When I was younger, I worked overly-complicated projects. My thesis dealt with chaos theory and was criticized as being a mathematical Waiting for Godot. Now I look at simpler things. I am inspired by color field painters, and surrealists as much as landscape photos and paintings. I’ve had a lot of trouble sleeping and my dreams and reality are still separate but by a lesser degree than they used to be. I only develop film about once a month and sometimes I see negatives I have only vague memories of shooting and there’s almost no difference between the memory of making the picture and a dream. To me it’s more about the feel of the shapes and the forms than what the actual content is. I think the pictures are uniquely Midwestern but that is by coincidence not intention. When I’m driving around the suburbs of Toledo, Ohio I see a lot of construction. It’s hard to pinpoint exactly how but for me the construction sites have something to do with the sense of isolation of the suburbs, the idea that they are in a constant state of expansion is for me disheartening.
— John Walz, Toledo, Ohio
On November 19, 2010, I created New Landscape Photography. A lot has changed since then. I have gone from publishing one image by each artist to featuring three, which I think gives a much fuller introduction to the work. I continue to ask artists to share statements. The blog has become an archive of over 500 statements — and of course, hundreds more images.
I recently decided to invite artists to resubmit work a year after they’ve been featured on the blog. There are many people whose work I published four or five years ago who are now on to new and interesting projects.
In addition to the blog, I created a Facebook group of the same name. It now has almost 2,800 members and is a lively forum for sharing work and ideas.
I’ve always enjoyed the blog’s international flavor, but I am starting a local photography project: to document the billion-dollar renovation in Syracuse of Interstate 81, one of our central highways. This is a group project and is online at Picture81.org. We will share work on Facebook as we develop our individual projects. Later we will approach local galleries and museums about exhibiting the pictures.
This blog would not be possible without the participation of hundreds of artists. Thank you so much! Your enthusiasm and images have lifted my spirits for six years and I hope that will continue for at least another six — in some format or other.
— Willson Cummer, Syracuse, New York
Temporary still lifes
At construction sites in Europe on Sundays, I caught a wonderful art
Everything is constantly changing — between chaos and order,
building, demolition, rebuilding — but there are always moments in
process which exhibit some kind of momentum, perfection
and calmness — moments of rest and a certain romantic presence
between the continuously inexorable changes.
— Ben Gowertt, Muenster, Germany
The photobook Abrasion/Sedimentation deals with the construction of place through perceiving geological and semantic layers. The book itself utilizes the process of layering to presage a structural transparency of apparently obvious information. It describes a place and asks the question of its identity and identifiability.
Image and text layer are separated seemingly formal, but penetrate and layer each other associatively. Both layers are beyond the concrete and narrative. They lure the viewer with fragments and snippets, pretend a whole. However, this whole thing is always the product of the individual constructing capacity of the viewer.
Whether the land exists and where it is located is of little relevance. Text and image are abstracted and yet not without detail, thematic focus and realism. Landscape is visible and the attempt to recognize and decipher it is readable.
— Marcus Held, Leipzig, Germany
Mines of the Darwin Quadrangle
The silence is broken only by gusts of wind and the songs of cactus wren and the scrape of rusted metal against metal. Broken glass, bullet casings and rock shards crunch underfoot. Creosote bushes sway in the wind. Brush snags, catches, trips me as I walk. A dust devil whirls sand in my eyes and grit in my mouth. Relentless heat scorches and stifles, yet the sweat evaporates before it cools. My water is hot and does not refresh.
I am exploring an abandoned mine site deep in the remote mountains of the Mojave Desert. Hiking up a rock-strewn, broken trail scratched into the side of the mountain, the truck is left a mile back, the road too dangerous to drive. The site comes into view as I round a bend. Its appearance raises so many questions: What was mined here? Who lived and worked here, and when? Why did they leave? How did they get materials, machinery, fuel, food and water here? Were they lonely in this desolate place?
There is a hole in the ground and a decrepit, bleached ladder drops into the darkness; I cannot tell how deep the shaft is – a dropped rock takes 10 seconds to hit bottom, bouncing against the walls on the way down, taking pebbles with it. There is a weathered wood structure, paint long gone from years of battering winds. Corrugated metal panels, rusted and twisted, lay about and are perforated with shotgun blasts.
There is sadness to the place, a sense of abandoned hope, of brutal, back-breaking work, and of desertion and failure. There is also the knowledge that these structures will inevitably be gone someday, perhaps soon, like the men who built them – the result of weather, vandalism, looting and the neglect of the forgotten.
These photographs can only ask the questions; I have few answers*. I can only hope that in some small way the pictures might illustrate the emotion I feel, the wonder of discovery, the stark beauty and the finality of the place, the hope and the despair, the legacy. If they memorialize the scene, then I have succeeded in some small way.
*Technical records exist that answer some of these questions, for some of the mines: What was mined, how many men worked here, the equipment used, the economic value. It is documented that during the Great Depression of the 1930s many who were displaced and destitute from the economic collapse migrated to public lands and took up mining in an attempt to eke out a living. As the economy shifted for the war effort in the 1940s and the government ordered these small scale mines closed, these subsistence miners abandoned their mines either for more lucrative employment elsewhere, or enlisted in the military – never to return at war’s end. It was the end of an era.
— Marcia Mack, Fountain Valley & Darwin, California, USA
This project focuses on how suffering arises in a person and traces its roots into memories of childhood and youth. It is split up in three parts with each being preluded by a short text. The first part begins with a quote from a La Dispute song and leads into childhood and its playfulness. The definition of “entropy” marks the opening of the second part which deals with the timespan between youth and adulthood. The last part and its explanation of “metaxis” examines a feeling of imbalance and an in-between.
The photographs are intentionally vague and open to allow the viewer to search for their own interpretation or relate to certain emotions. They provoke questions without certain answers to emphasize how memories fade and warp over time. This fallible construct is the base for our feelings and perception of the world around us which thus is in constant change — potentially leading to feelings of tension and ambiguity. We never truly are, but merely exist in an approximation in between our past experiences and those still to come.
— Oliver Wiegner, Bielefeld, Germany
Some winter days in Buenos Aires fog covers the urban landscape. The solitude of the park, off-season, constructs a wistful image.
I’m interested in the landscape as a metaphor of absence and memory.
I like long silences.
— Eduardo Saperas, Buenos Aires, Argentina
There is a mostly hidden and often disregarded universe within our space of life: the province. The province is borderless: it has no real beginning and no well-defined ending, except at the edges of urban zones, which are like islands, like galaxies in an wide and secluded area. Province is an interspace which is connected worldwide with itself.
I am searching for my “objets trouvés” in the nameless countryside, in the extensive absence, in the aside, in the silent realms, where everything seems conventional and unspectacular. I am searching for the similar and the singular there, and even in the biggest tristesse I can find the beauty of melancholia or some rests of lost times, which are spending a strange and lovely form of idyllic shelter.
Furthermore I want to find out what is the character of province, what is special there, what is common, what is the atmospheric fingerprint of an area that I walk or drive through.
For me the province is a room of lost time and no-time, there is only past and a small quantum of presence, but not the illusion of future, which is forming the awareness of life in our cities.
So the main location of my work is the province, the backwoods, the outside. And one of my favorite photographic series is called Universum Provinz. It is a never-ending series, because universe is infinite.
— Hans Hansmann, Leipzig, Germany
Phoenix is intense and harsh under the daylight sun, yet magical and beautiful at night when color is sultry and saturated – it’s palatable. A time when color reveals itself as tangible. I want to capture this heady mix within the urban landscape. Deliberately devoid of humans, my photography centers on architecture, streetscapes, city vistas – the lesser seen and the unseen within a human built framework.
Night Water is my third series exploring Phoenix at night — focused solely on the nine canal systems. Scenes here are from portions of two of the nine.
I am motivated by not knowing what I will find — yet knowing I will find something. Something beautiful, intriguing and worthwhile. It’s within this process; seeking, seeing, capturing — this is where I am most at home, this is where I want to be — here in the desert, at night.
— Catherine Slye, Phoenix, Arizona, USA
I picture every day.
I have no program with any dictation… inside… outside… everywhere. I do not get into molds and orders. I shoot whatever appears in my eyes and stimulates my soul…
Many of my photos are the same and thus acquire a coherent grouping… almost always without people… only their traces… empty landscapes… but are they so ”empty” therefore?
I shoot statues, hangers, trees, washing lines, stairs.
I want my photos to stand alone, without the previous or the next photo, without titles or a supporting text… just to speak to the viewer without the need of any of these… without being warned, without limits and signs… just my photo and the viewer… and if I manage to make my photo and the viewer talk… then all the pleasure is mine.
— Manolis Karatarakis, Rethimno, Crete, Greece