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 Esther Hidalgo, Rodolfo Vanmarcke, Frank DiPerna, Osvaldo Cibils and Sasha Bezzubov + Jessica Sucher.

11-noon: Esther Hidalgo

Describe the photograph selected for One Hour Photo in three words:
loss, memory, desire

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I chose an image that I would never be able to go back and re-shoot, one that I found beautiful and enjoyed gazing at, one that I would have wished to print and preserve.

What are your thoughts on letting go of this image?
With regard to the business of art, letting go of the image excuses me from having to think in terms of ownership and rights to reproduction–issues that are often in play for me as a photographer. Artistically, this project invited me to shift the way I perceive my work. My photographs are proof that I have been here and have acted. Yet the ephemeralness of this exhibition, by showing the work only once, is like wiping away my fingerprint after touching a glass.

Website: www.estherhidalgo.com

12-1pm: Rodolfo Vanmarcke

Describe the photograph selected for One Hour Photo in three words:
The absolute self-exile.

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
Each race is crucial. There are no small enemies, no small challenges. When I decided to participate in this project, I delivered grapes that were picked from a great harvest. I would never allow myself to exhibit something that is not “amazing” just because it will never be shown again.

What are your thoughts on letting go of this image?
Each and every day in life we let go many things. The important thing is knowing what we win when we let go of something. This photograph will vanish between the walls of a museum, but not without passing through the visual registry that goes from the curators to the staff of the museum; and with luck, through the eyes of some visitor walking around the place. Knowing this, one way or another has already made the piece invincible in time… or at least invincible until those who saw it, no longer live.

Website: www.rodolfovanmarcke.com

1-2pm: Frank DiPerna

Describe the photograph selected for One Hour Photo in three words:
Unplugged Ghost Woman

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I chose an image that is more or less outside of the mainstream of what I normally do; I’ve often wondered what I might do with and this was the perfect opportunity.

What are your thoughts on letting go of this image?
I like the concept of the show so letting go isn’t that hard, I lost an important negative in the street once that was hard.

Website: www.frankdiperna.com

2-3pm: Osvaldo Cibils

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Jon Lee, Scott F. Hall, Christopher Manson, Lauren Mosinka, and William Hundley.

11-noon: Jon Lee
 

Describe the photograph selected for One Hour Photo in three words:
I saw this.

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I selected the concept because its impermanence works well with the One Hour Photo concept. I selected the image itself because of it’s starkness and meditative quality. Basically, it’s something I want to stare at for an hour.

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

Website: www.wearescience.org

12-1pm: Scott F. Hall

1-2pm: Christopher Manson

Describe the photograph selected for One Hour Photo 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?
The quality of the photograph was not as important as the consideration I paid to it’s content. Much like the concept behind “One Hour Photo”, the television set (my photograph depicts a gold television set) has attained a dream-like status different from any other object in the world. With a flick of a switch, we are able to engage in a “truer than”, but also more fleeting experience of everyday reality. It is this transitory notion that I felt was in keeping with the ideology behind “One Hour Photo”.

What are your thoughts on letting go of this image?
Nothing is really lost anymore. The human desire to fragment, codify, classify and control is a powerful one; from private family photo albums, to public libraries, and online photo archives, systems of organization both public and private surround us. Lost cultures survive in museum collections and photographs hold passing moments frozen in time. Despite the abstract nature of “One Hour Photo’s” temporary archive, I believe that the obsessive way at which people claim parts of culture as their own will see that my photograph will live on.

Website: http://www.christophermanson.com

2-3pm: Lauren Mosinka

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Shane Lavalette, Vicki Sher, Chandi Kelley, Borislav Alexandrov, and Peter Zachary Voelker.

11-noon: Shane Lavalette

Describe the photograph selected for One Hour Photo in three words:
Growth, Time, God

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 difficult process at first, which I’m sure I wasn’t alone in struggling with. That said, once I came across the photograph I knew it was the one.

What are your thoughts on letting go of this image?
For myself it was important to find an image that was not only appropriate for the context of the exhibition but perhaps also strengthened by it. I think that’s how I’m able to justify “letting go” of it.

Website: www.shanelavalette.com

12-1pm: Vicki Sher

Describe the photograph selected for One Hour Photo in three words:
My Son Eli

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
It is important to want to create a Moment -for your subject and the photo – rather than thinking of the piece as an object. It is more performative.

What are your thoughts on letting go of this image?
It’s difficult – even though I have other pictures of my son, and other versions of his school photo, but this one is good…it feel like a loss.

Website: www.vickisher.com

1-2pm: Chandi Kelley

Describe the photograph selected for One Hour Photo in three words:
Eagle captures car

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
For me, this image captured a rare and magical moment that, through the photograph, became true in a sense. If one tried to describe the moment portrayed, its possible no one would believe it. The proof lies in the photograph – the documentation of the moment. In choosing this image to be seen only once, and never again, I return it to a mythical place. Everyone who sees it becomes witness to a rare moment that they can only describe but not prove. I felt that in the context of One Hour Photo, this image says more than it does on its own.

What are your thoughts on letting go of this image?
It has been more difficult than I anticipated. As soon as I submitted this image, it became imbued with a sense of importance. As if the act of letting it go, made it something to be cherished.

“In an initial period, Photography, in order to surprise, photographs the notable; but soon, by a familiar reversal, it decrees notable whatever it photographs. The ‘anything whatever’ then becomes the sophisticated acme of value.” -Roland Barthes

Website: www.chandikelley.com

2-3pm: Borislav Alexandrov

3-4pm: Peter Zachary Voelker

Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Yasmine Soiffer, Ryan Boatright, Alex Kisilevich, John James Anderson, and Kalle Kataila.

11-noon: Yasmine Soiffer
 

Describe the photograph selected for One Hour Photo in three words:
Fleeting, Displaced, Temporal

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
It was a strange thing! I thought about it. Generally, you pick an image that is your best work, because you want to show it. Here, it was an interesting tension between picking a piece that was worthy, but that I could accept not showing again.

What are your thoughts on letting go of this image?
Ultimately, the concept appealed to me and I wanted to participate. I wanted to create a piece that was about loss, so it was very fitting, the work fits the concept and the exhibition. The image that I sent in is of a snowman on the beach. I was thinking about the things that you do not get to keep, in terms of loved ones, and happened upon this snowman, melting into the sand at the beach, a strange marker, another thing that cannot be kept.

Website: www.yasminesoiffer.com

12-1pm: Ryan Boatright

Describe the photograph selected for One Hour Photo in three words:
Google Directions Home

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
By selecting works that illustrate various perspectives on memory, permanence, and the nature of photography.

What are your thoughts on letting go of this image?
The way in which this piece functions in the context of this exhibition is appropriate.

Website/Blog:www.ryanboatright.com; www.ryanboatright.com/Notebook.html

1-2pm: Alex Kisilevich

Describe the photograph selected for One Hour Photo in three words:
Hauntingly wry hair-lady.

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I treated the selection for this exhibition with the same regard and significance as with any other exhibition I have been a part of.

In the process of selecting a photograph, the idea of the image fading in and then out, along with the notions of ‘fleeting’, ‘permanence’ and ‘disparate memory’ were all considered. The final image represented all of these ideas.

What are your thoughts on letting go of this image?
I am definitely attached to the image I submitted but it is so refreshing to be part of this unique exhibition. One Hour Photo removes the commodification aspect of photography in a gallery setting. It is art for art’s sake and because of this, letting go of an image I am attached to, is completely worth it.

Website: http://alexkisilevich.com

2-3pm: John James Anderson

Describe the photograph selected for One Hour Photo in three words:
Amargosa Opera Sign

How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I thought of an image that would reflect the concept of the exhibition. Four people live in Death Valley Junction, and I have no clue how many people attend a performance at the Amargosa Opera House, or take refuge in its hotel each year. What I do know is that there are many ghost towns that dot the land around Death Valley National Park, and Death Valley Junction has the potential to join that fraternity of abandonment.

What are your thoughts on letting go of this image?
I had a professor in undergrad, Brenda Jones, who emphasized that nothing in art is precious. Besides, the concept of this exhibition outweighs the photograph.

Website/Blog: www.johnjamesanderson.com;
http://www.johnjamesanderson.com;
www.johnjamesanderson.blogspot.com

3-4pm: Kalle Kataila

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