Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Rachel Stevens, Jade Doskow, Orr Shtuhl, Kenny George, and Andrew Bovasso.
11-noon: Rachel Stevens
Describe the photograph selected for One Hour Photo in three words:
“In Real Life”
How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I picked an image that I felt embodied (so to speak) the One Hour Photo concept. The image looks like a performance, but was really a candid moment at an afternoon art event that was all about the ephemeral—collective/collaborative online projects and alternative exhibition practices. I really love this image, but it works better as a digital image rather than a print—it has soft focus, etc. The short-term projection will do it justice.
What are your thoughts on letting go of this image?
The image was made at an exhibition called “In Real Life” — an exhibition of alternative, online, ephemeral projects (http://www.letsmeetinreallife.com/). There was a series of “residencies” that took the space of a few hours at Capricious Space, an independent publisher in Williamsburg, Brooklyn. The afternoon the photo was taken, “Private Circulation” was in residence. Private Circulation periodically emails an artist project as a PDF to a private mailing list. They were projecting a digital slideshow of pieces by artists that have been included in their project. My friend who had contributed a Private Circulation project was sitting with his girlfriend and another mutual friend, each reading the printed newspaper-like piece that had the title of the show on it “In Real Life.” The shifting afternoon light came into the room at an angle and my friends had been drinking herbal tea. As you can see, the set-up was already organized around the ephemeral, so it seemed appropriate and natural to give this image up to the ether as part of another conceptual exhibition.
Personally, I have always been interested in the ephemeral and often work with perishable or contingent materials. I like photography precisely because it lets you hold on to that instant that will never be back again. I’m happy to be a part of an exhibition that celebrates ephemerality and embraces contemporary conditions of photography.
Website: www.rachelstevens.net
12-1pm: Jade Doskow
Describe the photograph selected for One Hour Photo in three words:
glowing, ethereal, golden
How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I selected an image from a project examining the ethereality of time and structure (a series of photographs examining the remains of world’s fair sites internationally); therefore conceptually it made perfect sense. It is also an image that is best projected and not made into a flat photograph; it glows in a very special but temporal way.
What are your thoughts on letting go of this image?
I feel I sometimes think of my work in too precious a way, as a result of the months I often spend working on one photograph. My exhibition photographs ultimately are large, expensive material objects with a lot of gravity. It felt freeing and contrary to my usual way of thinking to give an image—and one of the most beautiful images from the project—a tiny life-span, and an immaterial one at that.
Website: www.jadedoskowphotography.com
1-2pm: Orr Shtuhl
2-3pm: Kenny George
Describe the photograph selected for One Hour Photo in three words:
Hot, Sticky, Delicious
How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I just picked something I want people to see. No different than I would for any other exhibition.
What are your thoughts on letting go of this image?
There will be others.
Website: www.kennethdgeorge.com
3-4pm: Andrew Bovasso
Describe the photograph selected for One Hour Photo in three words:
father, gravestone, me.
How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
For a while, I considered the piece my primary self portrait. The image is ambiguous. At first glance, it appears to be a self portrait with strange cropping on the top edge, as you look at the image more in-depth, in relation to the title, Looking at Death, Eyes Open, you may realize the upper edge is actually the top of the gravestone.
What are your thoughts on letting go of this image?
I never wanted to see this image again. At the point of the submissions for the show, I had made the decision to create less work dealing with such dark and personal subject matter, in order to move toward a more universal understanding of what I could do with photography.
Website/Blog: bovasso.blogspot.com