Melanie Bonajo, from (Our) Nature Has No Boss, published in Foam Magazine #15
Big thanks to 2point8 for steering me to Oobject.com, my favorite time-waster of the week. Billing itself as “somewhere between a blog and a directory,” Oobject.com combines the best elements of Useful Photography, Evidence, August Sander, bad product photography (my Achilles heel of campy delights), Google Image, and Yahoo Answers for a clusterfuck of un-self conscious, web 2.0 vernacular giddiness. On your visit to the “Billboard Charts for gadgets,” be sure to check out Ghost Particle Detectors, DIY Frankenstein Lab Items, Drug-Smuggling Submarines, and, of course, the Walls of Death.
Although it might not have the initial sexiness of other free online photo mags like Seesaw, Purpose, and 1000 Words, one would be remiss in not checking out Volume 1, Issue 1 of Photographies, a new biannual journal from Routledge that “aims to open up a forum for thinking about photography within a trans/disciplinary context, open to different methods, models, disciplines and tactics.” Sure, it’s an academic journal, but I think it’s about time that academics and artists/enthusiasts declare a working truce, as we’re all in this for the same reasons, although our “methods, models, disciplines and tactics” may differ. I’d suggest that scholarly writers begin to reign in some of the impenetrable jargon, and to consider putting those massive brains to use for an audience beyond their fellow conference-goers, just as I’d urge the academically adverse to be a little more open to theoretical writing , for the sake of being exposed to some frequently mind-blowing propositions. Give and take, give and take. And since Photographies is giving it away free, that seems like a good place whence to start taking. May I recommend “Traumatic Images” by Jessica Catherine Lieberman, “Blessed be the Photograph” by Juha Suonpää, or “Digital Imaging Goes to War” by André Gunthert? (via the slightly cryptic pentimento/polarama)
This some slipped under my radar until I was penniless and book browsing the other day, but Geoffrey Batchen has penned a monograph on Henry Fox Talbot for Phaidon, which looks gorgeous and is officially at the top of my summer wish list. Batchen is perhaps the leading Talbot scholar in America these days, and his short essay on “The Latticed Window” in Singular Images is one of the most extraordinary short works of photo history I’ve ever read. Until I get my hands on the new Phaidon book, I’ll have to content myself with The Correspondence of Henry Fox Talbot, and unbelievable collection of nearly 10,000 letters to and from the Wiltshire genius.
Although I have yet to see a hard copy, the new issue of Foam looks like another winner, with fascinating-looking work from Melanie Bonajo, Moira Ricci, and Toshiko Okanoue all standing out. These three artists only contribute to my recurrent but entirely unscientific belief that women are completely kicking guys’ asses in contemporary photography. I’m not willing to defend this to the death just yet, but when I think about whose work I really love these days, women tend to dominate the list. (On further reflection, I might be going overboard at the expense of some of my other favorites.)
If, like me, you hadn’t scraped together enough frequent flyer miles to make it to PhotoEspaña this year, We Make Money Not Art was gracious enough to fill us in on the good times and even better photography that we missed in two must–read blog posts. There’s enough new work in these reports to keep me busy all day. (via Page 291; image at left is from To Russia With Love by Monica Menez.)