A/H

997: S A D N E S S I S A B L E S S I N...

Wed, 19 Jun 2013 21:29:31 -0500

S  A  D  N  E  S  S     I  S     A     B  L  E  S  S  I  N  G

Selections from Christine Osinski’s photos of life on...

Wed, 19 Jun 2013 21:26:56 -0500

Selections from Christine Osinski’s photos of life on Staten Island in the 1980s

Christine is part of a group show at Sasha Wolf Gallery opening July 11

Building Images by Dutch photographer Isabelle Wenzel I have...

Wed, 19 Jun 2013 21:16:49 -0500

Building Images by Dutch photographer Isabelle Wenzel

I have never worked in an office and I found it fascinating to see how functional and minimal the movements of people are in such a space. It made me wonder how long I could keep on sitting still.

Various works by Skylar Fein

Tue, 18 Jun 2013 12:11:20 -0500

Gang Bang, 2011

Its Asses, 2011

Black Reagan/Nanauatzin, 2011

Various works by Skylar Fein

Audio

Sun, 16 Jun 2013 23:36:49 -0500

Aneta GrzeszykowskaHair 1, 2009c-print

Sun, 16 Jun 2013 12:13:50 -0500

Aneta Grzeszykowska
Hair 1, 2009
c-print

Kevin Tadge sent over some unreleased work from a recent trip to...

Thu, 13 Jun 2013 14:30:32 -0500

Kevin Tadge sent over some unreleased work from a recent trip to Australia and Tokyo

Wylie Hays by David Schulze for Surface Magazine

Wed, 12 Jun 2013 17:58:06 -0500

Wylie Hays by David Schulze for Surface Magazine

Works by Bina Baitel Part of Design Miami

Tue, 11 Jun 2013 14:20:12 -0500

Works by Bina Baitel

Part of Design Miami

Makoto SaitoPhoto drawing Brix = 69 [red], 2012 (top); Photo...

Mon, 10 Jun 2013 23:46:27 -0500

Makoto Saito
Photo drawing Brix = 69 [red], 2012 (top); Photo drawing Brix = 58 [yellow], 2012
Oil on lambda print

Kon Trubkovichfor no shadow means it is pitch black, 2013 (top);...

Mon, 10 Jun 2013 13:30:26 -0500

Kon Trubkovich
for no shadow means it is pitch black, 2013 (top); Goodnight and good luck, 2013
Oil on canvas

David Mramor (previously)

Mon, 10 Jun 2013 11:26:00 -0500

David Mramor (previously)

Graciela IturbideThose who live in the sand, Mexico, 1979

Sun, 09 Jun 2013 21:12:00 -0500

Graciela Iturbide
Those who live in the sand, Mexico, 1979

Jason Evans

Sun, 09 Jun 2013 17:28:00 -0500

Jason Evans

Ger van ElkHanging wall, 1968 via Piet Mondriaan

Sat, 08 Jun 2013 13:39:13 -0500

Ger van Elk
Hanging wall, 1968

via Piet Mondriaan

"By definition, good taste is horrible taste."

Fri, 07 Jun 2013 22:30:13 -0500

“By definition, good taste is horrible taste.” - Miuccia Prada

Kari MedigBack to the Land

Fri, 07 Jun 2013 16:21:58 -0500

Kari Medig
Back to the Land

Huang Zhiyang Selections from Zoon, Dreamscape In my view,...

Wed, 05 Jun 2013 13:57:00 -0500

Huang Zhiyang

Selections from Zoon, Dreamscape

In my view, it’s always important to consider matters from the vantage point of a bit of time and distance. Consequently, I tend to view life from the sidelines, deliberately maintaining some distance from the mainstream, seemingly “drifting away” from the main currents of every day life.

Jacob van Loon interviews James Chororos - James Chororos has a...

Tue, 04 Jun 2013 15:15:00 -0500

Jacob van Loon interviews James Chororos

James Chororos has a diverse background in the arts. Between Rutgers and New Jersey Institute of Technology, Chororos studied Fine Art, Graphic Design, Art History, and Engineering before acquiring a degree in Architecture. After beginning his position as a designer at Studio Daniel Libeskind in Manhattan in 2010, Chororos spent the next three years working on projects all over the world. Part of his multi-faceted education led him to gain experience with photography during his Graduate studies. From there, he never put the camera down, shooting freelance on the side while at Studio Libeskind. He went on to pursue a full-time career as an architectural and lifestyle photographer in 2012.

James’ meticulous visual sensibility has propelled his work forward over the past two years. Living in Brooklyn, he’s also had the opportunity to travel and explore a range of locations and subjects. Photography fits well with his background as an architect. He is cognizant of change, and pays close attention to how people interact with their surroundings. James also understands the latent paradox of disruption and harmony, in how constructed forms impose or function with nature. I was able to talk to James about the fluid but rapid progression in his body of work.

Jacob van Loon: What was the most impressionable experience you had while at Studio Libeskind?

James Chororos: I had been assigned to a large residential project in Albania within my first month at Libeskind, and at the same time we had a big competition deadline, which was tying up a lot of personnel. I became the only one working on the project and it remained that way until the competition was over. I was fresh out of college at that point, so I was eager but terrified. The upside was that I was able to work really closely with a Principal and Daniel each day, so I learned a lot quicker than I would have otherwise. The downside was obviously that I was trying to juggle designing, making models, creating drawings, doing research, and making presentations at the same time. I pulled many all-nighters in that studio, but such is the life of an architect.

JVL: The most progressive post/modern architecture seems to be happening mostly overseas right now. Why do you think that is?

JC: First, I’ll say that in any region I’m always amazed at the fearfulness we still see in response to progressive architectural design versus progressive design in other forms. There’s a strong willingness amongst the general public to accept contemporary design when it comes to consumer products like electronics, furniture, appliances, and even cars. With architecture, however, the majority seem to hold onto a romantic idea of the past. I’m not sure that this split is more prominent here than abroad, but there are definitely many areas that value advancement in design more than the US. New York has made some strides in the last few years, but I’d love to see more people in the city recognize good architecture for it’s architectural design. Not simply because it’s iconic, nostalgic, or embedded with personal memories. If that paradigm ever shifts, we would move forward more rapidly.

JVL: New York seems like a good place to be a photographer with a background in architecture. What are some of your favorite structures in the city?

JC: My favorite building in the city right now is probably 41 Cooper Square, by Morphosis Architects. I just think it’s a great project all around and it’s a refreshing addition to the New York City street. I also like the American Folk Art Museum by Todd Williams and Billy Tsien, but unfortunately it seems it’s going to be demolished soon.

JVL: Around 2005, I spent a few years documenting structures at a harbor in Waukegan, Illinois that no longer stand. Historically, and in a way more objectively than other media, photography is a means of preservation. Why is that important?

JC: An image is elevated and it’s meaning changes the instant it’s subject no longer exists. The image becomes a way for us to remember, and without firsthand experience we have no choice but to assume that the story is accurately told. Furthermore, whether we like it or not, the characteristics of the image shape our opinions on the subject; it’s mood, vantage point, light, etc. This makes the role of photography as a means of preservation and our dependence on images to portray truth complex topics. Any image, even straight out of the camera, is never truly objective. We could obviously have a lengthy philosophical discussion about it, but the bottom line is that shooting with the intent of preservation requires a lot of sensitivity to many different factors.

JVL: I don’t think it’s universally understood how subjective photography can be, historically evident in how photography has been mishandled as an artistic medium.

JC: It’s an understandable misconception. I don’t even think I knew how subjective it was until I was shooting on a regular basis. Photography is just one of those things you have to do a lot before you can fully understand all that goes into it—and I’m still learning. We all know the “what kind of camera did you use?” question too well (especially when posting work to shortform sites like Tumblr). I don’t mind it as much as other photographers, but it’s insightful because it implies that the general public thinks an image is only as good as the camera that shot it. People don’t realize it’d be like asking a singer what microphone they used for a particular song. It’s essentially useless information if your goal is to figure out how an image was produced or why it’s inspiring you. If cameras were solely responsible for the characteristics of photograph, it would mean that different photographers would walk away with the same image if they were to shoot the same event with the same camera. We know this isn’t the case, but if you haven’t been through the process you just can’t be aware of how many factors cause an image to be what it is.

JVL: Your portraiture is always considerate of environment, and you seem to be concerned with how the human form responds to a structure or a setting. How did this characteristic develop in your work?

JC: I’ve always been interested in the moment people stop ignoring their surroundings and discover some sort of personal connection with the spaces they occupy. I find it strangely emotional. Few things spark a real reaction from us as we go about our daily lives (read: iPhone in hand) so I’m amused at how people selectively interact with their environments. The personal discovery of space is what led me to study architecture in the first place, and now instead of controlling how those moments happen I observe and document it.

JVL: I like your train of thought in how people ignore or dismiss their surroundings, I feel like that is a result of collective self-consciousness, and the control of personal appearance. Portraiture facilitates the latter.

There is a general discomfort that surrounds us when we spend time with only ourselves and our thoughts in any type of space, natural or built. I think sometimes we don’t like what we find when we’re not distracted by texting, reading emails, checking the news, etc., so it’s scary to let go of those comfort seeking habits even just for a few minutes per day. When you take the time to discover or appreciate your experiences it becomes an exercise in self-discovery and personal reflection. I’m very inspired by that piece of it, so I try to portray the deep connection between people and space as much as possible when I shoot.

JVL: You don’t seem to have an off switch. Even with “iPhone in hand”, following you on Instagram makes it clear you’re almost always ready to find the perfect capture. How has such accessibility stimulated you as a photographer?

JC: I’ve become addicted to photo-related instant gratification. I shot film in college but it’s in the background for me right now. I shoot so much with my x-pro because of its convenience of format, and last year I started using Instagram daily to post my iPhone photos. I have fun with it, that’s what keeps me going back. Having easy and constant access to both a camera and a sharing platform has been beneficial in many ways, mostly in connecting me with like-minded people. It also has drawbacks. It’s hard to not be influenced in a negative way by viewing a continuous stream of unrelated images from various sources. It’s interesting that most photographers are still experimental with their iPhone images. To see not-so-great images produced by a great photographer as a result of the iPhone’s technical limitations is interesting.

Snapshots from James Chororos’ Instagram

JVL: Culture is more visual than ever, and as you mentioned the barrage of imagery a person can be exposed to daily has detrimental characteristics. How do you determine what is important to absorb, and what should be cycled out?

JC: I try not to absorb other work, it’s damaging to my process. Of course it’s impossible not to, and unfortunately the easiest way would be to unplug from all social networking venues and basically never use Google again for anything. We are all put in front of so many images that influence our thinking each day and as a photographer it’s hard to refrain from wanting to reproduce those images, even subconsciously. There are also the images that make you say “Damn, I wish I shot that,” but envy is a destructive emotion. I do think its important to know what’s out there though to see what others are doing and what’s been done in the past. I try to only look at images through that lens and visualize how I would shoot and edit the same scene in my own way. That’s my best defense- to try and dismiss style and continue to think in terms of my own perspective. ♦

James was recently married. As if that weren’t exciting enough, he also mentioned that there’s several projects coming his way this year, and he looks forward to sharing the results as they appear. A sincere thank you to James for taking the time to answer these questions.

James Chororos (Portfolio)
James Chororos (Blog)
James Chororos (Instagram)

Jen DavisNew Orleans, 2008 via Flak Photo

Mon, 03 Jun 2013 11:45:20 -0500

Jen Davis
New Orleans, 2008

via Flak Photo