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COVER BY ERIN ELIZABETH KELLY


Shoot me /ʃuːt

mi/

1. hit me with a bullet 2. take my picture 3. throw me out of a canon, hit me with your arrows and help me discover a new side of me (an artistic side)

4. kill my old self, revive me.


Art revolving /ɑːt

rɪˈvɒlvɪŋ/

1. swirling art 2. the ever-rotating art. rotating around itself, around me, across the universe.

3. the art that never seizes.

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2014, ATHENS / GREECE info@shootmemag.com \\ p u b l i s h e r // a r t d i r e c t o r

ISAVELLA MAVROYIANNI creative@shootmemag.com \\ p u b l i s h e r // w e b g e e k

JAD McMEOLA web@shootmemag.com

\\ content coordinator

GERASIMOS PAGONIS coord@shootmemag.com \\ cultural editor

KATERINA XIDAKI culturaled@shootmemag.com \\ copy editor

IRO JAGUAR

\\

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|||||© SHOOT ME Magazine | 2013-14 | CONTENT OF THIS ISSUE IS COPYRIGHTED BY THE FEATURED ARTISTS AND CANNOT BE USED WITHOUT THEIR WRITTEN PERMISSION |||||||||||||||||||||||||||||||||||||||||


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ISSUE #12 FEB014

COVER by ERIN ELIZABETH KELLY www.erinelizabethkelly.com

\\ FEATURED ARTISTS FRANK LASSAK SCOTT SPECK NATALIE KUCKEN ROBERT HUTINSKI NATASHA GUDERMANE ERIN ELIZABETH KELLY \\ FEATURED PROJECT TRICKY by DIMOSTHENIS LOUKISSAS


a whole year has passed, still we're just getting started

Ba ng!

Bang!


s

D ES IGNE R NOT E


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Frank Lassak

ESCAPE ROUTE

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Scott Speck

WITHOUT THE LENS

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Robert Hutinski

LOST WITH TRANSLATION

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THE TRICKY PROJECT

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Natasha Gudermane GRAVITATION

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Erin Elizabeth Kelly

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POLAROIDS

THE WRITING IS ON THE WALL


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+10

Natalie Kucken

IMAGINE YOUR OWN STORY

CARRIE MAE WEEMS

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EDWARD STEICHEN GERHARD KASSNER


CaRRIE MaE WEEMS 3 DECADES of

PHOTOGRAPHY & VIDEO VENUE 11

Carrie Mae Weems A Broad and Expansive Sky—Ancient Rome (from Roaming), 2006 Chromogenic print, 73 x 61 inches (185.4 x 154.9 cm) Private collection, Portland, Oregon © Carrie Mae Weems


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Carrie Mae Weems An Anthropological Debate (from From Here I Saw What Happened and I Cried ), 1995–96 Chromogenic print with etched text on glass, 26 1/2 x 22 3/4 inches (67.3 x 57.8 cm) The Museum of Modern Art, New York, gift on behalf of The Friends of Education of the Museum of Modern Art. From an original daguerreotype taken by J.T. Zealy, 1850. Peabody Museum, Harvard University. © Copyright President & Fellows of Harvard College, 1977 All rights reserved. Digital image © 2012, MoMA, N.Y.


The Solomon R. Guggenheim Museum presents, until May 14th, the first major New York museum retrospective exhibition dedicated to the award-winning American photographer Carrie Mae Weems, titled “Carrie Mae Weems: Three Decades of Photography and Video Venue”. Carrie Mae Weems is considered an “ambassador” of African Americans status in the modern society, a socially motivated artist that her intention is to bring into light experiences of marginalized people. From the beginning of her career she was interested in “capturing” important social issues, such as racism, gender relations, personal identity and social inequality, desiring to express her personal social concerns through her work and awake consciences for social compassion and solidarity.

Carrie Mae Weems Blue Black Boy (from Colored People), 1989–90 Triptych, three toned gelatin silver prints with Prestype and frame, 16 x 48 inches (40.6 x 121.9 cm) overall; images: 16 x 16 inches (40.6 x 40.6 cm) each Whitney Museum of American Art, New York; purchase, with funds from the Photography Committee © Carrie Mae Weems

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Carrie Mae Weems was born in Portland, Oregon in 1953 and her first camera, a gift from her then boyfriend, was used by the artist for politics rather for artistic purposes. The “Black Photography Annual”, a book of images by African-American photographers, such as Antony Barboza, Ming Smith, Roy DeCarava and others, inspired Weems to work on photography. “Carrie Mae Weems: Three Decades of Photography and Video” is a landmark exhibition, curated by Kathryn E. Delmez, for the Frist Center for the Visual Arts in Nashville, Tennessee. The exhibition, organized in a loosely chronological order, is featuring more than 120 works -photographs, texts, videos, an audio recording, and related educational programs-, wishing to give the opportunity to the audience to comprehend the artist’s oeuvre and become member of her social concerns. The exhibition includes examples of the artist’s most impressive series from the “Family Pictures and Stories” (197884), her first collection of photographs, text, and spoken word, telling the story of her own middle-class African American family, which was used by the artist as a model of exploring the movement of black families out of the South and into the North (Level 2).

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Her collection “Kitchen Table Series” (1990) is about the role of women within a community and express the artist’s questioning ideas about the role of tradition, monogamy, polygamy, family and relationships of all kinds.

Carrie Mae Weems Untitled (Colored People Grid), 2009–10 11 pigment ink prints and 31 colored clay papers, dimensions variable overall; individual components: 10 x 10 inches (25.4 x 25.4 cm) each Collection of Rodney M. Miller © Carrie Mae Weems


Selections from Weems’s works “Sea Islands Series” (1991–92), “Africa” (1993), and “Slave Coast” (1993), made during her travels to the specific locales, express her interest in language and storytelling and pair images with evocative vernacular texts or etymological investigations that trace English words to African roots. The series “From Here I Saw What Happened and I Cried” (1995-96) is a work composed of 34 photographs of the 19th century altered by Carrie Mae Weems. In 1850, Louis Agassiz, a Swiss naturalist, traveled the American South with a photographer, making portraits of slaves, wishing to use them to enforce his theory of Africans racial inferiority. Weems rephotographed the images, using a red filter when she reprinted them. She placed the prints in circular mats, beneath glass that had been sandblasted with text, wishing to change photographs primary cruel intention into humanity and dignity. (Annex Level 4). Artist’s desire to understand racism, slavery and imperialism led her to travel throughout the United States, Africa, Europe and the Caribbean. During these travels, she made series such as “Dreaming in Cuba” (2002), “The Louisiana Project” (2003), and “Roaming” (2006), all presented in the exhibition.

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Carrie Mae Weems Listening for the Sounds of Revolution (from Dreaming in Cuba), 2002 Gelatin silver print, 28 1/2 x 28 1/2 inches (72.4 x 72.4 cm) Courtesy the artist and Jack Shainman Gallery, New York © Carrie Mae Weems


Weems uses the video as an extension of her photographs, a practice that provides the artist the opportunity to include music in her work. Weems’s first major endeavor was in 2003-04 with “Coming Up for Air”, a work comprised of series of poetic vignettes that will be screened in the New Media Theater in the Guggenheim’s Sackler Center for Arts Education. Other video works, including “Italian Dreams” (2006), “Afro Chic” (2009), and “Constructing History: A Requiem to Mark the Moment” (2008) will be integrated into the exhibition near related photographs.

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Carrie Mae Weems Untitled (Man and mirror) (from Kitchen Table Series), 1990 Gelatin silver print, 27 1/4 x 27 1/4 inches (69.2 x 69.2 cm) Collection of Eric and Liz Lefkofsky, promised gift to The Art Institute of Chicago © Carrie Mae Weems Photo: © The Art Institute of Chicago


Carrie Mae Weems: Three Decades of Photography and Video Venue: Solomon R. Guggenheim Museum, 1071 Fifth Avenue, New York Location: Annex Levels 2 and 4; Monitor 4; Thannhauser 4; New Media Theater Dates: January 24–May 14, 2014

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Carrie Mae Weems Untitled (Woman and daughter with makeup) (from Kitchen Table Series), 1990 Gelatin silver print, 27 1/4 x 27 1/4 inches (69.2 x 69.2 cm) Collection of Eric and Liz Lefkofsky, promised gift to The Art Institute of Chicago © Carrie Mae Weems Photo: © The Art Institute of Chicago


EDWaRD STEIChEN

IN ThE 1920s & 1930s:

A RECENT ACqUISITION 22

Edward Steichen (1879-1973) Self Portrait with Photographer's Paraphenalia,1929. Gelatin silver print, 9 7/8 x 8 in. Whitney Museum of American Art, New York; gift of Richard and Jackie Hollander in memory of Ellyn Hollander 2012.241 Steichen/Vanity Fair; © Condé Nast.


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The Whitney Museum of American Art presents, until February 23, Edward Steichen in the 1920s and 1930s. A Recent Acquisition, donation to the Whitney, in memory of Ellyn Hollander, from Richard and Jackie Hollander, who have one of the largest private collections of Steichen photographs. The exhibition includes approximately 45 works of the pioneering photographer, who became famous for his portraits from the early twentieth century. Steichen left his mark for the photographers who followed him, as his photos of gowns for the magazine “Art et Décoration” in 1911 are considered the first modern fashion photographs ever published. For over 15 years from 1923 to 1938- Steichen was the highest paid photographer in the world and his fame had long surpassed the borders of U.S.A. His involvement with

painting allowed him to make fashion pictures that ranged in style from classic 19th-century illustrations to Art Nouveau and Art Deco. The artist did also landscapes, he was involved in architecture, theater, dance and war photography, while in 1944 he directed the documentary “The Fighting Lady”, which won the Academy Award for Best Documentary. In 1947, Steichen became Director of the Department of Photography at New York's Museum of Modern Art. While at MoMA, in 1955, he curated and assembled the show “The Family of Man”, a vast exhibition consisting of over 500 photos by artists from around the world,that depicted life, love and death in 68 countries. In 1963, President John F. Kennedy offered Steichen the highest honor for a civilian, the Presidential Medal of Freedom.

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Edward Steichen (1879-1973) Foxgloves, France, (1925). Gelatin silver print, Sheet: 9 15/16 x 7 15/16in. (25.2 x 20.2 cm). Whitney Museum of American Art, New York; gift of Richard and Jackie Hollander in memory of Ellyn Hollander 2012.222 © Permission of the Estate of Edward Steichen


Éduard Jean Steichen was born in 1879 in Bivange, Luxembourg. His family immigrated to the United States in 1880 and he was naturalized as a U.S. citizen in 1900. He began his career as a painter, after serving in World War I as an aerial photographer, he abandoned painting and focused on modern photography. His photographs, atmospheric and expressive, reflect an elegant and natural representation of people and objects. Using starkly contrasting light and shadow, Steichen created a dramatic visual framework for his subjects. The exhibition is organized by senior curatorial assistant Carrie Springer and it covers a period when Steichen was the chief photographer for Condé Nast Publications, Vogue and

Vanity Fair magazines, where he was photographing artists, writers, famous actors, statesmen and society figures. His portraits include images of Winston Churchill, Paul Robeson, Marlene Dietrich, Eugene O’Neill, and Gertrude Vanderbilt Whitney, among others. The exhibition also includes images shot for advertising campaigns, as well as several images of flowers, gardens and fruit that show the artist’s interest in the natural world as well.

Major support for this exhibition is provided by the John R. Eckel Jr. Foundation. Additional support is provided by the Artists Council of the Whitney Museum of American Art. www.whitney.org

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Edward Steichen (1879-1973) Marlene Dietrich, (1931). Gelatin silver print, Sheet: 10 x 8in. (25.4 x 20.3 cm). Whitney Museum of American Art, New York; gift of Richard and Jackie Hollander in memory of Ellyn Hollander 2012.234 Steichen/Vanity Fair; © Condé Nast.


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"

The camera is a witness of objects, places, and events... The technical process simply serves as a vehicle of transcription and not as the art. - Edward Steichen

"

Edward Steichen in the 1920s & 1930s: A Recent Acquisition Venue: The Whitney Museum, 945 Madison Avenue at 75th Street, New York City. Dates: December 6, 2013 - February 23, 2014

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Edward Steichen (1879-1973) Paul Robeson as the Emperor Jones, (1933). Gelatin silver print mounted on board, Sheet: 9 15/16 x 8in. (25.2 x 20.3 cm). Whitney Museum of American Art, New York; gift of Richard and Jackie Hollander in memory of Ellyn Hollander 2012.240 Steichen/Vanity Fair; Š CondÊ Nast.


GERhaRD KaSSNER BERLINALE PORTRAITS 2014

A sincere approach to the personality of the stars Gerhard Kassner, the official Berlinale photographer for the last 12 years, will present, on the occasion of the 64th International Film Festival Berlin 2014, his portraits of the stars, in an exhibition held in a cult exhibition venue, the bar “Kosmetiksalon Babette”.

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Kassner will present new portraits of international stars attending this year’s film festival, while all the photos will be accompanied by the photographer’s personal anecdotes. The exhibition will last 10 days, from 6 to 16 February, while on February 6th and 15th the artist will be present at the exhibition venue to speak about the photo sessions.

GERHARD KASSNER BERLINALE PORTRAITS 2014 Location: Bar “Kosmetiksalon Babette”, Karl-Marx - Allee 36, 10117 Berlin Dates: February 6, - February 16, 2014


31 Gerhard Kassner at work Š Dirk Michael Deckbar


www.facebook.com/viewmastersgr

www.viewmasters.gr


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© FRANK LASSAK / EFACTS PHOTOGRAPHY

EscapeRoute

© www.efactsphoto.com www.facebook.com/efactsphoto


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Š www.efactsphoto.com www.facebook.com/efactsphoto


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Š www.efactsphoto.com www.facebook.com/efactsphoto


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Š www.efactsphoto.com www.facebook.com/efactsphoto


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This cinematic editorial captures the atmosphere of a dramatic escape from unknown territory. Produced in classic black and white, with strong emphasis on contrast and tones, "Escape Route" evokes the spirit of a Film Noir with all its suspense and charme. Actress/model Eva Harris spent days to prepare for the special mood of this series, and received additional input by seeing sample movies and reading magazine articles on film making by the likes of Hitchcock and other famous directors of that era. The frames were produced using vintage lenses, such as the unrivaled Minolta 200/2.8 APO or the Minolta 35/2.0, both built in the 1980s. I am using those lenses (and a few more from that time), because they reproduce colors and tones in a very harmonious way. Also, when used in conjunction with Fresnel lighting (such as in this production), they have the capability to render very precise contours, while staying a bit softer than ultra-modern lenses that are optimized for digital SLR.

Š www.efactsphoto.com www.facebook.com/efactsphoto

Somewhere in the ruins of an abandoned industrial site, a woman, played by Eva Harris, desperately tries to find a way out. As the story unfolds, Eva eventually finds herself on the roof of the building. Jumping is not the solution.

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Š www.efactsphoto.com www.facebook.com/efactsphoto


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Š www.efactsphoto.com www.facebook.com/efactsphoto


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Š www.efactsphoto.com www.facebook.com/efactsphoto


Cast: Eva Harris Make-up and effects: Chrisa Palaga Assistant: Nikos Theocharidis Photography & Post-production: Frank Lassak

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© www.scottspeck.com www.facebook.com/scott.speck.3 www.flickr.com/photos/41427422@N00/

WIThout the lens © SCOTT SPECK 50

pinhole photograph of model Kelly Kalac in the role of Electric Valkyrie Exposure time: 6 seconds at f/140 on Kodak TMAX 400


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Š www.scottspeck.com www.facebook.com/scott.speck.3 www.flickr.com/photos/41427422@N00/ 53

pinhole photograph of a woman's legs Exposure time: 12 seconds at f/140 on Kodak TMAX 400


Š www.scottspeck.com www.facebook.com/scott.speck.3 www.flickr.com/photos/41427422@N00/ 54

pinhole photograph of Kelly Kalac Exposure time: 6 seconds at f/140 on Kodak TMAX 400


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Š www.scottspeck.com www.facebook.com/scott.speck.3 www.flickr.com/photos/41427422@N00/ 57

pinhole photograph of the facade of First and Franklin Church in Baltimore, Maryland Exposure time: 1 second at f/140 on Kodak Portra 400


Š www.scottspeck.com www.facebook.com/scott.speck.3 www.flickr.com/photos/41427422@N00/ 58

pinhole photograph of the facade of First and Franklin Church in Baltimore, Maryland Exposure time: 25 minutes at f/200 on Kodak Portra 400


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Š www.scottspeck.com www.facebook.com/scott.speck.3 www.flickr.com/photos/41427422@N00/ 61

pinhole photograph of the Mormon Temple in Washington, DC Exposure time: 1 second at f/140 on Kodak Portra 400


Š www.scottspeck.com www.facebook.com/scott.speck.3 www.flickr.com/photos/41427422@N00/ 62

pinhole photograph taken up between skyscrapers in downtown Baltimore Exposure time: 20 seconds at f/140 on Kodak Portra 400


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pinhole photograph of Kelly Kalac Exposure time: 8 seconds at f/140 on Kodak TMAX 400


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Š www.scottspeck.com www.facebook.com/scott.speck.3 www.flickr.com/photos/41427422@N00/


Š www.scottspeck.com www.facebook.com/scott.speck.3 www.flickr.com/photos/41427422@N00/ 66

pinhole photograph of Audrey Bell in her apartment Exposure time: 6 seconds at f/140 on Kodak TMAX 400


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Š www.scottspeck.com www.facebook.com/scott.speck.3 www.flickr.com/photos/41427422@N00/ 69

pinhole photograph of Audrey Bell in her apartment Exposure time: 6 seconds at f/140 on Kodak TMAX 400


Š www.scottspeck.com www.facebook.com/scott.speck.3 www.flickr.com/photos/41427422@N00/ 70

pinhole photograph taken inside the Peabody Conservatory Library in Baltimore, Maryland Exposure time: 2.5 minutes at f/140 on Kodak Portra 400


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Š www.scottspeck.com www.facebook.com/scott.speck.3 www.flickr.com/photos/41427422@N00/ 73

pinhole photograph of the facade of The National Cathedral in Washington, DC Exposure time: 4 seconds at f/140 on Kodak Portra 400


Š www.scottspeck.com www.facebook.com/scott.speck.3 www.flickr.com/photos/41427422@N00/ 74

pinhole photograph of a residential building in Tucson, Arizona Exposure time: 2 seconds at f/140 on Kodak Ektar 100


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pinhole photograph of the columns at the U.S. National Archives in Washington, DC Exposure time: 1 minute at f/140 on Fuji 160


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Š www.scottspeck.com www.facebook.com/scott.speck.3 www.flickr.com/photos/41427422@N00/


Š www.scottspeck.com www.facebook.com/scott.speck.3 www.flickr.com/photos/41427422@N00/ 78

pinhole photograph of Kelly Kalac as Electric Valkyrie Exposure time: 6 seconds at f/140 on Kodak Portra 400


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*The electric helmet and box of candy was designed and built by Scott Speck


for the box of Electric Candy she received on Valentine's Day!

Š www.scottspeck.com www.facebook.com/scott.speck.3 www.flickr.com/photos/41427422@N00/

Electric Valkyrie

thanks her boyfriend

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pinhole photograph of Kelly Kalac as Electric Valkyrie Exposure time: 5 seconds at f/140 on Kodak Portra 400


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Š www.nataliekucken.com


imagine y o u r o w n story

© NATALIE KUCKEN

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Š www.robert-hutinski.com

L O S T W I T H T R A


A N L A T I O © NROBERT

HUTINSKI

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© www.robert-hutinski.com What is in the photos is what I think I see. – To observe – To document – To communicate – To warn – To take a stand

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Š www.robert-hutinski.com 122

Today, the political permeates most practices in the everyday of an individual who both executes and produces them and only rarely (in most cases) questions and examines their origin. The complex array of topics pertaining to the notion of the political affect the individual from cradle to tomb without (in most cases) the individual's awareness thereof.


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Š www.robert-hutinski.com

All these practices and ideas which are in constant conflict are translated and assimilated via various fields into the individual's everyday. One such field is photography whose very power lies in being politically incorrect in practice. Only thus can it be morally and ethically pure â&#x20AC;&#x201C; a factor of reflection and promotion of awareness.

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submissions@shootmemag.com

SU B MI SS IO NS


the

TRICKY project Part #12

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Š Dimosthenis Loukissas www.facebook.com/TheTrickyProject


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Š www.gudermane.net


g

ravitation © NATASHA GUDERMANE

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Gravitation is a natural phenomenon by which all physical bodies attract each other.

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© ERIN ELIzABETH KELLY © www.erinelizabethkelly.com


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â&#x20AC;&#x153;

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I took the Devil in to my mouth. I knelt before her and took her into my mouth, and it felt to my h e a r t to be drops of Heaven rolling down my throat. She was a n g e l s and the d e v i l , and she must have been pieces of everything as I was on my knees before her.

â&#x20AC;?

-Drops of Heaven by Ron Willis


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the writing is on the Wall

!

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*somewhere in downtown Athens, Greece a sticker from the Netherlands!



SHOOT ME Magazine ISSUE #12_FEB_014