May 26th, 2010
One Hour Photo
May 8-June 6, 2010
American University Museum at the Katzen Arts Center, Washington D.C.
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
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/
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
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
May 22nd, 2010
One Hour Photo
May 8-June 6, 2010
American University Museum at the Katzen Arts Center, Washington D.C.
Hours: 11:00 a.m. to 4:00 p.m., Tue-Sun
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
May 11th, 2010
One Hour Photo
May 8-June 6, 2010
American University Museum at the Katzen Arts Center, Washington D.C.
Hours: 11:00 a.m. to 4:00 p.m., Tue-Sun
Larissa Leclair has teamed up with One Hour Photo to feature photographers from this exhibition. Read the initial post here. Today’s photographers are Andrea Gohl, Renee Rendine, Charles Benton, Kate Gorman, and Edouard Crotti.
11-noon: Andrea Gohl
12-1pm: Renee Rendine
1-2pm: Charles Benton
Describe the photograph selected for One Hour Photo in three words:
Don’t remember it
How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I chose one photo from a series of very similar photos. Maybe this defeats the purpose of the exhibition to an extent, but it reflects a tendency in my work–I often deal with the reproducibility of images in my projects, trying to diffuse the singularity or singular significance of any image, either at the point of initial production (while photographing, as with the image for this show) or the end of that process (in the printing/display/exhibition of the images/image-objects). I am interested in the tension between my work’s goals and the exhibit’s, I am glad I could participate.
What are your thoughts on letting go of this image?
I am not attached to it, there will always be more images. I do wish I could see it before its gone though.
Website: www.charlesbenton.net
2-3pm: Kate Gorman
Describe the photograph selected for One Hour Photo in three words:
gray, pause, red
How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
I chose a photo with diagonals and one vivid color so the elements of the image would stay in my head long after the exhibit was over.
What are your thoughts on letting go of this image?
I like it. It reminds me that the photo wasn’t really here to begin with.
Website: www.headsticks.com
3-4pm: Edouard Crotti
Describe the photograph selected for One Hour Photo in three words:
Lines, lights, contrast
How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
Everything has to disappear. I like this concept. “Film Noir” is something unique, non-repetitive, ephemeral. “Film Noir” structure is adapted for a short life but also to stay in the collective memory.
What are your thoughts on letting go of this image?
First, I would like to thank all the curators – Adam Good, Chajana denHarder, and Chandi Kelley. I’m proud to contribute to One Hour Photo. For me it’s important to be a part of the edifice. “Film Noir” is taken from photographic work still in progress,”Silhouette & Abandoned garage.”
Website: www.photoshelter.com/c/edouardcrotti
May 8th, 2010
One Hour Photo
May 8-June 6, 2010
American University Museum at the Katzen Arts Center, Washington D.C.
One Hour Photo, curated by
Adam Good,
Chajana denHarder, and
Chandi Kelley, opens tonight at the
Katzen in Washington, DC. Quoting from the website, “[t]he premise of One Hour Photo is simple: project a photograph for one hour, then ensure that it will never be seen again… Each work will exist only in the limited moments of perception, in the individual and collective experience, then memory, of the observers.” Read more about the exhibition
here. In conjunction with this project, Larissa Leclair has asked each photographer to respond to the same three questions – describe the photograph in three words, talk about the selection process, and thoughts on letting go of the image. The photographers’ responses will be posted the day their photograph is being projected at the Katzen – 26 days, 128 photographers. See the entire schedule and list of photographers
here. The photographers’ responses may provide a glimpse of the projected image, but more so their answers seem to reveal more about the photographers themselves. Opening night starts off with Noel Rodo-Vankeulen, Megan Cump, and Tim Davis.
6-7pm: Noel Rodo-Vankeulen
Describe the photograph selected for One Hour Photo in three words:
Luminous and polymorphic
How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
Instead of just selecting an outtake from a previous series, or simply an ‘extra’ image from my archives, I decided to create a photograph that addressed the idea of the exhibition. I wanted to make an image that could be dismissed, was easily read and referenced itself as a projection – essentially a work that straddles a line between what is considered art and the obviousness of its situation.
What are your thoughts on letting go of this image?
I really don’t have a problem with it. While it seems recently that there is this fear about losing the physical print within photography, that is, our current practice of experiencing photographs primarily on a screen, I was drawn to the idea of making a work that subverts both sides of the argument.
It is a photograph, but it’s presented as an image. It is in a physical exhibition, but the structures of how the work and the show itself are consumed (looking, documenting, purchasing, etc) are very much twisted. I think of One Hour Photo as more of a performance and less like a slideshow.
Website: www.nrodo-vankeulen.com
7-8pm: Megan Cump
Describe the photograph selected for One Hour Photo in three words:
Sea of flames
How does one go about selecting a photograph that is good enough for an exhibition but that can never be seen again?
My selection process was guided by a desire to exhibit an image that captured something utterly fleeting and mutable.
What are your thoughts on letting go of this image?
I am content to let the image go – photography’s capacity to render the unseen visible is what first drew me to the medium and this project brings that notion full circle.
Website: www.megancump.com
8-9pm: Tim Davis
Describe the photograph selected for One Hour Photo in three words:
Rental Home Mailbox
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 people used to write poems and then throw them in the Seine. By going home and writing them again.
What are your thoughts on letting go of this image?
In a digital age, letting go is easy to do.
Website: www.davistim.com