elinor carucci
Tuesday, June 3rd, 2008
Pain #8, 2003 by Elinor Carucci
Elinor Carucci is the first to be featured in the newly launched Women in Photography.
Carucci came to speak at Syracuse University a few years ago and it was one of the inspiring artists that have pressured me to keep making work.
I love the work presented on the website but I wish there were a few more images.. or maybe if images were isolated on different pages rather all on one blogpost. It would also make sense to have images from only both her Crisis and Pain projects. I adore the images of her mother and her family but with the statement and the other images, it seemed a little jumbled.
I can’t wait to see future female photographers on there. Remember, submissions are rolling!
i could paint. i just don’t.
Saturday, April 19th, 2008
Noel from We Can’t Paint has big news for his blog.
Back in December 2007 I started a blog called We Can’t Paint, a project that has since grown both in scale and in readership. I’ve enjoyed the continuing discourse between fellow bloggers and those of you who have submitted work and ideas. Not only have these past months been extremely interesting but they have opened my eyes to a whole new avenue for the examination and promotion of photography.
By September 2008 We Can’t Paint will no longer simply exist as just a blog, it will also be an online magazine (a future print version is in the works) and online gallery (as is a physical space). This was ultimately my goal from the beginning (the expansion of We Can’t Paint), to build upon a promotion of emerging photographers and those select few Canadian’s who often go unnoticed. I truly believe in the artists I showcase and I respect all of you who continue to produce interesting and thoughtful projects both in and out of school.
We Can’t Paint Magazine and We Can’t Paint Gallery will become extensions of my blog, permitting both a lengthier viewing experience and a broader forum to contemplate issues concerning the medium. For me these two new additions are not replacing the We Can’t Paint blog, but they are natural progressions of expanded ideas and collaborations. That being said, I’m hoping that you can post a notice on your blog and pass along this e-mail to those who may be interested in submitting (you included) writing, ideas, and photographs to We Can’t Paint Magazine and Gallery. I have temporarily set up a hotmail account specifically for submissions. Here is the info:
Send all work and writing to wecantpaint@hotmail.com
All work should include a brief bio (one or two sentences).
PHOTOGRAPHS
Send a selection of 5 – 8 images:
- All images should be 72 dpi
- Sized to10 inches on the longest side
- Saved as a .jpg file and labeled with no spaces or punctuation like this:your_name_here_1.jpg
- In the body of the email you may list the titles but only if they are absolutely relevant
- No image should be over 5mbNote: A link to your work is also accepted but strongly discouraged.
WRITING
All articles and/or essays should be 500 – 1000 words in length.
Send a brief summery and intent of your article/essay in the body of the e-mail with the actual article/essay formatted for Microsoft Word.
BOOKS AND ZINES:
If you would like We Can’t Paint Magazine to review your publication, please contact noelrodo@hotmail.com for more information on where to send your “review copy”.
For future details please visit:
the gallerina not meant to be
Wednesday, April 9th, 2008
I have a love/hate relationship with the Chelsea gallery scene. When I started sending my resumes out to galleries looking for internships two- three years ago, I did my research in choosing galleries I knew showed work I enjoyed. Along with the galleries, I enjoyed, there were a handful of places I was hesitant about as I either never been to the place or knew it had large spaces and pieces of pretentious art with pretentious people. Being young, I thought, “what the hell.. it’ll be a learning experience.”
Let me take you through one of my interview sessions at one such “pretentious” place.. where the walls echo.. and gallerinas’ heels click with annoyance… and nobody gives a crap who walks through the doors.
Fashion-wise, I am a t-shirt and jeans type of person and slap on a pair of sneakers and I’m good to go. Knowing I was heading the Chelsea for an interview, I snazzed it up a little bit with dress pants, a button down shirt, a pair of ballet flats, and my portfolio. Nothing too fashionable, nothing designer-made.. nothing close to what gallerinas wore on that day at that top Chelsea gallery.
The gallery was featuring a video piece that month, so after opening the huge and heavy door into the space, you get to deal with the very busy “gatekeeper” who’s usually either typing away or on the phone. No “hello, how may I help you.” Nada.
“Hi, my name is Jane Tam. I have a meeting with blah blah.”
You couldn’t see the space because there was a floor-length curtain blocking you from entering the space.
You hear the heels click and out comes your interviewer, dressed to impress, topped off with a red lip. She was wearing 3-inch heels, some fancy dress, and had perfect highlights to her haircut. From that.. I already knew.. “fuck, this place is not for me.”
When the art doesn’t impress you, and that video that was playing definitely did not impress, and the woman interviewing you seemed to spend a fortune dressing herself.. as well as the rest of the staff, not giving two shits about a new intern, please, just walk away.
Sure, I thought,” Jane, suck it up and maybe you’ll be able to expose yourself to lots of important people.” I’ve tried it. For two weeks, I tried being good and gritting my teeth while I filed for the 50th time and ran to get lunch and researched where to get concrete for some new piece going up, but I just couldn’t get over how a gallerina I worked with flirted with every guy who came in and looked like he had money, how she complained about her high heels that she wore everyday, how my black jeans and flats just didn’t look professional enough, and how every job I was given was in no way challenging. I hated how fashion was as important as the job and how fashion and trend was a priority to hiring.
Now I know interns do get all the grunt work.. but when you see the gallerina above you on a smoking break, clicking her shoes, and fondling over her blackberry, and you’re compiling the represented artists on file.. and there are 10 male artists and 2 females.. you wonder, where the hell are we?
I don’t know… I just could not deal in that environment.
(People know I interned at Jen Bekman.. and by far, one of the friendliest, most welcoming, and diverse gallery. I chose Jen over Chelsea.. just from the environment, the opportunities/responsibilities given to me, and the feeling.)
Read Cara Phillip’s “What’s a Lady to Do?”
Submit: Women In Photography contains a simple concept:
-To create a collection of strong work by women actively creating work.
-To reach new audiences collectively.
Those interested in participating can submit as follows:
-5 jpegs from a cohesive project or a work in progress.
5×7 @150 dpi named “myname_title.jpg”
-short statement/bio
Email submissions to
womeninphotography at gmail dot com
Submission deadline for first monthly spotlight: May 1st. 2008 (11:59)
The 4 selected photographers will be given a week each to showcase a current project or a work in progress.
Remain in Light
Tuesday, January 29th, 2008
Call for Entries!
Remain in Light is a new print publication which currently seeks submissions of recent photography work for their first volume. The final result will be sixteen photograph, printed on separate cards and presented unbound in a customized slipcase.
From Remaininlight.org:
Please submit 5-10 images in JPEG form or an online portfolio with your name, age, and current city of residence to remaininlightphoto@gmail.com by March 1, 2008 to be considered for the first issue scheduled for release in late spring. The final images will be selected by co-editors Karly Wildenhaus and Shane Lavalette.
ADDITIONAL INFORMATION
While there is no specific theme for each volume, the cohesiveness of the final sixteen photographs will be taken into consideration. Contributors will be notified within 2 weeks after deadline whether their work will be featured in the first volume and must supply requested files and additional information by the end of March. Submissions are welcome at anytime and will be considered for future volumes for six months after the date of submission. Feel free to resubmit at any time with website updates or new work.
As Remain in Light is independently funded and exists to promote the work of emerging photographers, no monetary compensation can be provided for submissions at this time. All contributors confirm that they are the creator and copyright owner of all submitted images and that any necessary model releases have been obtained and can be provided if needed. By submitting images to Remain in Light, you grant the rights to Remain in Light to use and publish your images in printed form and any promotional materials. Further questions can be sent to remaininlightphoto@gmail.com.