Alex F. Webb
Artist Feature
Every week an artist is featured whose single image was published by Der Greif. The Feature shows the image in the original context of the series.
Daniel Terna - We Buy Gold!
Jan 20, 2016
The pictures in We Buy Gold! were made in New York City's Diamond District during September’s high holidays, when Jewish-owned businesses lock their doors and remove jewelry from the display windows for several days. What remain are rows of velvet-covered neck easels and finger arrangements, devoid of their normal ornaments. The imprints of missing items are visible in the plush window displays, and smudges of fingerprints and swooping graffiti marks are etched into the glass of the facades. Unadorned of their normal opulence and set on top of shelves in colors evocative of royalty, the neck busts are reduced to their functionless forms, inadvertently transformed into still lifes, suede micro metropolises vacant of citizens, and surreal window displays reminiscent of early 20th century Paris.
Artist Blog
The blog of Der Greif is written entirely by the artists who have been invited to doing an Artist-Feature. Every week, we have a different author.
Published in:
»Guest-Room Ingo Taubhorn«
1/10 3156 Kings, Northwest View, 7.28.15, 8:25pm
2/10 Facade 1, 7.28.15, 7:39pm
3/10 Facade 2, 7.14.15, 2:08pm
4/10 Facade 3, 8.5.15 6:28am
5/10 Window, Northeast View, 8.5.15, 6:12am
6/10 HOP DIC ERY, 7.28.15, 7:50 – 7:56pm
7/10 3156, Northwest View, 7.28.15, 8:02pm
8/10 Security Camera, Eastern View, 8.5.15, 6:13am
9/10 Moon, Northeast View, 8.5.15, 5:47am
10/10 Lion, East View, 7.28.15, 8:07pm
Daniel Terna
Jan 27, 2016 - Daniel Terna
From Several Angles Over Several Days
I revisited a run-down doctor's office over the course of three days during the summer of 2015. There was an idiosyncratic logic to how I photographed, and each day led to new discoveries, whether it was through the neighborhood, architecture, or changing environment. As I became physically closer to the building with it's blocky letters, I grew distant from the elements that had initially attracted me. New observations took place, such as watching the landscape distort in the reflective lettering, or noticing that the window blinds seemed to be open one day and closed the next. I treated the building as I would a sculpture, considering at it from afar, and then up close; I walked around the perimeter as much as I could. I set parameters for myself: if I found myself adhering to strict compositions, I would steer away from what made the most sense and photograph in a way that felt unnatural to me. The more awkward and complex the angle, the more interesting the point of view became for me.
www.danielterna.com danielterna.tumblr.com www.321gallery.org
1/27 Float, 2014
2/27 Kay, 2015
3/27 Brookline, MA, 2014
4/27 Baine, 2015
5/27 MOKAN, Dedicated to Dan Farnum, 2014
6/27 November, 2014
7/27 Curtis and Franklin, 2014
8/27 Twist, 2014
9/27
10/27 Joplin, 2015
11/27 Plantes, 2015
12/27 Untitled, 2015
13/27 Gibbon, 2014
14/27 Anna-Loes, 2014
15/27 Shearing, 2014
16/27 Jenny, 2014
17/27 Perfect Occlusion, 2015
18/27 Examination, 2013
19/27 Trailside, 2015
20/27 Skin, 2014
21/27 Springfield, MO, 2014
22/27 Cocoon, 2014
23/27 D, 2014
24/27 Barn Owl, 2014
25/27 Light Touch, 2014
26/27 Salem, Salem, 2014
27/27 Untitled, 2014
Elaine Bezold
Jan 26, 2016 - Daniel Terna
"When I photograph, I look for moments when the primal reaction to being touched surfaces. Whether a creature is comforted or withdraws, the responses seem to be a conduit to the subconscious, revealing delicate or destructive thoughts." Elaine Bezold is a photographer originally from Joplin, Missouri. She attended the University of Missouri for a BFA in Photography and Fibers, and The Massachusetts College of Art and Design for her MFA in Photography. She currently lives in East Texas and teaches as a Visiting Assistant Professor at Stephen F. Austin University. www.elainebezold.com
Evan Whale
Jan 25, 2016 - Daniel Terna
Mekko Harjo
Jan 24, 2016 - Daniel Terna
Quapaw Most of these images were captured in close geographical proximity to Northeastern Oklahoma, but some were taken in Louisville, Kentucky. Pictured are my blood relatives, their friends and relations, as well as strangers and participants of the annual Quapaw PowWow outside of Miami, OK. My family has visited this powwow most every summer since I was a child, though a little less now that we have been busy all over the place. My Great-grandfather was a respected elder around the Quapaw community and one of the founding members of the powwow. My grandmother was the undefeated Princess of the dance many years in a row as a teenager. My father camped out and played football there while growing up in Tulsa, OK, and both my younger sister and I were given our Shawnee names on the grounds. A few years ago, my family flew in to Tulsa to attend my Grandmother’s 80th birthday. I met old acquaintances from the hospital where she worked as a nurse, and some other close friends she had known since childhood. A lot of my relatives showed up as well; grand-uncles and aunts, some second-cousins and their kids. All of these many people, connected to me in one way or another, formed a familial web of human relationship and personal history that extended farther and deeper through time than I could even comprehend. In some way, I’m finding myself in these images of my family. When I take photographs, I am searching for clues of who I am, where I come from, and possibly of what I may become. Mekko Harjo (b. Los Angeles, CA) studied photography at Bard College and now lives and works as a professional photographer in New York City. His work has recently been shown at 321 Gallery (Brooklyn, NY), Side Effects Gallery (Brooklyn, NY) and featured online by New York Magazine and Autre Magazine. www.mekkoharjo.com
1/16 My Kindergarten School Photograph, 2014
2/16 My Father and I at my First Birthday, 2014
3/16 My Father and His, 2014
4/16 My Father, 2014
5/16 My Father as Taken by my Mother, 2014
6/16 Untitled (Self-Portrait), 2014
7/16 My Mother and I, 2014
8/16 My Mother Looking Off into the Distance, 2014
9/16 My Aunt Natilia Sitting at a Table, 2014
10/16 My Mother, 2014
11/16 My Aunt Natilia as Painted by my Grandfather, 2014
12/16 My Aunt Natilia Standing Next to a Tree, 2014
13/16 My Aunt Natilia in Front of Her Childhood Home, 2014
14/16 Exhibition View, Dorsky Gallery Curatorial Programs, Long Island City, NY, 2014
15/16 Exhibition View, Dorsky Gallery Curatorial Programs, Long Island City, NY, 2014
16/16 Exhibition View, Dorsky Gallery Curatorial Programs, Long Island City, NY, 2014
Kalen Na’il Roach
Jan 23, 2016 - Daniel Terna
Family Ties, A Fool’s Paradise "While I constantly gather more and more images of the people I’m most familiar with, from times that I remember and times I don’t, I see so much yet so little. Family I thought I knew, family I used to know, and family I have never known. Personal histories; reflections; myself; my mom; my dad; scratches; yellow borders; and rough, torn edges. I can’t see one without the other, and I can’t separate the surface from what lies within it. The people in these images occupy space in a photographic facade that ages, rips, and tears. So much so, that they become one and the same. Still, I’m looking at and past the surface for things that may not be there. Can I see myself? Can my family see themselves? Can we see each other? Are these intertwined histories we all share embedded in the layers of paper and image? I don’t know, but I can’t stop looking." Kalen Na'il Roach (b. 1992) is an artist from Maryland currently working in photography, collage, video, and installation. Roach’s work is anchored in the image of his own family and questions how this image is created from both the photographic archive and memory. As part of his practice, Roach explores and reconstructs the physical, metaphorical, and illusionary surfaces of photographs. He graduated with his B.F.A. in Photography from St. John's University in 2014 and completed the International Center of Photography's One-Year General Studies Program in 2013. [vimeo video_id="66120093" width="1000" height="563“] www.kalenroach.com
1/30 The Chrysanthemum of Meaning II, 2015
2/30 Sounds Like Bells, 2015
3/30 Eucalyptus, 2015
4/30 Sontag (from Hujar), 2015
5/30 Culture, 2015
6/30 The Winter Garden, 2015
7/30 Through the Shades II, 2015
8/30 Through the Shades I, 2014
9/30 Through the Shades III, 2015
10/30 Close to my Heart II, 2015
11/30 From Hujar, 2014
12/30 The Asshole of God, 2015
13/30 Close to my Heart I, 2014
14/30 Available Light I & II, 2015
15/30 Aubade, 2015
16/30
17/30 Gemini Girlfriend III, 2015
18/30
19/30 Through Another Man’s Eyelids, 2015
20/30
21/30 Birch Bark and Branches, 2015
22/30
23/30 A Thing, 2015
24/30
25/30 Nature’s Laces, 2015
26/30
27/30 Gemini Girlfriend I, 2015
28/30
29/30 Gemini Girlfriend II, 2015
30/30
Kkory Trolio
Jan 22, 2016 - Daniel Terna
»In the work I'm showing here, my hand plays a role, collaging or manipulating the paper negatives before printing. In the darkroom, love is a guiding force. Touch being the clearest way to see in the dark. This in the spirit of Harry Callahan, who was an endless experimenter in the darkroom. Lately, I've been very focused on composing poems about Callahan and his wife Eleanor, but I've made a few images as well. At the time I was making these photographs, I felt oddly close to him, seeing Eleanor wet in the fixer tray. I relate to Callahan's goals as a photographer. Not the use of photography to reveal something about its subject, but rather to possess it. Those Eleanor photographs weren't for her. They were for him, selfishly. There is a lot of rephotographing going on with the other work. The Sontag image and the man on his back are both from Hujar. I also have some from Atget. Images that I love and want to possess. Worlds and windows that I want to make my own, that I want to see out of for myself. I also work with my own images, or from my mother and grandmother’s archives. I like confusing personal and historic photographs, rolling it all together...something that defies literature and is more like poetry.« Kkory (KAY-KOR-ee) Trolio (b. 1986, Youngstown, OH) lives and works in Brooklyn and Warwick, NY. He is a graduate of Bennington College and the International Center of Photography-Bard College MFA in Advanced Photographic Studies. His work has recently been included in group exhibitions at HartHaus, as part of Bushwick Open Studios (Brooklyn, NY), Inaugural at 321 Gallery (Brooklyn, NY), and Love is a Babe, a three-person show with Timothy Hull and TM Davy. kkory.tumblr.com