring problem during my central presentation though. There they are, all those eager boys and girls who dream of becoming a world-famous photographer and look at Anton Corbijn and Erwin Olaf and think, 'That's what I want!' How do you tell them that that's the exception, and that many of them won't get that far? How do I keep myself for a harsh reality check and crush their dreams before they even start to realise them? Why do I feel the urge to warn them? For what?
Of course the profession of the photographer has changed. It's not like ten years ago (or five years ago, for that matter), where I could tell the audience in the auditorium that most of the alumni will end up as entrepreneurs, owning their own businesses as photographers. Sure, a lot of the graduates will establish their business as independent photographers, but this is changing fast lately. Most of them have side-jobs to make sure they have a steady income. Or they choose to continue their study in a masters course, locally or abroad. Or they start their career as an assistant or apprentice and take it from there. I've seen 'my' students in the creative industry as filmmakers, graphic designers, photo agents, art teachers (hey, that's something I can relate to), or more obscure professions like horse breeders or nightclub owners (actually, the last one isn't true, but you catch my drift).

I know, no, I suspect that if you follow a study at (most) Dutch art schools nowadays, you'll be all right. You will find a way to keep on learning and develop your professional life because you learn how to manage yourself in that way. But at the same time it's a very vague promise: 'trust me, you'll be OK…'

To conclude, I like to refer to a famous TED talk of Sir Ken Robinson in 2006, called 'Do Schools Kill Creativity?' In it he says: "If you think of it, children starting school this year will be retiring in 2065. Nobody has a clue … what the world will look like in five years' time. And yet we're meant to be educating them for it. So the unpredictability, I think, is extraordinary."

Robert Philip is a photographer and course leader at the Utrecht School of the Arts.

Monday, 19 November 2012

Diane Arbus - The Female View

A young Brooklyn family going for a Sunday outing NYC 1966 © The Estate of Diane Arbus

A photographer friend of mine visited the Diane Arbus show at the weekend and offered me an angle on her work that I hadn't appreciated before.

Arbus, she believed, managed to convey a particular strength in her female subjects. Maleness, on the other hand, appears more shrinking and vulnerable. I took another look at the photographs in the show and started to think she might have a point. If you look at the press images from the show, it's all there. The Brooklyn family, the woman with a veil, the man with curlers.

But I think it is a strength born from suffering. I went back over the story for clues why this could be. In A Chronology, the book produced in conjunction with the show, I read that, for many years. Arbus was brought up by a governess. Arbus herself described this woman as looking 'as if she had a very sad secret and she would never tell anyone.'1

And now looking at the pictures again, you could say many of the female characters in them give you that same impression. I'm not saying I have the whole story, but perhaps Arbus recognised something in that governess and looked for the same quality in the other women she photographed.

Jonathan Crawford

Diane Arbus can be seen at Foam until 13 January 2013.

1. pg.4 Diane Arbus, A Chronology, Elisabeth Sussman and Doon Arbus, pub. Aperture NY

Friday, 16 November 2012

From The Archive - Empty Bottles

from the series Empty Bottles, 2007 © WassinkLundgren

This week China selected its next set of Communist leaders for the coming decade. There aren't many clues as to what the new ruling committee will bring. Then again, the Chinese political system is famously inscrutable anyway.

The same mystery surrounds the images the photographer duo WassinkLundgren shot in Beijing and Shanghai back in 2007. Empty Bottles was a project which emerged from their observation of bottles being collected by, well, who? Scavengers? Cleaners? Officials?

The photographs could be seen as the document of an underclass still using every means possible to make a living, despite a booming ecomony. Or are they the mark of a naked ambition on behalf of the people to make even the smallest difference count?

The new Communist leader, Xi Jinping , said in his speech, "Our people love life and yearn for better education, stable jobs, more satisfactory income, greater social security, improved medical and health care and more comfortable living conditions and a more beautiful environment."

So the bottles may not be empty after all. In each one is perhaps that message.

Jonathan Crawford

Empty Bottles was shown in Foam 3h from 9 March until 11 April 2007. The duo return to Foam in January 2013 with One Group Show.

Wednesday, 14 November 2012

Jackie The Lion

MGM recording Leo the Lion (whose real name was Jackie) roaring for its official movie title logo which was first used for MGM's first talking picture 'White Shadows in the South Seas' in 1928. Jackie was used as the MGM logo for all of their films from 1928 to 1956 and was the first lion to appear in a Technicolor film in 1932 (courtesy The John Kobal Foundation)

Here is Jackie the lion. Waiting for the command: Action!

Obedient, and well trained, neither the sound recordist nor the cameraman look in the least nervous to be so close to him. I thought about this image for a long time after I saw it in the Hollywood Unseen exhibition as I found it arresting, touching and complex. It's showing us a real event, the lion actually being filmed, to be later isolated for the MGM studio logo. Jackie is already abstracted; he's against black in a cage, away from his natural environment, a real lion that lives as a representation of all lions.

In our culture we have a fascination with big cats. Tigers and leopards can often represent sexuality, whilst lions stand for more cerebral ideas, justice, strength, courage and clemency. Individual lions are given attributes of wisdom and judgment in fiction and legend. Lions are also used as symbols of kings. This began in England in the twelfth century with Richard I, the Lion Heart. The lion becomes a model of the ideal monarch; courageous, strong, wise, merciful and magnanimous. There to symbolize royal blood and also to recognise it almost as kin. In Shakepeare's Henry IV Part 1, Falstaff says to Prince Hal, 'The lion will not touch the true Prince' (Act 2, Scene 4).
But however well trained, a real lion will remain a wild animal, and will never be tame. Yet we yearn to get close to it because it continues myths of man's natural domination over nature. In the book of Genesis, animals live in peaceful harmony in the garden of Eden. In many other cultures there are myths of lions being a friend and protector of man or specific men. Again in the Bible, the lions left Daniel unharmed after he was locked in their den with them as punishment.

We yearn for this mythical lost age when we were loved by lions, so we create and look for stories of meaningful relationships between individuals and lions. This could be why the story of Elsa, made into the film, Born Free, (James Hill, 1966) was so popular. But this film had further fictions within it. 21 different lions played the part of Elsa. And however well trained, a lion will only do so much at the behest of a film director. James Hill complained about the difficulty of working with lions on the film. "You just want the lion to sit there between Bill and Virginia for a minute and you could be a week on that".

So when we see this lion, Jackie, waiting with all this cultural meaning and significance, standing to attention for the camera, we know how powerful the MGM studio is. The people who are going to show the next feature are showing us their power and might by using this lion. The camera is going to capture and control this symbol of strength, majesty and power for us: for our entertainment. This is man in charge of nature, in control, directing.

In a minute the lion will roar. Loud enough for us to know he is a lion and be a little bit afraid. The film technicians will transform this lion into a symbol. Jackie will be inserted into an image of a wreath, and be crowned by the MGM logo. The shabby crates he stands on, the makeshift backdrop will be edited out. And in the background somewhere, in this small cage is at least one trainer, maybe a few. Perhaps they are armed with weapons in case things go wrong, out of view but in control. Jackie has to do as he's told, he's there to entertain and do his lion act. Growl, and then await further orders.

Suky Best (Foam Magazine issue #10/Stories)

This image can be seen in Hollywood Unseen, recently published by ACC Editions
www.antiquecollectorsclub.com/uk

Monday, 12 November 2012

Photographing The Exhibition

Installation view of Parasomnia, Viviane Sassen © Doug Dubois
A young black male leans backwards, arms propping up his torso, head turned away from the viewer. Set against a background of dusty brown terrain, he also sits in a patch of powdery blue pigment, staining his trousers, skin and an otherwise pristine white vest. In the foreground, just overlapping the edges of this picture, a reclining statue in plaster echoes the pose, as if following the gaze of this 'other' figure, a reverse image, into the unknown distance.

Strictly speaking, two photographs converge in the above description: an image by Viviane Sassen, from her current exhibition Parasomnia at Crawford Art Gallery, Cork, Ireland, and the installation shot, a singular perspective that integrates both her aforementioned photograph with the surrounding environment of the gallery's sculpture room (in actuality, containing plaster casts of seminal Graeco-Roman statues). This latter picture, taken by the American photographer Doug Dubois, clarifies the formal affinities between Sassen's languid black youths and the dramatic postures of classical statuary, albeit through a deliberate cropping of the composition. The bustling, cluttered site of the exhibition is narrowed into an image that isolates and emphasizes their resemblances.

Installation view of Parasomnia, Viviane Sassen © Doug Dubois
It can be said then that the installation photograph sacrifices something of the 'truth' of the space in order to achieve an idealized representation. The relationship recalls Michel de Certeau's distinction of place and space: "A place is […] an instantaneous configuration of positions. It implies an indication of stability. A space exists when one takes into consideration vectors of direction, velocities and time variables." Naturally, the installation shot would fall into the former category: devoid of noise and activity, serene, composed, unhurried.

The irony here is that it is this technically 'inaccurate' image that allows for greater insight into an exhibition, and that allows the site to be read as a photograph in its own right. One pays attention to the contrast of black and white 'skin', the correlation between Sassen's dreamlike compositions - the term parasomnia refers to sleep disorders that cause fitful movements and behaviours - and the mythic, allegorical connotations of the sculptures, even their shared status as reproductive mediums. While it's usually said that there's no substitute for experiencing the exhibition in the real, sometimes it's the distanced, second-hand perspective that allows one to see it at its best.

Chris Clarke (critic and curator, Lewis Glucksman Gallery, University College Cork)

Friday, 9 November 2012

From The Archive - Bound For Glory

Faro and Doris Caudill, Homesteader,s Pie Town NM, 1940 © Russell Lee
 So Obama has won a second term as President of the United States of America. And as he said in his victory speech, 'the best is yet to come'.

Put another way, he might also have said that America is 'Bound For Glory', the title of an exhibition shown in Foam in 2006. Bound For Glory was a selection of archive images taken during America's last economic crisis, The Great Depression.

Commissioned by the Farm Security Administration, it had political motives at its origin. But it also became a document of a generation working towards a better future.

Perhaps Obama is right. The employment figures have been slowly but steadily improving. But as Mitt Romney tried to remind voters before polling day, there are still 23 million Americans struggling for work and 12% of 18-29 year olds are unemployed. It makes these classic colour images a timely reminder of the challenges America faces.

Jonathan Crawford

Thursday, 8 November 2012

Representation And Its Double


We abstract the world in order to know it better. Perhaps this sounds counterintuitive, but to understand something one needs to separate oneself from it. The distance we create from the world when we abstract it-when we codify it and model it and formalize it into ideas and notions-gives us the space and time and means to contemplate it. Turning away from the world allows us to understand the world more fully. And certainly, photography is a tool that helps us to do just that. Written and spoken languages are means of conveying abstracted notions as well. All are tools of abstraction and can be possible vectors for meaning. They separate, abstract and emphasize significance, allowing insight into the subject of their attention. But meaning and significance are never static qualities or quantities as they rely on interpretation. Interpretation, however, is fungible, slippery and subjective-for meanings may, at times, be self-evident, but at other times meanings can become evasive and evanescent.

This is not a pipe: on the Treachery of Images

Years ago my wife would joke with me saying that I was a pervert. And she was right. What I do, as an image-maker, is to pervert reality. This I would never deny: my images decontextualize reality; they pervert it, abstract it. I present my modified decontextualized "realities" as best I can. Interpretation and depth of meaning aside, my "best" will forever be something other than reality. When we abstract we make a pointed reduction of something. It is an attempt to project meaning through representation. But meaning created and conveyed through representation is never an ensured quantity. Interpretation ensures just that. Plus, there is a certain level of "noise" at any of the three junctures of synthesis, transformation and conveyance of ideas: the three places where interpretation holds sway. Meanings also tend to be "sticky." They adhere correctly or incorrectly to the object of their description. Many times (but not always) an image will supplant an observable reality and leave in its place an empty visage where a once observable and meaningful past existed. Baudrillard talks about this extensively in his Orders of Simulacra.

I started thinking directly about these ideas again six weeks ago, when I attended the Bursa Photo Festival in Bursa, Turkey. One of the themes of the festival was education. There were many vibrant talks and seminars on the work on display and about photographic practice and education. It was pointed out to me, although I have to admit it hadn't gone unnoticed, that the work of August Sander was evoked often as a touchstone for a variety of ideas in several of the talks. I found it wonderful and remarkable that his work should have significance to so many people in so many ways across such a stretch of time. And I wondered about how the work had become so much more significant as time moved forward: significance the work only (perhaps) hinted at to a small number of people during August Sander's lifetime. I wondered what the work of August Sander meant to these new initiates to the world of images, since many in the audience were likely seeing and hearing about Sanders work for the first time. I wondered what his work represented to them. I wondered what exactly was being communicated. I wondered how that meaning was being metabolized, not only across cultural barriers three times removed, but also across shifts in time and space. I worried: had the meaning of Sander's work became a kind of shorthand for something else, something other than itself?
We live in a forest of signs, in a sea of signifiers. Postmodernists seem to think this is a new phenomenon.  But the world has always held multiple and layered meanings for us. Certain work attains iconic status. Sometimes references become worn and cliché as meaning is emptied. The meanings associated with objects and representations change, multiply, evolve and decay.
Meaning can be lost and meaning can be gained or meaning can be replaced with a sign, an abstraction that, at some point, will lose its semblance of meaning or resemblance to what it once referred to. We struggle with the beast of meaning so that we can understand the possibilities that exist in the world. We express our understanding via languages that speak us as much as we speak them-sometimes to the point that we simply can't know who is really talking, who is mimicking, who is projecting and what exactly it is that is being said.

They say the work of an artist goes beyond what an artist can explicate or even ever know. Some of us have a pretty good idea of what we are doing. But what we won't ever fully know is the emotional weight our work has on others or where that work will lead others intellectually, now or in the future. As creators, we exist, not in some exalted state of infinite objectivity, but wallow blind in subjective and relative myopia, mitigated only through the abstractions of culture and language and the efforts that we make to draw meaning from our unique perspective in time and space. We can draw meaning if we give ourselves enough distance-the distance that only time, space and reflection can provide.

---

On another note, I want to mention this item again. There is a free eBook study of my long out of print analog book, Invisible City. Previously available only on iPads through iTunes, the eBook is now available as an enhanced pdf, compatible with other eBook readers and all PCs. Invisible City has proven itself to be of perennial interest and an analog reprint is planned with Steidl.

Ken Schles (Foam Magazine #5/Near)

Wednesday, 7 November 2012

Film &Foam opens 8 November

Kids 1995 dir. Larry Clark, act. Rosario Dawson
&Foam, Foam's shop at Vijzelstraat 78, is introducing a new theme for this winter. Until 6 January 2013, the store will be putting film and its relationship to photography in the frame. As part of this edition, &Foam presents Image Feedback and the organic installation PLOT.

Foam Editions, our in-house gallery, is also offering new prints by visual artist Gábor Ősz and Kriterion film theatre will show a series of classic movies on an original 35mm-projector.
Find out more about Film &Foam or drop in for the opening on Thursday, 8 November from 5.30pm.

Monday, 5 November 2012

Rico & Michael at Paris nofound 2012

Double Extension Beauty Tubes © Rico Scagliola & Michael Meier

Foam has been invited to exhibit at this year's nofound photo fair in Paris. We will present the up-and-coming Swiss artists Rico & Michael who had a show, Double Extension Beauty Tubes, in Foam back in June 2012.

The second edition of nofound, a fair for contemporary photography, will take place from 16 - 19 November at Garage Turenne. Along with the annual international photography fair Paris Photo, nofound is one of the many activities and exhibitions during the 'mois de la photo' in Paris in November.

Jonathan Crawford

Friday, 2 November 2012

From The Archive - Diederik Meijer


The arrival of storm Sandy on the east coast of the US this week made me wonder how this kind of natural disaster has been portrayed by photographers before.


 In Line For Free Cell Phones © Meijer Diederik

Bonnie Vernon © Meijer Diederik

Diederik Meijer's images of the aftermath of Hurrican Katrina were shown in Foam back in late 2006/early 2007 and focused on the residents of one trailer park in New Orleans.

Palmyra Street New Orleans © Diederik Meijer

Read more about his exhibition, 1900 Groom Road.

Jonathan Crawford

Tuesday, 30 October 2012

A Collector's First Purchase - Anne van der Zwaag

Unseen has been asking first-time photography collectors about their first purchase. Here, Anne van der Zwaag shows us what got her started.


The inaugural edition of the Amsterdam photography fair, Unseen, focuses on emerging talent and first-time buyers. From 19 to 23 September 2012 in Amsterdam's Westergasfabriek.

Friday, 26 October 2012

Interrogating 'The Shuttered Society’


Pfingsttreffen der FDJ. Showveranstaltung im Stadion der Weltjugend, Ost-Berlin, Juni 1989 © Jens Rötzsch

The exhibition 'Geschlossene Gesellschaft', literally translated as the closed or the shuttered society, is a survey of art photography in the German Democratic Republic 1949-1989 currently on display in the Berlinische Gallerie in Berlin. It is a timely exhibition which brings together the works of artists and photographers working in East Germany under the heavy weight of state censorship, political repression and growing social dissent until the eventual collapse of the GDR in 1989. The official art form endorsed by the state was called 'socialist realism': an integral element employed by the regime to promote the benefits of socialism and maintain order amongst the masses. Yet rather than succumbing to the brutal ideology of Stalinism in the GDR, the photographers in this exhibition appear to question this ideology by representing a society constantly investigating and questioning its identity and place in the world.

Many photographs on display initially appear to represent a harmonious relationship with the regime. For instance, Jens Rötzsch's photograph shows a group of young women waiting to perform for the spring meeting of the Free German Youth - the official communist youth movement of the GDR. While the woman in the foreground obligingly smiles, the expressions of her compatriots further back in the image are far less laden with celebration. This was June 1989 and the regime was already crumbling from within. Erasmus Schröter's photograph 'Woman in Red' is a candid reference to the dominance of communist ideology in the GDR. On closer investigation, the woman's expressionless face signifies a sense of numbness provoked by a lack of freedom and a lack of opportunities in the dying years of the GDR.

Halle / Saale II, 1988 © Matthias Hoch

 Peter Oehlmann's photograph of so-called Plattenbauten, mass housing-estates, on the outskirts of East Berlin is an eerie document of the socially and culturally impoverished living conditions millions of East German citizens were subjected to. In Oehlmann's photograph, this urban landscape is represented like a labyrinth out of which there is no escape. Matthias Hoch's photograph of the interior of a workers canteen appears to ridicule the working conditions in the GDR: with the exception of two hours in the morning, the canteen is open from midnight to midnight every day of the week. The repetitive cycle of work, eat and sleep is punctuated by a cluster of rather pathetic looking plants on the top of the food display. The image is a depressing remnant of an amazingly inefficient and labour-intensive socialist system.

Despite being locked into a repressive regime, the title of the exhibition 'Shuttered Society' is nevertheless slightly misleading. Precisely because East Germany was so closed off from the rest of the world, particularly from the capitalist West, young East Germans looked to the West with a growing sense of curiousity. It is impossible therefore to view Sven Marquard's 1986 photograph of a male nude without reference to the American photographer Nan Goldin. In fact, Goldin has visited and lived in West Berlin since the early 1980s. Goldin once said: "The only place I feel myself and comfortable and feel real love for my friends is Berlin." Goldin's iconic slideshow "The Ballad of Sexual Dependency" was first shown in Berlin's Kino Arsenal Cinema in 1984 and had a tremendous impact on the artistic community at the time. Marquard's image is likely evidence that the wave of Goldin's impact would splash over the concrete structures of the Berlin Wall from West to East Germany.

Im Kino / Teil II, Berlin 1983 © Matthias Leupold

 Artists working in the GDR were under the constant threat of professional marginalization, surveillance, political pressure and state punishment if they fell out of favour with the regime. It is therefore understandable that most photographs on display are subtil and cryptic in their apparent criticism. An exception is Matthias Leupold's photograph of a young man standing up in a 3D cinema, shouting at the screen with anger, while others continue watch the film. This stunt was set up by the photographer and a friend, both of whom were immediately kicked out of the theatre after causing a ruckus. The photograph poignantly references the growing dissent in a political system which was finally brought to its knees, not by military force or foreign intervention, but by its own people.

Marco Bohr is a photographer, writer and founder of visualcultureblog.com.

Tuesday, 23 October 2012

They Watch The Moon

The Lighthouse, Brighton, UK © Wendy McMurdo
Trevor Paglen, photography and activism for the networked age at the Brighton Photo Biennial 2012.

This year's biennial takes as its theme the politics of space. Taken together, the BPB's curated exhibitions, interventions and events present a convincing argument that photography's future will depend upon its participation in a collective, politically aware environment, where the potentiality of the world wide web is fully explored in both still and moving image-based practice. In the same week that saw the announcement that the UK is to double the number of armed RAF drones flying combat and surveillance operations in Afghanistan, the Brighton Photo Biennial opens with not one but two artists exploring the implications of drone technology: Omer Fast, with the first UK screening of 'Five Thousand Feet is Best' and American artist Trevor Paglen, with his exhibition 'Geographies of Seeing' at the Lighthouse in Brighton.

They Watch the Moon, 2010, C-print © Trevor Paglen, Courtesy of Galerie Thomas Zander, Cologne and Altman Siegel Gallery, San Francisco

Paglen uses advanced optical technology to document the secret activities of military and intelligence agencies, often photographing these military sites from as far as 40 miles away. The resulting images are - because of the distance covered by the lens - often warped and distorted by atmospheric conditions. Heat, in the form of convection waves, rise from the desert floor and give the images a hazy quality, which Paglen prefers. Clarity is not what Paglen is after. He prefers to use the blurriness of the resulting images as analogous with the murkiness of covert operations.

The resulting images are troubling and beautiful. Formally, they evoke the aesthetics of JW Turner and Ansel Adams but also the blurred colour-banding of Gerhard Richter.  They offer, however, a highly politicized reading of the American landscape which does, nonetheless, juxtapose successfully with the aesthetics of a more romantic, painterly, tradition.

'Large Hangers and Fuel Storage; Tonopah Test Range, NV; Distance approx 18 miles; 10:44am', 2005, C-print © Trevor Paglen, Courtesy of Galerie Thomas Zander, Cologne and Altman Siegel Gallery, San Francisco

Paglen began the research for this body of work whilst embarked on a PhD in Geography at Berkeley, California. Researching Geological Survey aerial material of far-flung prisons in the library, he first noticed sizeable redacted chunks in certain landscapes - the footprints of hidden military bases. This research (and the resulting geography dissertation) led him to create the images in his first solo gallery show. A version of this dissertation "Blank Spots on the Map: The Dark Geography of the Pentagon's Hidden World" was published in 2009.

‘Pan (Unknown; USA-207)’ 2010, installation shot, the Lighthouse, Brighton, UK. All images © Trevor Paglen, courtesy of Galerie Thomas Zander, Cologne and Altman Siegel Gallery, San Francisco

 To take his pictures, Paglen finds viewpoints on public land often as much as ten to forty miles distant from his subject. Using lens commonly used for astrophotography, he connects his camera to these telescopes using a tubular magnifying lens.  In 'Pan (Unknown; USA-207)' 2010, Paglen uses this technology to track satellite movement in the night sky. In 'Pan' Paglen reveals an array of spacecraft in geostationary orbit. One of these objects is PAN, believed to be operated by the Central Intelligence Agency, but never claimed by them - or any other agency - as such. It floats anonymous in the night sky, suspected in acting as a communications relay for armed CIA Predator and Reaper drones operating in Pakistan and Afghanistan.

Untitled from 'Geographies of Seeing',  2012 Brighton Photo Biennial © Wendy McMurdo

Wendy McMurdo (Foam Magazine #10/Stories)

Trevor Paglen's exhibition 'Geographies of Seeing' is currently showing as part of the UK's 2012 Brighton Photo festival, curated and produced by Photoworks.