Posts by: Miss Rosen

Bringing Photography Education to West London Youth

Grace Phillipa Israel-Albertine

Ashleigh Beugre Joncourt

A testament to the power of youth culture, independence, and creativity, Dazed Magazine has been at the cutting edge of media since being founded in 1991. Seamlessly moving between print and digital, Dazed stays fresh by keeping its connection to the community fully versed in the power of the present.

Most recently, Dazed teamed up with Red Hook Labs, a Brooklyn-based public benefit corporation, to create Dazed+Labs, a series of free classes and mentoring in the arts to UK youth — a concerted effort organized in response to cuts in UK education funding.

The partnership premiered in November 2018 with a ten-week, two-hour photography class held at the Rugby Portobello Trust, a West London youth center, led by photographer Eddie OTCHERE  and Dazed’s Arts & Culture editor Ashleigh Kane.

Students were given cameras and film to shoot, while a makeshift darkroom was set up in the center’s kitchen, giving students an opportunity to work with photography in a manner that few do these days. The course culminated in an exhibition of nine photographers in the class: Ashleigh Beugre Joncourt, Edward Jia Jun Kau, Sofia Marijuan Carreno, Grace Phillipa Israel-Albertine, Reece Yeboah, Tyler England, Omar Gommari, and Mischa McRae.

Here OTCHERE, Kane, and Leone Buncombe, Service Coordinator of Rugby Portobello Trust, share their experiences collaborating on the first iteration of Dazed + Labs.

The Brooklyn Artist Reconnecting with Her African Roots

Blue Like Black, Argentina, 2018

Still from video short “the cleanse” 2017

Born in Crown Heights, Brooklyn, Adama Delphine Fawundu is the only first first-generation American of her siblings. Her brother and sister were born in Freetown, Sierra Leone and lived there until 1975, when Fawundu and her mother returned to bring them to the United States.

Fawundu would not return again until 1992, at the age of 21, during the Christmas holidays, during the first year of a decade-long civil war. Though she was unable to return to her homeland, Fawundu traveled the continent, visiting South Africa in 1995, early in Nelson Mandela’s presidency, as well as Ghana and Nigeria. And when she finally could come home, she brought two of her sons, then ages ten and seven, to create the foundation for a lifelong connection to the motherland.

Embracing the power of connection, Fawundu takes an expansive, inclusive approach, personifying the water spirit that connects Africa and its Diaspora using photography and film. In The Sacred Star of Isis, now on view at Crush Curatorial in New York through April 6, Fawundu travels the globe to create images from the New York State forests and the waters of the coast of Freetown, Sierra Leone, to cities within Argentina, a place known to systematically attempt to erase its Black presence.

The exhibition includes “the cleanse,” Fawundu’s first film — a glorious celebration of rhythm and ritual contained in the moments when Fawundu places her perfectly pressed tresses under the shower and begins to wash her hair, an incantation filled with magic, power, and wisdom. Here, Fawundu shares her journey creating The Sacred Star of Isis.

An Elegiac Portrait of Jim Crow America in Black and White

At the age of 20, Hugh Mangum set forth on a journey as an itinerant portraitist working in North Carolina and Virginia. The year was 1897, and the future was bleak as the peace of Reconstruction was undone by the perils of a new evil on the horizon. Jim Crow, as America has named its system of apartheid and oppression, began, bringing forth the horrors of lynching and the arrival of the Ku Klux Klan.

Over a period of 25 years, until his death in 1922, Mangum created photographs of the American South during a time when laws like 1896’s Plessy v. Ferguson, legalizing segregation and local Black Codes that severely limited black people’s right to vote, education, property ownership, and movement. In the 1970s, Mangum’s archive was discovered inside an old tobacco barn that had been set for demolition and saved at the last moment.

With an open-door policy at his studio, all the world who could afford it donned their Sunday best and sat before Mangum. Using a Penny Picture camera, which allowed for up to 30 exposures in a single glass plate negative, Mangum delivered the classic fine, flat-field image with a graceful fall-off on the edges. The photographer engaged his subjects to reveal slivers of themselves with each new frame, capturing moments of unassailable emotional truth that speak to the human condition on the cusp of modernity.

Honoring the Romani People, in Photographs

Since the Romani people left northwestern India some 1,500 years ago, they have been subject to discrimination and persecution so extreme that most people are unaware that the term used to describe them, “gypsy,” is an ethnic slur. Instead, the very people that have enslaved and oppressed the Romani for over a millennia have also appropriated this slur and recast it in glowing terms to describe free-spirited bohemian members of their own community.

Intent on going beyond the stereotypes and bigotry that have kept the Romani maligned and marginalized, Italian photographer Marco Ponzianelli began traveling to nomad camps in his native Rome in 2016. Over a period of two years, he got to know the Romani, as individuals and as a culture, an understanding he aims to portrait in the series Your Gypsy is a Person.

Here, Ponzianelli shares his experiences gaining the trust of people who know better than to allow just any outsider into their world.

Tabitha Soren Traces the Trails We Leave on Touch Screens

Emailed JPEG Kiss Goodnight. 30″ x40″, 2014 30″ x 40″, 2018

In our increasingly pixilated world, we are known by the trails left behind — the smudges made by incessant pawing at our digital devices all day and night. With the quick whip of the wrist, we wipe all traces away before starting anew, our attention glued to the images and words illuminated by a flickering light that sends us down endless rabbit tubes.

Time slips away until we surface once more, the remains of our journey reduced to mere streaks — subject in and of itself that fascinates photographer Tabitha Soren. In Surface Tension, the former television journalist positions herself on the other side of the camera and looks at the very apparatus of content consumption itself — the screens our fingers feast upon as we travel at the speed of swipe.

Now on view at the Davis Museum at Wellesley College in Massachusetts through June 9, 2019, Surface Tension is a curious, lyrical ode to one of the most visceral of all senses we hold. Here, touch is both sacred and profane, a base, coarse reminder of our physicality and a symphony of gestures made over a period of time, indicating a desire for more content, more stimulation, more entrée into an invisible, nebulous realm that we can never know beyond the appearances we voraciously consume.

In advance of her April 17 artist talk, Soren shares her insights into the nature of the image and the ways in which it adapts to the plasticity of a digital world that feeds on our desire to look.

The Artist Using Photography and Book Making as a Tool of Recovery

For photographer Lorena Turner, art is a path to transformation and transcendence that lies in wait, forever ready when we are. With the camera as her guide, Turner began to tell a story of discovery out of the darkness and towards the light.

Turner’s adopted mother was an alcoholic who verbally and physically abused both her husband and daughter. On September 26, 2016, her mother – also named Lorena – awoke, drank wine all morning and vodka all afternoon, then battered her husband until he called the police. Two officers arrived, removed her from the home she had lived in for 25 years, and put in an assisted living facility for people with dementia, where she currently lives.

Turner, then 47, had been estranged from her parents for 30 years. Following the incident, Turner started rebuilding her relationship with her father, who she now sees once a month, and visits her mother, who does not recognize her but tells her that she loves her. At the same time, Turner came upon Gregory Halpern’s photo book Zzyzx, and became inspired to create A Habit of Self Deceit, a book that looks at the landscapes, people, and objects of life that we may see as mundane, if not downright ugly. Here, Turner shares her insights and experiences creating this quiet, intense, and powerful book.

9 Must-See Exhibitions at FORMAT19: FOREVER//NOW

© Sharbendu De, from Feature Shoot 4: Annual Awards

FORMAT19: FOREVER//NOW — the UK’s leading contemporary festival of international photography — is underway in more than 30 venues throughout Derby. Organized around the polarity of the eternal and the ephemeral, the 2019 edition of FORMAT explores the profound power of photography and its impact on the world today.

The festival features a series of exhibitions, talks, photobook market, portfolio review and awards that delve into the ideas of “Forever” and “Now” and finding the dynamic that exists between the two. As technology has democratized the practice of photography, some have discovered a love/hate relationship with the cultural obsession for documenting and sharing just about every detail of our lives, creating the magical mythos that the Internet is forever — and never forgets.

On the other side of the coin we finally have begun to speak about “fake news,” a long-standing practice of the power structure known to any student of history. Our current fixation with the practice comes at a time where virtually anyone can introduce any narrative into the game — a democratization of information that’s impact reigns far and wide, calling attention to the significance of integrity, credibility, and veracity in an increasingly appearances-based world. Welcome to the new now.

FORMAT19 will be on view through April 14, 2019. Don’t miss the chance to see the shows in person.

Powerful Portraits of People Living in Purgatory at the US and Mexico Border

A teenage migrant boy, Jesus Martinez Stadium, in Mexico City, Mexico, Nov 9, 2018

Migrant children playing in the streets where they are camped out, outside the locked gates of the condemned refugee camp, Benito Juarez sports complex in Tijuana, Mexico, Dec 2, 2018

In November 2018, Cory Zimmerman began documenting the lives of people living in purgatory, just across the US border into Mexico, in places we rarely see or consider from the inside looking out. Over the next three months, Zimmerman created a series of photographs titled Between a Sword and a Wall: A Portrait of he Migrant Caravan, made at the front lines of the migrant crisis.

Zimmerman traveled to Jesus Martinez Stadium in Mexico City, the Benito Juarez sports complex in Tijuana, San Ysidro border crossing in Tijuana, and the US/Mexican border at Playas de Tijuana as part of an ongoing effort to assist and document the lives of the people who are fighting for their lives.

Zimmerman started a Go Fund Me to help feed the children, as his current work takes him to Guatemala, where he is working with NGOs to document the causes behind the on-going migration crisis. Here, he speaks about his experiences photographing the innocent people whose lives hang in the balance.

Picturing PTSD, the Invisible Enemy

DTI Derek and Phoenix


DTI Hebert

Nearly two decades into the Afghanistan War, the death toll mounts in a battle on the home front. Every day in the United States, 22 veterans commit suicide, falling victim to an invisible killer: Post Traumatic Stress Disorder (PTSD).

PTSD is a condition of persistent mental and emotional stress occurring as a result of injury or severe psychological shock, typically involving constant vivid recall of the experience, with dulled responses to the outside world. Once triggered, the mind becomes a harrowing trap where scenes of trauma replay themselves long after they occurred.

Recognizing the epidemic destroying the lives of veterans and their families, Susan J. Barron realized her duty to give them a voice in her powerful portrait series Depicting the Invisible: A Portrait Series of Veterans Suffering from PTSD, now on view at  The Army and Navy Club in Washington DC through April 15, 2019.

Here Barron shares the stories of veterans fighting against the enemy within the gates, a trauma that is sometimes amplified for women soldiers by the horrific betrayal of their male comrades who sexually assault them with impunity.

Remembering the Life and Legacy of Patrick D. Pagnano, Street Photographer

On October 7, 2018, the photographer Patrick D. Pagnano died, leaving behind a treasury of classic American street photography and documentary work made over more than 50 years.

While attending Columbia College Chicago, Pagnano developed his “stream of consciousness” approach to street photography, a narrative technique inspired by Robert Frank, Garry Winogrand, and Walker Evans. Pagnano strove to capture the essence of the moment while simultaneously indicating a larger story beyond the photograph, creating a dynamic exchange between the subject and the environment in each photograph.

In 2002, Pagnano published Shot on the Street, a collection of his color work made during the 1970s and ‘80s that evokes the visual poetry of Helen Leviitt and the intimacy of Joel Meyerowitz.

In the preface, Pagnano writes, “’Shot on the Street’ refers not only to the images having been taken on the street, but more importantly, to the psychological effect of the street. It is a place where races of people and social classes converge and vie for space and mobility with ever increasing urbanism. It can excite, anger, defeat, and inspire. The street’s influence and energy never ceases.”

That electric energy comes alive in Pagnano’s work, whether capturing candid scenes of daily life on the pavement or taking in the pleasures of Empire Roller Disco, his series documenting the legendary Brooklyn skating rink. Here, Kari Pagnano, his wife of 44 years, gives us a deep, heartfelt look at Pagnano’s life and legacy.

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