Archive for the ‘Exhibitions’ Category

What’s Ahead for 2012…

I want to take a moment, before talking about 2012, to thank those of you that have made 2011 inspiring, educational, and memorable. It’s been a great year filled with images, books, shows, decks of cards and new challenges. I am so grateful to all of you who have supported my work and me…

I have big plans for 2012 and hope you all can share in them in some way:

Teaching
I’m thrilled to be teaching two upcoming workshops, “Turning Toward Books” on bookmaking and self-publishing. Lúz Gallery in Victoria, BC will be hosting a two-day version of this workshop on April 21st and 22nd and I will be teaching a full week workshop starting on July 8th at the Maine Media Workshops.

Topics will include:
Why self publish?
Benefits and challenges of self publishing
How to publish
How to market & distribute
Case studies
Resources and Tools

We’ll be looking at lots of sample books and case studies, evaluating your own work, and I will be providing in-depth presentations of the steps required to complete a book. My hope is that you will leave with the inspiration, tools, and resources to finish your book project. All of the following material will be presented within the context of my own experiences in publishing.

I will also be teaching a workshop at Newspace Center for Photography on ‘Building a Portfolio.’ I have wanted to teach this kind of intensive workshop for a long time, so I’m really happy that it’s finally happening. I believe, right now, there is only 1 slot left, so if you’re interested, please don’t wait. For more information, click here.

Books
I am now working on my next handmade book of my series, Still Standing, Standing Still. This portfolio contains 14 images of a single tree in Oregon. I’ll be working with binder Rory Sparks on what is going to be a very unique book. I’m working on a second handmade book as well, which I hope to release this Fall.

I am partnering again with Kirsten Rian on a new project, details to follow. We have met a few times to talk about this new project and I feel that this will be something completely new and challenging for us as well as viewers. Stay tuned for more details on that project which is unnamed at this point.

I’m also looking to expand Vela Noche’s published works with a handmade book of another artist’s work, as I did with Dale Schreiner. I will not be taking submissions, but will be hunting around for work that inspires me. I already have a few ideas in mind, but haven’t committed yet.

All of my completed projects are now available online at the just completed website for my imprint, Vela Noche.

Shows
I will be having my first show of books at 23 Sandy Gallery here in Portland during Portland Photo Month. Really looking forward to exploring how an exhibition of books differs from one of prints. I’ll be writing more about this as I get a little closer to the show, which I believe will be in April. Still Standing, Standing Still will be presented for the first time at that show as well as all of the other titles I’ve published including Dale Schreiner’s Thereafter.

I’ve also been busy redesigning my website which will enable me to present my work in a much more flexible and interesting format online. I hope to get the new site completed in the next month.

Travel
I will be traveling down to Los Angeles in January to attend photo LA and continue photographing for Growth. Fotofest 2012 will also be a destination for me this year. I’ve never been to Fotofest so I’m interested to see how it differs from photolucida and other portfolio review events. My aim, in going, was to meet with reviewers outside the US as my work has always been well received in international competitions. I will be writing more about my experiences and reviews when I’m there in March.

For the first time, I will be spending the whole summer in Maine. I will be staying close to the workshops in Rockport and spending a good deal of time photographing for a new series.

Writing
I’ve been really excited about expanding The Photographer’s Alternative Reading List. I’m reading another book right now that is perfect for this list and as I consider titles, I am realizing how valuable this can be for photographers. Look for the next post in that series in the coming month and please let me know if you have any suggestions!

I’m also writing my first article for PDN on handmade books which should come out in March. The article talks about the benefits and challenges of handmade books, financing issues, and marketing and distribution. While it’s difficult to squeeze all of that into only a few words, my hope is that it will get you started, or even prompt you to take one of the longer workshops to gain even more of an insight into this wonderful area of self-publishing.

I think that about covers it! As I’ve learned, there are always new surprises and challenges that I don’t anticipate. Glad to know you all will be there with me, through the good and bad, for another exciting year to come.

May the coming year be filled with open spaces…

© Lauren Henkin, Fieldnotes

© Lauren Henkin, Fieldnotes

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Introducing ‘The Lookbook Series Volume I: Growth’

When my show at Newspace Center for Photography ended, I wrestled with how to present this new work to a broader audience. I spent a great deal of time working on the installation of the show and I felt satisfied that the consideration I gave to rhythm, spacing, sizing and craft gave the viewer the most accessible way to see the photographs for the first time. But, the question persisted, How will this work live on?

What I’ve decided to do is publish a series of small soft-bound catalogs, The Lookbook Series. A Lookbook will be published for each portfolio of images. The first has been printed for my new series, Growth. These Lookbooks will be the only way, at least for now, to view this series. I may decide to publish the images online at some point, but I feel, as I did for the exhibition, that presenting the work in print, is the best initial presentation for my work.

Growth was offset-printed and measures 6″ x 7.3″ in size with 40 pages, 33 images from the portfolio and the project statement.

© Lauren Henkin. The Lookbook Series Volume I: Growth

© Lauren Henkin. The Lookbook Series Volume I: Growth

© Lauren Henkin. The Lookbook Series Volume I: Growth

© Lauren Henkin. The Lookbook Series Volume I: Growth

© Lauren Henkin. The Lookbook Series Volume I: Growth

© Lauren Henkin. The Lookbook Series Volume I: Growth

© Lauren Henkin. The Lookbook Series Volume I: Growth

© Lauren Henkin. The Lookbook Series Volume I: Growth

© Lauren Henkin. The Lookbook Series Volume I: Growth

© Lauren Henkin. The Lookbook Series Volume I: Growth

© Lauren Henkin. The Lookbook Series Volume I: Growth

© Lauren Henkin. The Lookbook Series Volume I: Growth

I am offering the first in the series at $18.

If you are interested in starting your Lookbook collection, please either click on the purchase button below and you will be taken to my imprint, Vela Noche.

Thank you all, as always, for your continued support.

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Falling for the QR

While I have quite a bit to write about how I designed my last show at Newspace, I must admit that there was so much thought and planning, that I’m not really sure where to start. So, I thought I would write about a small piece that seemed to be new and successful.

I love going to artist talks. I love hearing an artist talk about their work, their process and inspiration. Some feel that images should speak for themselves, without the need for explanation. While I agree that it shouldn’t be necessary, it has only enhanced the viewing process for me when I’m in a large museum for instance and looking at abstract paintings or sculpture and feeling like I’m completely missing out. A curator’s guidance, tour, or translation often can transform viewing a show from frustration and even feeling left out, to making some long-lasting connection with an artist’s work. Because this latest series was more conceptual and demanded more from the viewer than in past series, I felt like I needed to offer a lifeline. So, I recorded an audio tour for the show which I’ve been told was listened to and greatly appreciated.

The question was how to incorporate the audio with the actual experience of viewing. Would I provide a cd, or some kind of download that people could prepare on a listening device before coming to the show? I eventually settled on incorporating a QR code into the title/specification sheet that I had letterpress printed locally. The QR code would enable anyone with a smart phone to use audio as an accompaniment to the visual. I wasn’t sure that a QR code (which you can find mostly on direct mailers) would actually work with letterpress printing. The artists I worked with to produce the pieces, Meegan Keegan didn’t know either. They were willing to experiment and discovered that it would and did work and ended up writing about it on their blog which you can visit by clicking here.

Here are images of how the card turned out (courtesy of Meegan Keegan):

© Meegan Keegan.

© Meegan Keegan.

© Meegan Keegan.

© Meegan Keegan.

© Meegan Keegan.

© Meegan Keegan.

© Meegan Keegan.

© Meegan Keegan.

© Meegan Keegan.

© Meegan Keegan.

I also used a QR code on one of the project statements for a body of work titled The Lines Between Us, photographs taken on the various cross-country train rides I’ve taken over the last 4 years. The cinematic quality of my work is growing, and for this series, I wanted to incorporate a piece of music to the experience of viewing this wall of images (seen below printed on the project statement).

© Lauren Henkin. The Lines Between Us.

© Lauren Henkin. The Lines Between Us.

To create a QR code, you can go to numerous sites that will ask for the web address, text or even e-mail address you want the code to link to. There are sites (like this one) that even will create a vector .eps file so you can enlarge the code to the size you want in Adobe Illustrator.

I think, like anything, the QR code needs to be used in moderation, and appropriately. That said, I think it’s a great tool for connecting with your viewers and integrating new technologies with old ones.

Happy QRing!

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Growth

I’ve had two major surgeries in the last 12 months.

8.6 x 6.4 x 3.8
In 2004, I first learned of a growth in my abdomen. It was a benign tumor, but unusual to have at 29 years. My doctor said it would expand and should be removed surgically. I didn’t know what to think. I didn’t want surgery. I could barely stand a flu shot much less the thought of being cut open. At the time, I thought the best course was inaction — maybe it wouldn’t grow, maybe it would shrink.

What I wasn’t aware of was that this thing would grow into such a large mass that I would feel incessantly uncomfortable in my skin and ever-aware of it’s ability to further embed itself within me.

Six years later I was 35, divorced and without kids. After years of steady growth, it would deceive me into believing that it was a baby I was carrying — a clever disguise to avoid removal by a woman already fearful about a future alone. Having it inside me, increasing with a sense of entitlement and feeling more and more like a child was a bittersweet reality to face every night lying in bed, always questioning why the life I planned wasn’t the one I was living.

10.8 x 8.7 x 7.2
During the first few years of living with this invader, I became used to the frequent sonograms and exams. The resulting number combinations measuring the size of my growth held greater and greater meaning. I began to know, without needing to reference previous year’s results, what the numbers referred to—how much wider, how much longer, how much deeper. I could, by memory, immediately assess by how much the new dimensions surpassed the old ones.

12.2 x 7.8 x 9.3
A week before Thanksgiving 2009 I met my doctor once again for an exam. The conversation began unexpectedly. Instead of being presented with numbers, I was told, “We have another issue to talk about.” I didn’t want to know.

One of my ovaries had been aggressively taken over by some other, completely new growth. Maybe it was cancer, maybe it wasn’t. They wouldn’t know for sure until it was removed and tested. The doctors assured me that the chances were low that it was cancer, but the thought that haunted me was of someone taking what was mine since birth. It felt like a violent crime — and one requiring my consent. One week later I was in surgery.

I was asked if I wanted to remove the older mass at the same time. Kill two birds with one scalpel. No thanks. It was happening too quickly and in some strange way, it had become an adopted part of me. It felt as wrong approving it’s demise as it did to cut out my ovary.

11.6 x 8.4 x 10.6
Sometime before this first surgery, I began photographing urban landscapes — trees, weeds, shrubs and other vegetation attempting to grow in unlikely places. At times invasive, at times reclaiming, at times succumbing, it was hard to know whether to champion these subjects or hone my garden shears. There is a fine line between what is deemed invasive and what is merely reclaiming a rightful environment. Who am I to judge, even when the domain is my own body? I never connected these urban growths to the ones in me. I was drawn to them because they persevere. They are survivors. Emerging through asphalt, suffocated by electrical wires, trapped between buildings, standing proud even in defeat, they are both accommodating and unyielding. I respect them.

17.8 x 11.9 x 8.6
Eight months after my first surgery and I felt the most uncomfortable yet. I didn’t sleep easily. I like lying on my stomach, but could no longer. My clothes were tight despite eating less and less. I was exhausted. I learned at my next appointment that the large tumor still in me merged with smaller ones, making all of my symptoms more acute. I could feel its shape within me. Any attachment I had, as an adopted part of my body, was quickly disintegrating. Exactly one year after removing my ovary, I decided again to undergo elective surgery and the six hours it would take to slowly extract it.

I didn’t make a connection between what I was seeing on my ground glass and what was inside me until I visited the studio of a fellow artist and examined some x-rays she had hanging. Immediately, it made sense. I was connecting that which I had tracked for so long in my body with similar tales of survival in the external landscape. These humble subjects, ones I found beautiful, would enable me to let go of the fear and willingly accept these aggressive beings that will, most likely, be in me for the rest of my life.

For me, it’s difficult to think of plants as invasive. But in these contexts, deeply embedded in the industrial urban fabric, they are just that. They are what don’t belong. I needed to change my perception of what is “invasive” — to find some kind of respect for anything that persists in growth, no matter what the environment. I fear that someday I will breed a tumor that isn’t benign and will eventually succeed in its attempt to overtake. For now, I am content to photograph growth I could favor, that of the natural reclaiming a small piece of its habitat.

Thank you to all of you who have helped me in the production of this work, either through printing, editing, sequencing, and/or general support. Special thanks to Dale Schreiner, Kirsten Rian, Michael Borek, Beth Kerschen and especially, Tyler Boley.

Hope to see you all in September.

© Lauren Henkin. All rights reserved.

© Lauren Henkin.

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Casual Consumption

With all of the chatter over the last few days on the benefits/detriments of viewing photographs online, I thought I would expand my comments from the original blog post that brought forth the discussion on The Ten Blog.

Jennifer Schwartz of the Jennifer Schwartz Gallery was kind enough to ask me to contribute to this post. It was difficult to invest as much time into my response as I would have liked because when I got Jennifer’s request I had literally just checked into a hotel for my last night’s stay in Seattle after spending 5 exhausting days printing with master printmaker Tyler Boley for my upcoming show at Newspace Center for Photography. I’ve written about my friendship with Tyler before on this blog. I met him 4 years ago in Vermont. He was giving a workshop in printing fine art black and white photographs using Jon Cone’s beautiful inks, a process now known as Piezography. Since that time, Tyler has been a mentor to me on the printmaking process. He has answered questions that no one else would be able to answer, he has shown me techniques in Photoshop and with my printer that quite simply, have made my ability to continue in photography possible. I firmly believe in the printmaking process. For me, the end result is the print, or rather, the full experience of viewing the print. Without it, photography holds little interest for me.

During the times when I’ve gone up to Seattle to print in Tyler’s studio, we often get into heated discussions about viewing images online, about why photographers don’t invest more time, energy, and yes, money into becoming really good printers, and about how, as artists who passionately care about the craft of printmaking, can we make both artists and non-photographers aware of the value and importance of maintaining the level of craft that the founders of this medium trustingly bequeathed to us. These conversations usually end in frustration.

I’ve spent the last two years building a new body of work titled Growth. I’ve spent the last 3 months preparing to show this work and other unpublished, unexhibited portfolios in September. For some reason, which is very unusual for me, I have held back on sharing these new images online. They’re not on my website, blog, or Facebook. In fact, I’ve hardly shown them to anyone. I don’t know why I’ve kept them to myself. But maybe it was this very idea of casual consumption that I didn’t want.

Selfishly, I don’t want to offer my work, that has taken so much from me, to be immediately devoured, digested, and discarded by this community which lately, always seems ready and eager for more.

I listened again to the interview I did with Cat Gwynn for Photo Radio about her series, Hungry – The Insatiable State of America. What Cat is showing in that body of work, is another kind of casual consumption, one that I can speculate that most of us would look upon with disdain, our consumer culture becoming ever-more demanding for anything we don’t already have, what is new. But are we just as guilty—always craving new imagery, rather than what might take time to appreciate, what is subtle, what is well-conceived, and well-crafted? Is there a place for subtle work in this online emporium we all now have frequent-viewer memberships to?

There may be ramifications for not sharing these images. I doubt that many of us would, and it is against my own advice when I talk about expanding your audience. Yesterday, in the midst of all this discussion, I got an e-mail from Andy Adams of Flak Photo, asking to see the new body of work. I told him, that in thinking about all of this, I had decided not to publish the images online, at least for a while. I didn’t hear back from him. Did I piss him off? Maybe. Did he want a first look to possibly put it on Flak Photo? Maybe. Am I missing an opportunity by not giving him what he wants? Maybe. But I want, for once, the prints to make the first impression.

My fear is that our community will become that which so many of us are disgusted by and focus our work on, ever-hungry consumption. I don’t want the same afflictions that we look down on, the devouring of our natural resources, the lack of patience for experiencing what is real and in the moment, and the focus on instant gratification to be what our legacy is to the next generation of photographers.

Hope to see you all in September.

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