|The title Con[text] itself is a play on words "con" meaning with in Spanish and "text" referring to any written language. Literal context is added to an image with the addition of words, numbers, letters. Shots of billboards, graffiti, headstones or even the illusion of a letter or word counts. The following examples have been shown at Darkroom Gallery in past exhibitions or provided by juror Tim Clark.
William Horton's The Perfect Perch is a perfect example of text naturally occurring and re-instating the origins of a subject. It adds a richness to the image and authenticates the windmill.
Barbara Dombach's The Sparrow is an example of two different kinds of text within the same image, handwriting is juxtaposed with the typeface of "June" in this dream-like image.
Sean Stewart's Comfortable Alley no34 is an example of an image with symbols that do not have legible words but the viewer knows they have meaning, obstruction of this meaning makes the photograph all the more mysterious. As this can also be true for text in a different language.
EJ Major, from the series Love is..... (published in issue 17 of 1000 Words Photography Magazine) is an example of collage. The artist took 2 found objects, in this case, mail and a iconic photograph and played them off one another along with a handwritten addition, it tells a unique story with all these multi layers at play.
Harold Ross's "Flying Fish" is an example of a hidden symbol within an image. Can you see the letter T in this photograph? Do you think this is a happy mistake or a consious choice of Ross?
Hugh Jones' Alice in Wonderland is an example of numbers or letters creating an overall texture or pattern, adding another layer of meaning to the image.
Fritzi Newton's If Doors Could Talk is an example of documentary photography that just so happens to have fragments of words in the found scene. When you are walking around with your camera you must capture some signage or logos in your shots, this is fair game for Con[text].
Roz Leibowitz's Annie Julia or Life After Death is a construction of a taken image along with the artist's written word. This is indicative of the dadaist movement, informing the viewer of a specific context to analyze the image.
Up next: Perspective Full details coming soon!
EXHIBIT Closed on August 16th 2015
Artists' Reception scheduled for February 24th, 2018
Juror: Nissan N. Perez
Juror's Choice: Marv Freedman, 1989
by Don Unrau from Portland, OR USA"
Conflict and resolution, photography that documents the dynamic power-struggles in our world and conversely, the moments of calm.
Humankind is in a constant state of conflict. As described by the famous Karl Marx theory: society is in a state of perpetual conflict due to competition for limited resources. One can see that is true if you simply watch a broadcast news program.
From civil rights, to gay rights to global terrorism, our world is a bubbling cauldron of adversarial commotion. And it seems it has always been this way. History textbook pages merely skim the surface when if comes to wars and hypocrisy. Cultural misunderstandings, power-struggles and discrimination easily erupt into violence.
|Exhibit Calendar (Subject to Change)|
|Exhibit Opens:||23 July 15|
|Artists' Reception:||14 August 15 17:30|
|Exhibit Closes:||16 August 15|
|War and Peace|
Exhibit Catalog now available at PrestoPhoto
We ask you to think outside the box. This theme of conflict can be expressed intimately, quietly behind civilian curtains as well as on the battlefield.
Although there are distinct kinds, war is commonly defined as a state of armed conflict between different nations or states or different groups within a nation or state. Most of us would agree that war is not a necessity. It is not even an indispensable option. It is often the choice of a certain category of leaders who recur to it for personal/political/nationalist reasons and to assert their leadership through a demonstration of power by fomenting conflict. In the process those who suffer most are men and nature. The victims of war are not only the dead but also the survivors who carry the trauma and scars for the rest of their life.
As an accurate visual memory photography has the power to disturb when presented in the context of armed conflict, even if it does not depict death and devastation. While reviewing the submissions for this competition I realized that most photographers addressed and expressed mainly the human facet of the aftermath of war, its physical and emotional devastating effects. Therefore my selection was an attempt to assemble a group of works that would also yield an exhibition with an internal logic.
Let us pray and hope that at least the future generations will not have to go through the horrors of war. Without wars peace will become a simple fact of life.
Dr. Nissan N. Perez
|Marv Freedman, 1989|
|Mallavi, Northern Sri Lanka, 2011.|
|Orphans of War|
|Kyaw Thura, Releasing Myanmar's Child Soldiers|
|Eyes of the Conflict|
|Fenced Childhood |
|Big Red One Memorial in Czech Republic|
|Pooneryn, Northern Sri Lanka 2011.|
|Wounded War Veteran, Hiroshima|
|I Dream of My Two Brothers|
|She said to Stay Alive, I Promised. |
|Orlando Martinez, 1986|
|Gerry Gergen, 1987|
|John Hamlin, 1988|
|Joan Duffy Newberry, 1989|
|Life goes on...|
|The History of Warsaw|
|Up Against the Wall|
|Orphan Girl, Managua, Nicaragua|
|Girls Orphanage, Managua, Nicaragua|
|Memorial, Maj Johnson, Tikrit, 2007|
|Orgun School Girl|
|Kurdish Man with Acid Burn|
|Soldier and Son|
|Brothers, Vietnam '71|
|Graziani’s Fence, (270 kilometer barbed-wire fence), near Jaghbub, Libya|
|Veteran on the March to the Capital|
|Diversion. Refugee Camp|
|Dine Su, Releasing Myanmar's Child Soldiers|
|When the War Came Home|
Juror: Nissan N. Perez
Currently Vice-President of the Shpilman Institute for Photography (SIP) in Tel Aviv, in his previous position he worked for over 37 years as Senior Curator of Photography at the Israel Museum, Jerusalem where he conceived and created the department of photography and its extensive collection of over 120,000 items.
In his curatorial career he conceived and curated over 180 exhibitions in Israel and Worldwide and published a substantial number of books, catalogs and articles.
In addition Perez currently teaches graduate courses and seminars at the Hebrew University, Jerusalem, The Ben Gourion University of the Negev, Beer Sheva, and at the Universitat Politècnica de València, Spain.
His studies were in psychology, philosophy and art history at the Hebrew University and he ultimately obtained a PhD from the University of Brighton, UK. At the start of his career in photography he was trained for two years first in Paris under the renowned expert and collector Gérard Lévy and at the Société Française de Photographie, then in London at the Royal Photographic Society and the V&A, followed by a one year internship at the George Eastman House in Rochester, NY.
Prior to his tenure at the Israel Museum he worked for many years as a professional photographer specialized in advertising and public relations while also devoting time to personal creative photography.
Perez was born in Istanbul, Turkey, educated in French schools and immigrated to Israel in 1967 where he built his life and career in photography.
Juror: Christy Karpinski
© Pere Ibañez
With the beginning of a new year and the resumption of new Calls for Entry it seemed appropriate to give our contributors a chance to choose their own best photos, regardless of subject or genre, to enter. Thus we named this exhibition OPEN - 2018, a chance for our contributors to choose their own photo genre. Entrants were encouraged to critique their own portfolio and enter those photos they felt were strongest, recognizing the technical factors that create the "appearance" of their photos - exposure, cropping, focus, depth of focus, etc. Composition is another big factor to be considered. Is the photo pleasing to the eye, does it follow the "rule of thirds", are there objects or lines in the photo that confuse the eye or lead it to the wrong place(s)? But at the same time we encouraged entrants not to be be overly concerned with the "rules". Thinking outside the box is often what makes for a striking photo image. Or, in the words of Pablo Picasso, "Learn the rules like a pro, so you can break them like an artist"
|Exhibit Calendar (Subject to Change)|
|Submissions Close:||17 January 18 23:59 EST|
|Selections Announced:||by 25 January 18|
|On-Line Check-in Due:||26 January 18|
|Work Receipt Deadline:||12 February 18|
|Exhibit Opens:||15 February 18|
|Artists' Reception:||24 February 18 16:00|
|Exhibit Closes:||18 March 18|
How to make a Submission
Submit your work Now
Invite a Photographer
|More On The Floor|
|From Train--Late Fall 1|
|Woman with Red Hair|
|Snakes & Ladders|
|The enchanted wood|
|Picnic with Persephone|
|Lost in My Head|
|From Somewhere to Nowhere|
|The Street Vendor|
|Lowell Mountain Wind Farm|
|St. Merrique's Eye|
|NV_Las Vegas_I-15@Spring Mountain Road|
|About A Boy 1|
|About A Boy 2|
|Vanishing Point #1|
|Behind And Beyond|
|Sunrise In The Lemaire|
|Bad Moon Rising|
|American Deer Chicago 2017|
|Desertscape no. 5|
The process of jurying this exhibition was a total pleasure. It was great to see such varied subjects and styles brought together under the Open theme. For me, the strongest images tend to be ones that spark my imagination and curiosity through composition, technical skill and a point of view. I enjoy when an image creates a sense that I am being shown something more about a person or a place or being given insight that gets me thinking and wondering. I am also taken by strong composition where the subject may not be new to me and may be rather straight forward or even focused on pure visual pleasure, but the presentation and point of view keep me engaged with the image in a way that I want to go back to again and again. This is what was behind the images I chose for this exhibition, along with an effort to represent the diversity of work that I had this wonderful opportunity to spend time with.