culturehall news

Every two weeks, culturehall selects the work of four members for the FEATURED WORK section of our homepage. For the current issue, I browsed culturehall's archives to look for engaging images that collectively suggested a cinematic noir narrative. Louise Noguchi's falling cowboy recalls the glamorized violence of western films, while Sara Applegren's mysterious nighttime road from her Telling Stories series brought to mind David Lynch's dark highways. Lilly Lulay's elderly elisabeth takes on a sinister dimension - perhaps, the blurry and embroidered mug shot of a granny killer from a true crime episode. And Matthew Rose conjures the danger and allure of car culture with his Road Sign created in the pop art spirit with wood, paint, glue and a cutter.

culturehall will be inviting artists and curators to select work for upcoming features, so drop by for more highlights from the archives as well as new work by artists contributing portfolios to the site.

culturehall is also continuing to expand its list of ARTIST RESOURCES, our collection of international blogs and websites that provide a range of compelling information about the arts. This list of resources has the potential to be a great tool for artists, writers, educators, curators and the like to locate diverse content about the arts in a single, organized online environment. Recent additions to our list include Art Fag City, which was awarded the Creative Capital/Warhol Foundation Arts Writers Grant in 2008, and ROLU, an exceptional and elegant blog about art/architecture/design/music and culture that has attracted a world wide following.

As a result of my own involvement as an artist in culturehall, two of my gas station pieces were recently discovered and leased by Warner Brothers Television Silver Cup Studios for a scene in an upcoming episode of the series, Gossip Girl, scheduled to air on Monday October 26th. As someone who is entirely out of touch with television and perhaps too dependent on the Internet to inform my reality, I had to google the program to find out what it was all about: Gossip Girl. Hmmm ... sounds a lot like my life in NYC. If someone can burn me a disc of the episode, I'd be much obliged.


Blow Back, by Louise Noguchi


Side Scene #1, Telling Stories, by Sara Appelgren


elisabeth, by Lillay Lulay


Road Sign, by Matthew Rose

Faculty Exhibition

Roof Top Wedding
copyright Robin Schwartz

I started a new position this fall teaching photography at William Paterson University, which means I am making a trek on a bus from Port Authority twice a week to a green and lush campus in northern New Jersey. Full-time faculty member, Robin Schwartz, and I are teaching concurrent intro digital photo courses - sharing notes and transitioning the photo program into the digital era.

Robin and I are also both currently exhibiting photographs in the annual faculty exhibition in the Ben Shahn Court Gallery on campus. I first became familiar with Robin's work when she and Elinor Carucci gave presentations as featured artists in a panel discussion about Women in Photography led by founders, Cara Phillips and Amy Elkins, last fall at Aperture. Robin's highly imaginative and eccentric images depict her daughter, Amelia, interacting with exotic animals such as kangaroos, elephants, hairless dogs and cats, and various primates. Robin takes her "circus family" on tour of the country to find these strange creatures - recently, a trip to Texas in the heavy August heat to rendezvous with some monkeys. Her third monograph, Amelia's World, was published in 2008 by Aperture, and some of her images from this series were included in the newly released photo book, Hijaked: Volume One, which incorporates work by contemporary Australian and American photographers.

I had the pleasure of meeting the star of the photos a few weeks ago, and Amelia is as charming and magical in person as she appears in her animal kingdom. She showed me a small turtle shell and a lifeless mouse that she had discovered on one of their journeys, and I gather that there are more than a few living creatures at their home in Hoboken.

Faculty Exhibition
Ben Shahn Court Gallery
William Paterson University
Wayne, NJ

September 14 - October 16

Browsing the Archives of 20x200

The staff at Jen Bekman recently asked me to browse the archives of 20x200 and select some of my favorite works for their blog - which was lots of fun. Here's what I came up with: Browsing the Archives with Tema Stauffer

Rachel Hulin has already selected two of my all-time favorite 20x200 pieces, the haunting Untitled (LA20070805) by Noah Kalina and No. 13. 3/11/2006 (plane lifted by men) by William Lamson. But I also love Lamson's other photograph from his enigmatic sublunar series.


No. 6. 8/6/2005 (plane) by William Lamson

A German photographer who similarly mystifies me with her control of light in her nighttime scenes is Juliane Eirich. I saw some of her gorgeous prints at the Scope Art Fair last March and have since poured through her website. I am awed and jealous to say the least.


Bus by Juliane Eirich

Also very mysterious and sexy is a portrait by Shen Wei. The image brought to mind the pensive, lonely, intensely sexual films by Taiwanese director, Tsai Ming-liang - the mood, the setting, the isolated subject, the sense of desire and longing...


Yi, Beijing by Shen Wei

This quirky image by Kelly Shimoda, an early addition to 20x200, uses light beautifully to make kitschy pink and blue balloons strangely seductive.


Untitled (Hanoi no.2) by Kelly Shimoda

Then, of course, I must mention the two prints I purchased from 20x200, Eric Graham's, Unleaded, Unleaded, Premium Unleaded, and Justin James Reed's iconic western scene, Idaho Springs, Colorado, both of which are hanging in my apartment.


Unleaded, Unleaded, Premium Unleaded by Eric Graham


Idaho Springs, Colorado by Justin James Reed

Kevin J. Miyazaki's work seems to be influenced by the same tradition of exploring the American vernacular, and I like his understated contributions from his Fast Food series.


Jones Boulevard Location, #1 by Kevin J. Miyazaki

And Katie Baum's cool photograph of a gumball machine might have been painted by a Photo-realist in the 1970s ...


Gumball Machine by Katie Baum

So yes, I confess, I love this kind of stuff.

Finally, is there any artist out there who can't relate to the sentiment captured by Clifton Burt? I think that pretty much sums it up.


think-make-think by Clifton Burt

September

Veronesa
Mexico City
2007
copyright Allen Frame


Untitled #101
2007
copyright Tim Roda

I couldn't be happier that summer is coming to an end, and there is a fall buzz in the air on these early, sunny days of September. And best of all ... galleries are coming alive again with new shows, including work by some of my favorite figures in the photo community.

I developed an instant crush on photographer and photo professor Allen Frame when I met him last spring on account of his southern grace and natural sophistication - not to mention, his sweetness. I have been eager to see more of his beautiful work "live" as what I have seen from his books and website convey a sensitivity to mood in both private and public spaces that feel equally intimate. Allen makes use of the emotional resonance of light; figures emerge from deep shadows in both his earlier black and white work and his beautiful new color work that will be exhibited at Gitterman Gallery in a show opening on Wednesday, September 9th.

Three great shows are opening the following night including Tim Roda at Daniel Cooney. Omni-present art collector, blogger and enthusiast, Ruben Natal-San Miguel, has previewed the prints in Tim Roda's Family Matters series and has written a thoughtful analysis on his blog likening the images to Spanish or Italian cinema: Ruben on Family Matters. Judging from one of the comments, the show may provoke a range of impassioned perspectives on artists whose children are their subjects - historically, a heated topic in photography - especially when there is anything resembling sexual content in the work.

And I would imagine many of us are looking forward to the first New York solo show of one of the most dynamic and influential women in New York's photo community, Amy Stein. Amy's Domesticated series, which has toured the country and the world, will be exhibited at Brian Clamp ... and you can find more surreal animals and landscapes made by Simen Johan virtually next door at Yossi Milo in a show titled, Until the Kingdom Comes.

Also this month, photographer and co-founder of Women in Photography, Cara Phillips, will be exhibiting her Singular Beauty series in her first solo exhibition at the Suffolk Art Gallery in Boston. I previously had the opportunity to see her work in a Hey, Hotshot! show at Jen Bekman last winter, and her prints are stunning. There is an opening celebration on September 17th at the gallery, so if anyone is driving to Boston - let me know!


Brown Consultation Chair
Beverley Hills
2007
copyright Cara Phillips


Howl
copyright Amy Stein

bye bye August

culturehall news

It feels like summer is winding down, and I am making one last trip to Michigan before I return to New York for the fall. David Andrew Frey will be launching some new developments to culturehall in September, and we will be fully back in action looking for more exceptional artists to add to the 320 members who have already contributed work.

David and I were excited to learn this week that one of culturehall's members whose work was discovered on the site recently landed a commission through a major corporation to install one of his pieces in an office space in Stockholm. It's great to know that the site is playing a role in helping artists realize substantial opportunities in their careers.

One of my focusses has been to spread to the word about culturehall to international arts blogs and websites and to share our enthusiasm for the information they are contributing to the arts in the ARTIST RESOURCES section of our homepage. We have recently listed some new sites we like including Artcards, Light Journeys, OPENWIDEpdx, Peek, and the newly revamped blog by my friend and colleague, Barry Stone, YES YES YES. Barry has been sharing recent images as well as some wonderful images from his archives.

While David is communicating with artists working in various media, I am primarily concentrating on adding photographers to the site. Two photographers whose work was featured this summer on culturehall were Zack Seckler and Francesca Romeo, with whom I exhibited work at Daniel Cooney Fine Art this past spring. Francesca has recently been shooting some intriguing self-portraits in hotel rooms around the world or sometimes in her East Village apartment, like the one included above. Some of her newest work can be found on her culturehall porfolio: Francesca Romeo/Culturehall.


Theodore, from TRUE LOVE series
copyright Zack Seckler

Critical Mass (08) Top Profiles

Jurying for Critical Mass 2009 is underway, and you can find some picks by juror Ruben Natal San-Miguel on his blog, ARTmostfierce. I opted out of submitting work this year, primarily because I wanted to spend more time developing my current portrait series before I attempt to get it published in book form.

I was one of the fifty finalists in last year's Critical Mass and was recently interviewed by Shawn Records about my work and my experience with Photolucida.

You can find an illustrated version of the interview on Photolucida's blog: CM (08) Top 50 Profiles: Tema Stauffer

• Name, location

Tema Stauffer, Brooklyn, New York

• Is photography your day job? If not, do you want it to be?

Part of my income comes from photography, both from sales of fine artwork and some commercial jobs. I also teach photo classes at The School of the International Center of Photography, and I recently started a position as Assistant Curator for a new website for the arts called Culturehall, which promotes artists and arts writers through an online community and list of resources.

• Can you remember/describe the first print you ever made? Why photography? Why do you do this?

I remember the first roll of slide film I shot for my first photography course at The Kalamazoo Institute of the Arts. I shot some portraits of my best friend in high school on slide film sitting in a cemetery. As corny as that sounds, the light was gorgeous, and my teacher was impressed, which gave me some encouragement. I immediately responded to the medium for the experiences and adventures it inspires one to pursue. Photography is a reason to go somewhere and to develop a relationship with somebody or something.

• How did your project develop?

The images I submitted to Critical Mass are part of an ongoing project exploring the character of the American landscape. This series, American Stills, began with an image of a lonely gas station under a blazing orange sky in the year 2000, and I don’t know exactly when it will be complete as a body of work.

• It's early yet, but have you had any concrete opportunities arise from your participation in Critical Mass? Shows? Publications? Print sales? High fives at a party?

Since my participation in Critical Mass last fall, I have exhibited work in a two-person show with Francesca Romeo at Daniel Cooney Fine Art Gallery, and a group show at Sasha Wolf Gallery organized by a collective of women photographers called NYMPHOTO. However, neither of these exhibitions came as a result of my involvement with Critical Mass. Perhaps, though, some of my peers became more familiar with my work as a result of the combined exposure through Critical Mass and Flak Photo.

• Who are your favorite photographers, images, websites, projects, or blogs, etc. that inspire?

Recently, I have been particularly interested in portraits by Rineke Dijkstra and photographs of the everyday in America by Paul Graham. Some of the photographers who have deeply informed my relationship to photography are Walker Evans, Robert Frank, Joel Sternfeld, William Eggleston, Diane Arbus, and Richard Billingham. I have also listed blogs on my blog and websites on my website which reflect work by peers in the arts that I follow and admire. There are too many to list here, but feel free to take a look.

• Do you have a favorite youtube video that you'd like to share? It doesn't have to be photo-related.

A writer and photographer friend who lives in Virginia, Mark Burnette, once posted a link on his blog, Conditions Uncertain, to a music video for the song, “Kiss” - a duet by Will Oldham and Scout Niblett. I loved the video and watched it over and over again on lonely winter nights and eventually bought Scout’s album. The video is playfully dark, whimsical, romantic, funny, and sweet.

Phoenix and Agnes

Happy birthday, Phoenix!! Phoenix was born in August last year to my friend, Agnes Dahan, the same night that my beloved dog, Paris, left this earth - living proof that when one amazing and beautiful creature passes, another comes to life.

Clubbing
2008
copyright Agnes Dahan

Phoenix and Agnes are visiting New York from their new home in the West Indies, bringing some much-needed joy to my anxiety-ridden life in the city. Agnes will be contributing a print of her image above to Daniel Cooney's next Emerging Artists Auction which will be available on-line this month.

Field of Sad Trees

Field of Sad Trees
Spanish Fork, UT
April 2008

Thank you to Andy Adams for featuring one of my images on Flak Photo today. I made this photograph during a trip to Utah in the spring of 2008 to explore the setting of the Gary Gilmore murders in 1976. The search for a sad tree was inspired by a passage in The Executioner's Song by Norman Mailer.

One Sunday while she was digging away in her garden, Gary carved their names on the apple tree. He did it with a pocket knife, real nice, real neat: GARY LOVES NICOLE. Nobody had ever done that before.

Next day she had a lot of things to do, and kept wanting to get back. When she finally reached home, she cleaned out his car first, then climbed up the tree to a place above where he had done it, and carved out: NICOLE LOVES GARY. Then she went into the house just in time to meet him.

He came out into the backyard with a beer and she told him to look at the apple tree. He didn't see anything and she finally had to point it out to him. Then he was happy as a kid, and said she had done hers better than his. Told her it was a beautiful heart she had carved around the names.

excerpt from The House in Spanish Fork
The Executioner's Song by Norman Mailer

Young Curators, New Ideas II

Untitled, Potash Mine, distant view
Wendover, UT
2004
copyright Victoria Sambunaris

I've discovered a lot of great work by women photographers on Women in Photography's site - recently, some very strange and quirky or unsettling interiors devoid of people shot by Lynne Cohen. One of my favorite series on WIP consists of American landscapes made by photographer, Victoria Sambunaris. I've never met Victoria, but I have a romantic notion of an amazing woman traveling the highways and backroads of this country with a dog and a large format camera. She is one of my living photo idols, and I am excited to see her print tonight in Young Curators, New ideas II at P.P.O.W. Gallery in Chelsea.

This exhibition examines new voices in contemporary art through the perspective of seven New York-based curatorial teams including good friends Amani Olu of Amani Olu Projects and Cara Phillips and Amy Elkins of WIP.

Young Curators, New Ideas II

P.P.O.W.
511 West 25th Street
Room 301

opening reception Thursday August 6th, 6-8pm

Craig Prehn

Cowboy, 16 x 23in, pen on paper
Craig Prehn


from Mobile Homes
Craig Prehn

I've been back in New York City now for nearly three weeks, still trying to settle into my life here and to reinvent things just a little. I turned thirty-six two days before Cancers turn into Leos, and have been contemplating the relentless sensitivity and melancholy that makes us what we are: open-hearted or broken-hearted brooders, for better or worse. I almost believe it since I know one when I see one.

I am also making efforts towards putting a twenty-year addiction to cigarettes behind me, which means I am clutching my coffee cup in the morning, sweating, crying, staring into space trying to focus my thoughts, sucking nicotine lozenges, chewing toothpicks, and furtively bumming/buying smokes from strangers on the street when I can't hang in there all the way. Asking everyone I know who might have some wisdom and experience how anyone does this, and some make it sound too easy and some make it sound too hard, but all advice is welcome.

My old friend from Chicago, Craig Prehn, who has succeeded in this area, was visiting this week from his current base in San Francisco. Our earliest memories together consist of printing in the darkroom at the School of the Art Institute in Chicago and cooking bbq and fries in the cramped kitchen of Smoke Daddy's on Division Street in the mid-90s. Our art lives have arrived at many junctures, including a photography exhibition at the Butcher Shop Gallery in the summer of 2000, A Great Midwestern at Heaven Gallery, and Best Midwestern at Jen Bekman Gallery in the summer of 2004, also including work by Peter Haakon Thompson, Alec Soth, Justin Newhall, Deborah Stratman and Susan Boecher. In fact, Craig and Pete took me out for sushi for my thirty-first birthday after we installed that show while I was still living in Minnesota and making trips to New York a half a decade ago.

Craig's "Cowboy" drawing above will be available in Daniel Cooney's next Emerging Artists Auction, and you can find a lot more cool work on his website: Craig Prehn. Besides his recent series of drawings, An American Western, which reference photographic snapshots and depict the sense of independence, severity and stark beauty of the American West; I am also a fan of his Mobile Homes. These simple snapshots of the exteriors of these colorful vehicles bring to mind the everyday Americana that seduced Photo-Realist painters in the 1970s - some of the only artwork I love as much as I love photography.

On that note, there are some fascinating observations about the art-historical context of the Photo-Realists and their influence on photographers in an essay called "Keeping It Real: Photorealism" by Philip Gefter in the recently released collection of his critical writings, Photography After Frank.

It is worth noting that Stephen Shore and William Eggleston, pioneers of color photography in the early 1970s, borrowed, consciously or not, from the Photo-Realists. Their photographic interpretation of the American vernacular - gas stations, diners, parking lots - is foretold in Photo-Realist paintings that preceded their pictures. (page 42)

"Not only do these artists have great technical skill, but they are the great depicters of pure Americana," says Barrett White, a former contemporary specialist at Christie's who is now the director of the New York branch of Haunch of Venison gallery. "This is not a gimmicky art but in fact a very important movement. It is the conclusion of Pop art in the same way that Color-Field painting is the conclusion of Abstract Expressionism." (pages 42-43)

If I were to win the lottery and to become an art collector, besides adding more work by artist friends to what I have traded with them over the years, I could imagine myself living with Photo-Realist paintings and not much else, except maybe some books and sunlight and a sexy hairless sphinx like the one I just cat-sat in Cobble Hill. It's a nice fantasy, in any case.

In the meantime, I am happy to report that I scraped up just enough funds through some much-needed labor last week and can finally take my film from my trip to Texas to the lab for processing tomorrow, so please keep your fingers crossed for me on all fronts.


The Butcher Shop exhibition postcard, 2000: Ian Adams, Aaron Brewer, Liza Queen, David Smith, Craig Prehn, Dara Greenwald, Tema Stauffer, Katherine Syroboyarsky, Sheila Manson, Suzy Poling, Tom Colley, Joeff Davis


Craig Prehn
Brooklyn, NY
August 2009

Project 5

Amador Gallery, ClampArt, Daniel Cooney Fine Art, Foley Gallery and Sasha Wolf Gallery are collaborating on a series of projects starting this fall. The galleries, referred to here as Project 5, will begin their collaboration with a portfolio of 5 images by 5 artists, one from each of the participating Project 5 galleries to be released on September 15. The portfolios will be released in an edition of 30 and will provide collectors the opportunity to start a relationship with five different artists and galleries at the same time.

All images will be unique to the portfolio - made specifically by the participating artists for this project. The artists included in the first portfolio are: Olaf Otto Becker from Amador, Jill Greenberg from ClampArt, Stuart O'Sullivan from Daniel Cooney, Thomas Allen from Foley, and Guido Castagnoli from Sasha Wolf.

Another exciting collaboration will be a monthly series of Artist's Salons that will alternate between Project 5's galleries. The first salon will be held at Daniel Cooney Fine Art on Saturday, September 26th at 3pm and will feature four emerging artists presenting their latest bodies of work. Participating artists are: Timothy Briner, Yola Monakhov, Jessica Dimmock, and Cara Phillips.

Project 5 is also introducing a series of group portfolio reviews for artists to receive constructive criticism and to establish an ongoing dialogue about their work with art world professionals.

To apply for Project 5’s Portfolio Review, please send:
- A written description of your work
- A biography that outlines your education and professional experience.
- A link to your website, if you have one.
- 10 jpegs sent either in a zip file or attached to an email (or series of emails). The jpgs should be 100 dpi and 6 inches at the largest dimension.

Project 5’s Portfolio Review will consist of three 20-minute reviews with three of Project 5’s gallerists. Great consideration will be given to the matching of gallery owners and artists based on the strengths and experience of each. After the formal reviews, there will be a social hour for all of the participating artists and reviewers to meet one another and share contacts.

Deadline for receipt of materials for this review will be September 6th and the artists will be notified of acceptance by September 9th. A $250 check made out to Project 5 will be due by September 12th.

Please direct any questions to info@project5group.com or to any of the galleries involved.

Homeland

Boy on the Corner
2005
copyright Brett Bell

I'm back in NYC cooling off in the mere eighty degrees temperatures after nearly a month straight in the hundreds - hoping the film that I brought back from Texas survived the heat, and eventually, some new images will begin to emerge.

Tonight, I am celebrating my return to the city with the opening of Homeland: Portraits of America's Queer Youth at Leslie/Lohman Gallery, including work by Molly Landreth and my very dear friend, Brett Bell.

According to the press release, Homeland: Portraits of America's Queer Youth is an exhibition that explores how GLBTQ youth from rural or suburban areas find and/or create community. In many locations across the United States, young gay, lesbian and trans people are geographically isolated from major centers of queer culture.

The work of photographers Brett Bell (of Missouri) and Molly Landreth (of Washington State) exemplify this challenging experience. With roots in rural Missouri, Brett Bell created a body of work that calls upon friends and acquaintances to express personal childhood experiences with longing and sexuality. Photographer Molly Landreth, in contrast, journeyed through America in search of queer people and documented their lives. In their juxtaposition, these images depict subjects, both real and fictional, that help create a picture of what it means to be queer in America today.

Homeland: Portraits of America's Queer Youth
The Photography of Molly Landreth and Brett Bell

Leslie/Lohman Gallery
26 Wooster Street

opening reception: Thursday July 16th, 6-8pm
thru October 10, 2009

Found in Austin

arthouse

Yesterday afternpon, I stopped by my favorite art space in Austin, The Arthouse at the Jones Center, to take a look at the current exhibition, New American Talent: The Twenty-fourth Exhibition curated by Hamza Walker. I first discovered the Arthouse during the summer of 2007 and wrote about that year's New American Talent show on my blog.

I didn't find as much good photography in this year's show, though I did like some black and white images of families shot by Amy Grappell accompanying a video piece. The other two photo series on exhibit involved considerably more stylization, campiness and staging. Amy's work is straightforward and curious - evoking early work by Bill Owens of families in suburbia.

Besides showing work by emerging artists, one of the coolest things about the Arthouse is the architecture of the space itself and its history. In the 1920's, the Arthouse was a thriving movie theatre on Congress Avenue, the Queen Theatre, which then became a Lerner's department store in the 1950's. Now a sleek contemporary art space, the Arthouse is currently undergoing a major expansion which will include three new galleries, two artists' studios, a 90-seat community/screening room, and a 5,500 square foot rooftop with a movie screen. Enough to make even Minneapolis and New York jealous.

The Arthouse also has a blog, THE ARTHOUSE BLOG, which is now listed in the Artist Resources section of Culturehall's homepage.

Pictured above:

"Space Suit Form with a Burden of Platonic Solid Talismans," 2009, Garland Felder

"The Kings of Hearts," 2008, Stephanie Bernstein