Larissa Leclair

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Geoffrey Pugen, Jeroen Nelemans, Isaiah Headen, Rafael Soldi, and Jennilee Marigomen.

11-noon: Geoffrey Pugen

12-1pm: Jeroen Nelemans

Describe the photograph selected for One Hour Photo in three words:
lots of squares

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I came up with the idea the night before, so the making was initiated by the concept of the show

What are your thoughts on letting go of this image?
I promised myself that if I was not selected I would make a large light box of the image. I am very excited to be part of the show, but now I am longing for the light box.

Website: www.jnelemans.com

1-2pm: Isaiah Headen

Describe the photograph selected for One Hour Photo in three words:
Beautiful Nude Kitchen

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
You want the experience of that moment to be enough to leave an impact for a lifetime.

What are your thoughts on letting go of this image?
I will probably spend my life time taking photos of this woman. I think I can spare one.

Website/Blog: http://iheaden.blogspot.com/

2-3pm: Rafael Soldi

Describe the photograph selected for One Hour Photo in three words:
mistake, rejected, lucky

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I revisited a recent contact sheet and found an image that I originally though was faulty. After looking at it I found a beauty in it that I hadn’t seen before and if it wasn’t for this exhibition I would’ve never see again. So I thought it was appropriate.

What are your thoughts on letting go of this image?
It’s hard to do!! Images are my language. But there are many images that I always wished I’d taken and never did and hopefully many more great images to come!

Website: www.rafaelsoldi.com

3-4pm: Jennilee Marigomen

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Chris Eichler, Lucas Blalock, Jason Lazarus, Sean Newman, and Marissa Long.

11-noon: Chris Eichler

Describe the photograph selected for One Hour Photo in three words:
Springtime headless reflections

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I wanted an image that spoke somehow to the theme of transience of the One Hour Photo exhibit, and one that was worth meditating on for an hour, but which I had not invested too much time into. This picture has a multi-layered, diaphanous quality which rewards slow viewing.

What are your thoughts on letting go of this image?
I do like the the image a lot and will be sad to see it go. I would like to shoot more photographs along the lines of this one. I have always been interested in the eerie things that light does, which can as surreal as any photoshop or darkroom inventions, and which speak to me of the strangeness of life. I will have to work to make or find more such light and build on what this image if for me in new pictures. But of course, none of them will ever be quite like this one.

Website: www.chriseichler.com

12-1pm: Lucas Blalock

Describe the photograph selected for One Hour Photo in three words:
studio sponge tower

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
My practice often creates multiples, rethought and reworked ideas. This picture was a favorite of mine a few months back that became sort of singular and didn’t commune as well with the others. I wanted to use something both iconic and temporary (in subject) and it fulfilled both. In the end it seemed an obvious choice.

What are your thoughts on letting go of this image?
I feel okay about it.

Website: www.lucasblalock.com

1-2pm: Jason Lazarus

Describe the photograph selected for One Hour Photo in three words:
fleeting, diaristic, political

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
painful at first…but, the experience of choosing for me was profound–certainly a new paradigm to be in all of a sudden…

What are your thoughts on letting go of this image?
i hope the image enjoys its moment in the sun

Website: www.jasonlazarus.com

2-3pm: Sean Newman

3-4pm: Marissa Long

Describe the photograph selected for One Hour Photo in three words:
surreal, sinking, visceral

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
It’s a tricky endeavor! I think it fell into place for me without too much fuss because the themes that the One Hour Photo curators were interested in made me think right away of an older series of mine. The image I ultimately submitted is an alternate/outtake image I’d never shown before with that series, but had always liked a lot. I guess the decision was easier, too, because it feels so different from work I’m moving towards and making now.

What are your thoughts on letting go of this image?
I work and accumulate images pretty slowly, so in some ways “letting go” of even one image feels like a lot. But overall, it’s a liberating practice. This is an image I’d cared about but partly forgotten for a while, and I have this notion that it went from feeling neglected to feeling glamorous! It’s becoming more visible and more elusive at the same time – I like that. One Hour Photo is a smart, exciting project, and I’m honored to be included.

Website: www.marissalong.com

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Chad Dawkins, Alex Wein, Belinda Haikes, Mark Regester, and Dean Valadez.

11-noon: Chad Dawkins

Describe the photograph selected for One Hour Photo in three words:
refers dually to

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
The same way one goes about selecting anything. Almost anything is worth seeing once, very few things are worth seeing again.

What are your thoughts on letting go of this image?
My thoughts on letting go of this image supersede my feelings about keeping it.

Website/Blog: chaddawkins.blogspot.com

12-1pm: Alex Wein

Describe the photograph selected for One Hour Photo in three words:
Legs, House, Levitation

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
This photograph was an alternative angle from one of the pieces I shot for my Dreamscapes series in 2009. I ended up not using it as the final image but still thought the photograph was strong.

What are your thoughts on letting go of this image?
Since it wasn’t used as the final image, I’m okay with only exhibiting this piece once because I never even thought it would be seen in a gallery.

Website: http://www.alexweinphotography.com/

1-2pm: Belinda Haikes

Describe the photograph selected for One Hour Photo in three words:
Americana, obsolete, open road

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I have been working with a series of photos I took from the car as I drove across country for a while now. The images come into and out of my practice, taking different forms. Each photo in the series has an odd, antiquated feel to them, which is due to the point and shoot camera that was used. In a way you can feel that it is a bad film camera. I decided this was the series to draw from, to capture the fleetingness of the image, to reinforce the meaninglessness and specificity of the photographic image in the digital age. Taking materiality of increasingly obsolete technologies and allowing them to become metaphorically obsolete was really appealing to me.

What are your thoughts on letting go of this image?
Letting go of the image, and the values we project onto them can be hard. It kinda reminds me of the old joke from undergrad, the one where we question if an artist draws a ‘masterpiece’ on a napkin with water, is it art? Is it art if it no longer exists? I think that is what really drew me to this curatorial project, it forces the artist to think about the value of permanence in the digital age, while forcing us to deal with it on a personal level too.

Website/Blog: www.belindahaikes.com
http://lifeuniverseandart.blogspot.com/
http://lovingthemark.blogspot.com/

2-3pm: Mark Regester

Describe the photograph selected for One Hour Photo in three words:
iconic, ironic, melancholic

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I was going through a bunch of old photos and found this image that I had forgotten about. I had always wanted to use it for something but never had the right project, this seemed like just the thing. Plus it just seems to me that the image would look good projected on a wall. This is such a wonderful, intriguing concept for an exhibition. I’m honored to be a part of it.

What are your thoughts on letting go of this image?
I’m thrilled to let it go. There are bazillions of photos waiting to be taken, why be precious?

Website/Blog: http://dothejerk.wordpress.com/

3-4pm: Dean Valadez

Describe the photograph selected for One Hour Photo in three words:
simulated, screen-filtered, micro-narrative

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
This was admittedly difficult. I ended up arguing and then reasoning with myself and realized that I do similar things already with my paintings and collages, which tend to exist in one form for quite some time until I eventually see how they should exist as something else. Many of my works – paintings, photos, prints, videos – have their own life for a year or two before becoming hybridized or cannibalized into their new identity: I will cut them up to collage them, repaint them, or re-edit them in some sort of way. Most of the time, the general public never sees the original form of my artwork. What is on my website and what is shown in galleries is always typically the altered variant. This sort of continuous rediscovery of how something should be finalized questions the finalization process; I realized that this natural response to my work has become its own process. So what I found would work best is an image that has a strong ground – a ground, so to speak, to what I anticipate will be future works; a sort of scaffolding or armature for what may come after it, but where the armature itself is still an interesting form that if the building were never built, the armature has a reason to exist on its own right. But also, should the grand architect decide to continue building upon the armature, the figure has a ground upon which to exist, even if that ground should be lost and not seen.

Thus, knowing that I will never see ‘Game Show Contestant’ again is already familiar – a bit unpleasant right now, perhaps, but, nonetheless, familiar.

What are your thoughts on letting go of this image?
I initially was hesitant to submit work for the show due to this reason. Yet, due in part to my pre-existing conceptual structure, which itself envelopes mediating technology and their resultant images, I felt the conditions of the exhibition buttressed the notion of fleeting imagery commonplace to everyone who encounters a screen. We all let go of our screen imagery. This temporal position of imagery only made sense for my work.

Website: www.deanvaladez.com

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Yael Ravid, Jordan Tate, E. Brady Robinson, Damon Zucconi, and Mohammadreza Mirzaei.

11-noon: Yael Ravid

Describe the photograph selected for One Hour Photo in three words:
A realistic fantasy.

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I am going to exhibit the whole series (“Rooted”) next year,
so I when I was trying to think what to choose I looked again at some photos I took in the past year that for some reason were not included in the final choice for this series. I remembered this location and how I planned to go there for several months until it actually happened and I remembered how I enjoyed taking pictures that day. I figured if I am that sentimental about the location and memory of being there it is the perfect choice for the One Hour Photo Project.

What are your thoughts on letting go of this image?
I must say letting go is easier than expected, I do see myself as a sentimental person…. But, the idea that my picture will be projected without my presence and without knowing if anyone will actually see it – I think its a way to spread one piece of myself out there. However, of course I do hope to have an audience.

Website: -

12-1pm: Jordan Tate

Describe the photograph selected for One Hour Photo in three words:
Photograph on table.

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
It is actually really difficult. I wanted to pick an image that conceptually related to one of my most successful works yet did not rely on that image for its success. If, after attending One Hour Photo, someone would see my other works, I hope that they would find them vaguely familiar without recalling any specific work. That was one of the major keys for me, I wanted to have the image be ephemeral, but not the concept.

What are your thoughts on letting go of this image?
It was surprisingly easy. While it is the first image I have deleted in any form in a very long time, my work generally functions as a meta-photographic critique and as such, conceptually relating my actions to such an interesting curatorial concept was exciting rather than unsettling. I committed to the project when I submitted the image. After I sent my work to Adam, Chajana, and Chandi, I deleted the files associated with that image. I wanted to participate in this exercise regardless of my acceptance in the show.

Website/Blog: http://www.jordantate.com;
http://www.ilikethisart.blogspot.com;
http://www.portablehammer.tumblr.com

1-2pm: E. Brady Robinson

Describe the photograph selected for One Hour Photo in three words:
Fleeting, intimate, contemplative

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
This particular image titled “Gustavo” is private and intimate and does not necessarily fit in any current series. The image I chose would not work in a larger solo exhibit of sequential images, it stands alone as a singular photograph.

This is an image I hold dear in my heart. It is a photograph of my husband. I love this image of him and clearly remember this moment of riding in the back seat of a car while passing through the streets of Mexico City.

Such an image is perfect to show in an exhibit such as One Hour. The ephemeral nature of the exhibit goes well with the fleeting nature of this image and allows me to share with a larger audience, if only for a fixed moment in time. One Hour Photo allows photographers to share and celebrate fleeting moments and the singular image. One Hour Photo is self-reflexive and allows the viewer to contemplate on the nature and essence of photography itself and it’s relationship to memory and the split second of time when an image is captured.

What are your thoughts on letting go of this image?
I let many images go.

Website: http://www.ebradyrobinson.com

2-3pm: Damon Zucconi

3-4pm: Mohammadreza Mirzaei

Describe the photograph selected for One Hour Photo in three words:
something to forget

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
It was exactly the motivation to participate in this project. I have an intimate but complicated relationship with this one. This photo is significant for myself; the photo itself and its capturing moment and its object. But at the same time, I was trying to find a way to not be able to share it anymore.

What are your thoughts on letting go of this image?
Now I’m feeling well but I’d be able to answer this question much better after the show.

Website: http://www.mrmirzaei.com/

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Mark Dungan, Matt Billings, Matt Dunn, Elizabeth Fleming, and Adam Cruces.

11-noon: Mark Dungan

Describe the photograph selected for One Hour Photo in three words:
abstract, unidentifiable, metal

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I selected something that represents the work I like to create without giving up too good of a cherry.

What are your thoughts on letting go of this image?
I have several images that I really like that few people have seen so it’s okay. I’ll get up in the morning and make another one.

Website: -

12-1pm: Matt Billings

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1-2pm: Matt Dunn

Describe the photograph selected for One Hour Photo in three words:
A Memento Mori

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I photograph every day and contribute at least one photo daily to the Washington City Paper/City Desk. I am always looking forward to the next photograph.

What are your thoughts on letting go of this image?
Roland Barthes, a philosopher and photo critic said that sometimes what is interesting about a photograph is “revealed only after the fact, when the photograph is no longer in front of me and I think back on it”. That is, a photograph is better remembered than viewed directly. He goes on to say in Camera Lucida that “ultimately, or at the limit, in order to see a photograph well, it is best to look away or close your eyes.” For me this is what the exhibit is about. You never let go of the memory of a photograph.

Website: www.mattdunn.us/

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2-3pm: Elizabeth Fleming

Describe the photograph selected for One Hour Photo in three words:
Hiding on stairs

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
It was difficult–I wanted an image that would do justice to my work, but I knew it would be impossible to give up an absolute favorite, so it was a delicate balance. I chose one that had particular staying power for me mentally–I can envision it now, so in that way I’m able to hold on to it. And because it’s a picture that feels a bit lonely I think it resonated for me with the theme of loss, which seems to be largely what the concept of “giving up” a photograph is about.

What are your thoughts on letting go of this image?
In many ways it echoes the experience of being a parent–I am constantly having to let go in the sense that my children are speedily leaving their babyhoods behind. I’m watching change happen before my eyes, and so am in a sometimes almost constant state of wistfulness. As a result letting go of my image felt like a poignant symbol of how I relate to my daughters growth.

Website/Blog:http://www.elizabethfleming.com; http://elizabethflemingphotography.blogspot.com

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3-4pm: Adam Cruces

 

Describe the photograph selected for One Hour Photo in three words:
wet splash cannonball

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
Pick an image that you wouldn’t mind sharing with a relatively small amount of people, while hoping it’s substantial enough to share.

What are your thoughts on letting go of this image?
It’s refreshing not too feel so attached to something that I enjoyed making.

Website:  http://www.adamcruces.com

 

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Hee Jin Kang, Gregory Halpern, Lindsay Page, Alexander Heilner, and Nigel Shafran.

11-noon: Hee Jin Kang

Describe the photograph selected for One Hour Photo in three words:
Empire – riffed, abbreviated.

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I made a photograph specifically in response to the show’s themes.

What are your thoughts on letting go of this image?
It feels liberating.

Website/Blog: www.heejinkang.com; heejinkang.wordpress.com

12-1pm: Gregory Halpern

Describe the photograph selected for One Hour Photo in three words:
I really don’t think I can describe the picture in three words.

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
It’s just a first draft of a new idea. I will likely reshoot the idea.

What are your thoughts on letting go of this image?
I have mixed feelings.

Website: http://gregoryhalpern.com/

1-2pm: Lindsay Page

2-3pm: Alexander Heilner

Describe the photograph selected for One Hour Photo in three words:
Aerial Development Glut

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
In my case, I was thinking about images that are very representative of my current artwork. I considered several one-off photos that are not part of my current aerial project, but it seemed like a bit of a cop-out. I decided it had to be an image I was currently excited about, and which would be potentially significant in its absence from the group. Having said that, I also ruled out a few of my very favorites, because I think they are important enough to the project that they need to be seen in future iterations.

This group of images consists of aerial views of Cape Coral, Florida, where there are more canals than any other city in the world, and where the housing bubble burst so dramatically in 2008, that there are huge swaths of and that are only partially developed, and will no doubt stay that way for some time to come. Most of the images I’ve been showing are either fairly low vantage points, so that details in the houses are clearly visible, or they are taken from very high, so that the vast extent of the crisis can be seen in geographic terms. The image I am giving up for One Hour Photo is precisely between these extremes. It is the one that tells the whole story at once – the investment of the individual families as well as the societal breadth of the problem. I’m hoping that a viewer will see all of this in the single image.

What are your thoughts on letting go of this image?
I feel a connection between the evaporation of wealth that so many people have experienced recently, and the disappearance of this photograph. When this image disappears after its one hour in the spotlight, the 176 homes visible in the picture will go with it. The photograph will cease to be a viable representation of my work, or of Cape Coral, and I will let it go lightly, knowing that many of those 176 homeowners had to give up much more when they were forced to give their keys back to the bank, and start anew on their American dreams.

Website:  http://www.heilner.net

3-4pm: Nigel Shafran

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Emilia Harned, Kelly Mulligan, Louis Jacinto, Andreas Vesterlund, and Rosalyn Song.

11-noon: Emilia Harned

12-1pm: Kelly Mulligan

1-2pm: Louis Jacinto

Describe the photograph selected for One Hour Photo in three words:
1977, Finally, Over

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I searched through my vast volume of images, looking for one that I’ve always enjoyed seeing through the years, but had not ever shown it to anyone else. I felt that the image chosen for the One Hour Photo show, “1977 Is Finally Over” would be greatly admired during the one hour allotted for exhibition, bringing joy as well as questions – the story behind the image.

What are your thoughts on letting go of this image?
During the last half decade I had being reviewing, printing and exhibiting and publishing my work, including images that were made more than 30 years ago. In my mind’s eye, I still feel like that teenage kid taking all those pictures. By choosing “1977 Is Finally Over” as the image for the One Hour Photo show, I am giving my mind’s eye a good, strong new set of eyeglasses.

Website: www.louisjacinto.com

2-3pm: Andreas Vesterlund

Describe the photograph selected for One Hour Photo in three words:
Hazy little girl

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I knew I had to make a photograph specifically for the exhibition. My work deals with transitory places and the passing of time, so the one-hour theme fit me perfectly. This photograph is connected to an ongoing project in which I use several different photos to construct new images. Since this is a scene that never actually happened, in some sense showing it for even an hour in gives the image more of an existence than it had in real life.

What are your thoughts on letting go of this image?
Since I made my image only to be shown like this, in this specific exhibition, letting go is a part of its lifespan. The girl in the photograph enters the space, dwelling there for a short moment, not unlike the way my image briefly enters the exhibition space and then disappears. This quality of moment-in-the-moment only enhances my original intention.

Website: www.andreasvesterlund.com

3-4pm: Rosalyn Song

Describe the photograph selected for One Hour Photo in three words:
instant, vanish, unexpected.

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I would select a photograph that would best represent the ideology of the One Hour Photo project, that photographs are snapshots of fleeting moments in time.

What are your thoughts on letting go of this image?
A little sad, but overall happy to be part of this project.

Website: http://rosalynsong.tistory.com

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Jared Ragland, Sam D. Rivers, Carly Gaebe, F. Lennox Campello, and Michael Vincent Manalo.

11-noon: Jared Ragland

Describe the photograph selected for One Hour Photo in three words:
Angel of Grief

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
That the image would be projected and never seen again distinctly led to the choosing of this specific picture, one that could conceptually address the idea of transience and make for a unique visual experience. Then one hopes for those other inexpressible, uncontrollable qualities to find their way in somehow, so that fate and beauty and story can give the work life. This photograph was made in a New Orleans cemetery, and on the very day it will be shown and consequently disappear forever, May 22, I will be in New Orleans to attend a memorial celebration of an artist who very much lived a life continually in search of the ineffable. He has been a great inspiration to me for many years, and how fitting it is that this image will flicker and fade as a tribute to a life that ended much too early.

What are your thoughts on letting go of this image?
Grief and despair are meant to be let go.

Website: www.jaredragland.com

12-1pm: Sam D. Rivers

Describe the photograph selected for One Hour Photo in three words:
Temporal, Instant, ironic

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
In my process I decided to use a photograph from one of my side series that would be able to hold its own as a conceptual piece, something I would not have to be regretful for leaving behind in the dust of the past.

What are your thoughts on letting go of this image?
Letting go of this image is a metaphor for life and memory and the way that we perceive it. In the image a man is gambling on horses and that in and of itself is very much a metaphor of the temporal nature of the work and the way it is being presented.

Website: http://www.samdrivers.com

1-2pm: Carly Gaebe

Describe the photograph selected for One Hour Photo in three words:
Consistent, familial, adaptation.

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I chose this photograph because it represents some of the things that are closest to me — family, temporality, emotion through an aesthetic experience, and the ability to remember and realize that with every remembrance the memory changes. These characteristics are possible in many images – and will exist after this particular image is gone.

What are your thoughts on letting go of this image?
It will still exist in my memory.

Website:  www.carlygaebe.com

2-3pm: F. Lennox Campello

Describe the photograph selected for One Hour Photo in three words:
Courage, Time, Age

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
Just like the idea of the show, it is a very novel experience, one that I hope all artists take seriously. The photograph ceases to be a permanent record and becomes a fleeting reminder of the second that it caught on film.

What are your thoughts on letting go of this image?
Very similar to letting go of my mother when her time arrives to depart this life. But in a quantum physics way, both her and the photograph live in endless versions in an infinite number of Universes.

Website/Blog:  http://dcartnews.blogspot.com

3-4pm: Michael Vincent Manalo

Describe the photograph selected for One Hour Photo in three words:
Nostalgic, Memorable, Sentimental

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
The process is not that easy. First you have to choose images that you deem fit for the exhibit, and then you’d have to reflect on the feelings and the atmosphere that these photos yield and once you’ve collected these, the difficult part begins: choosing the best photo. Now, it takes a lot of courage to surrender the chosen image but doing this won’t be in vain, since it will serve a huge purpose in the project. May it have a lot of viewers or not, it would still be a part of the memory of those who have seen it.

What are your thoughts on letting go of this image?
It was difficult to surrender this image but I believe that it is worth it. Now that image is part of my memory and will be within me for a long time.

Website: http://www.wix.com/theflickerees/michaelVmanalo

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Thomas Michael Corcoran, Gelare Khoshgozaran, Zac Willis, Linda Plaisted, and Susannah Slocum.

11-noon: Thomas Michael Corcoran

Describe the photograph selected for One Hour Photo in three words:
Time Standing Still

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I selected a recent photo that I thought was most relevant to the concept of this opening. It is a night shot of a crosswalk signal in Jangandong; a neighborhood of the Dongdaemun district of Seoul. Behind the cross walk sign is a sign for one of the literally tens of thousands of ??? (no rae bahng), or karaoke clubs, that are open 24 hours a day there. The presence of the ??? adds some meaningful dimension to this photo, in that these singing rooms are rented by the hour. It is a place where children go to sing and hangout for an hour between school and private lessons, but it is also the place friends most often find themselves in the last hour of a night of eating and drinking. It is a symbolic hour. It is a defining hour. It is a forgotten hour.

What are your thoughts on letting go of this image?
I think if one person sees it and understands it in the hour that it is displayed, it will have served it’s purpose well.

Website/Blog: http://blog.thomasmichaelcorcoran.com/

12-1pm: Gelare Khoshgozaran

Describe the photograph selected for One Hour Photo in three words:
\?j? – m – p\

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
Being “good”, if a “good and compelling image” is what you mean by that, does not necessarily mean it has to be “eternally accessible”. It happens a lot in life when you see something, a place, a moment, a person, a situation that you wish you could take a picture of. But just as you are thinking, it is already gone. And that is when a desire, a certain kind of longing makes you try to “remember”.

What are your thoughts on letting go of this image?
I have already let go of that “jump”; letting go of its image is not an issue.a

Website:  -

1-2pm: Zac Willis

2-3pm: Linda Plaisted

Describe the photograph selected for One Hour Photo in three words:
dreamlike, narrative, journey

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I created my piece “Traveler” for the One Hour Photo Project in honor of my father who passed away recently and who also can never be seen again. In going back through my archived body of work considering images for this project, I also glanced through folders of faded family photographs. Attempting to layer past and present, I placed a boyhood image of my father into the context of one of my existing landscape pieces, fusing context and subtext, past and present. Now the young boy who my father once was and the woman I have become can somehow still go on together toward a future horizon; existing along parallel lines in this constructed, hybrid world.

What are your thoughts on letting go of this image?
Letting go of an image seems a small thing in comparison to letting go of the people you love.

Website: http://lindaplaisted.com

3-4pm: Susannah Slocum

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Diedra Krieger, Sam Jury, Kate MacDonnell, Brian Ulrich, and Ken Ashton.

11-noon: Diedra Krieger 

12-1pm: Sam Jury

Describe the photograph selected for One Hour Photo in three words:
Suspend future event

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
Within a series of works I make differing versions. This version of ‘Between Here or There’ never quite conformed to being a physical printed image or photograph. Because the depicted event appears to be internally lit and takes place within a large oppressive space it seemed appropriate for it to be reproduced by light and projected on a scale that comes close to describing the original space. The depiction of a suspended act trapped in a moment of time made it a perfect choice for a show about momentary windows of existence.

What are your thoughts on letting go of this image?
It is better to have loved and lost….

Website: www.samjury.com

1-2pm: Kate MacDonnell

Describe the photograph selected for One Hour Photo in three words:
Sun silhouetted airplane

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
With detachment. I took into consideration that the image would be projected, and thought an image that was about light flying through air would be supported by the medium of light flying through air in the gallery. I also wanted to use a simple image -one that is striking, but evocative. I wanted to use an image that I would like to look at for an hour. The experience of seeing this image, and photographing it -that moment I would have liked to expand: standing in the snow, staring at the sun. But here is a safe way to stare at the sun for an hour.

What are your thoughts on letting go of this image?
Letting go of things that we are attached to is a great practice, for everything in life, for death. We all have to let go of everything eventually. In other time-based art forms, such as dance, this letting go is the norm. No one will ever see the same dance performance again, and no one will ever hear the same live music concert again. That is part of the beauty of those experiences. That is usually not the case with photography. The truth about the image is that the viewer is always left with the residue or the memory which is not the image itself. So getting rid of the object and entrusting the image to be carried probably briefly and in few memories is a very intimate connection with those few that have burned the image on their retina.

Website:  www.katemacdonnell.com 

2-3pm: Brian Ulrich

Describe the photograph selected for One Hour Photo in three words:
Failure, Late Capitalism

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
My most recent project is based on the idea of photographing the nostalgia for retail culture which in many ways is an odd thing to be nostalgic about. We lament the passing of our favorite store or brand, whereas the brand or store has little or not connection to us other than to make attempts to lure us in, wallets in hand. This photograph is of a Penny’s in Manitowoc, WI. The lone display of a long out-of-date sign beacons through the night air. The photograph attempts to be romantic but it’s a fleeting as the many similar spaces are in our periphery. All the more reason to glance once during this exhibition and then cast it away.

What are your thoughts on letting go of this image?
It epitomizes my project, Dark Stores, Ghostboxes and Dead Malls. Our culture places too much emphasis and gives too much power to retail economy.

Website: www.notifbutwhen.com

3-4pm: Ken Ashton