New Ideas

Skull, 2008 © Noel Rodo-Vankeulen

I'm sure the blogs will be flooded with info about the upcoming Young Curators, New Ideas show at the refreshed Bond Street Gallery in Brooklyn; opening this Wed., August 13th. I've got some friends in the mix. So I can't pass up a plug. It may seem a bit cliquey, but don't hate, the line-up is impressive, and personally, I'm psyched to see it.

I have decided to shut down for the month of August. Editing is on hold for now. But I will be in the dark and hard at work for at least three days a week starting September 1st.

August will mostly be filled with grant and proposal crap, researching post-production/printing options, and shooting pieces for a new project. Plus a week in the Catskills with Laura. See you in September, or not, it's up to you.

Regarding the Pain of Others

"For a long time some people believed that if the horror could be made vivid enough, most people would finally take in the outrageousness , the insanity of war." - Susan Sontag, Regarding the Pain of Others


ALL IMAGES, © Zoriah Miller, www.Zoriah.com
All rights reserved

"Zoriah Miller, the photographer who took images of marines killed in a June 26 suicide attack and posted them on his Web site, was subsequently forbidden to work in Marine Corps-controlled areas of the country. Maj. Gen. John Kelly, the Marine commander in Iraq, is now seeking to have Mr. Miller barred from all United States military facilities throughout the world. Mr. Miller has since left Iraq." -NY Times, article Here.

"After a total of not more than five or ten minutes with my camera out, my chance to take photos was gone. Whatever I was able to capture in that chaos will be the only photographic documentation of this event." - Zoriah Miller in regards to the suicide Bombing in Anbar on June 26, 2008. Read more on Zoriah's blog.

"While the Bush administration faced criticism for overt political manipulation in not permitting photos of flag-draped coffins, the issue is more emotional on the battlefield: local military commanders worry about security in publishing images of the American dead as well as an affront to the dignity of fallen comrades. Most newspapers refuse to publish such pictures as a matter of policy.

But opponents of the war, civil liberties advocates and journalists argue that the public portrayal of the war is being sanitized and that Americans who choose to do so have the right to see — in whatever medium — the human cost of a war that polls consistently show is unpopular with Americans." - NY Times

"The important events and issues I cover aren't always the subjects that sell to corporate media. These human stories need your support and funding to be told. The cost of travel, food, accommodations, and equipment is substantial. Please donate what you can to help me tell these stories to the world."

Support Zoriah Miller

On Editing

Robert Adams (b. 1937), Untitled from What We Bought: The New World (Scenes from the Denver Metropolitan Area)
1970-1974, gelatin silver print, Yale University Art Gallery

"... After that came the editing of 5,000 pictures disposed on these sheets, a process that, remarkably, [Robert] Adams has estimated required at least two or three times as many hours as he had spent in the field making the photos. Using L-shaped pieces of file folders to isolate one, and then the next, small picture, he worked slowly, only gradually distilling the body of this work to a kind of still point, where the photographs that survived the process remained strong and clear every time he returned to consider them." -Tod Papageorge, What We Bought, (an essay on Robert Adams & his work What We Bought: The New World)

I estimated, poorly, that it would take me roughly three months to go through and edit my recent project. It has already been about 40 days, and I have barely scratched the surface. To save money, I had planned on scanning the work and outputting digital test prints. But it seems that whenever I touch a scanner or printer it turns to the consistency of dog shit, and then I get mad, and toss it as far across the room as I can, which is not far, which pisses me off even more.

I am planning to hit the darkroom within the next week or so. I'm looking forward to getting dirty and to really explore all the work. I almost lost track of things and began to rush this process.

More on Adams' What We Bought and the full essay by Papageoroge over at Eric Ethridge's blog.

Jeff Wall, Passerby, 1996

© Jeff Wall, Passerby, 1996

It wasn't that long ago that I remember Jeff Wall's "Passerby" striking a cord in me that would change how I look at photographs forever. Like a good album, a great photo can make you groan in pain from the site of it, only to open up your mind in awe days, months, or in my case, years later.

Now more then ever I am interested in the way we look at images, and why.

A selection of artists, photographers, bloggers, etc. that I have met over the last 18 months...

The internet definitely has the potential to destroy my social life, but in this case it has spawned many exciting relationships.

Networking with your peers is one of the most important things an emerging artist can do. I've met many people over the last few years thanks to the internet. I've had amazing conversations, I've been inspired, gained knowledge, but best of all, I've created some satisfying and long-lasting relationships with many of the people I've encountered.

While traveling this last year I was fortunate enough to meet (or revisit) fourteen of the thirty people below. I stayed (or camped) with eleven of them: a few for one night, a few for a week or so, and one couple for about twenty or so days, off and on. The below images are a mixture of portraits (or snapshots) taken by me, or works by the artists themselves.

I took a class four years back with an artist named Sharon Louden. The thing I remember most was that she said to create and insure lasting relationships with other artists. The discourse, inspiration and connections can be priceless.


Thomas Allen & I, Coloma, MI, 2007


Garth Risk Hallberg, Brklyn, 2007


Jason Lazarus, -- bright (one of 3 qualities missing from the contemporary african american presidential candidate, except Barack Obama, according to Joseph Biden, February 2007)


Amy Elkins, Brklyn, 2008


Justin James Read, Twelfth Street, 2006


Shawn Gust, Saphire


Jon Feinstein, New York, 2007


Geoff Ellis & Sarah Lacy, San Francisco, 2008


Eric William Carroll, from Sunburn


Amy Stein, from Stranded


Kay Westhues


Kevin & Tiffany Sisemore, Kansas City, 2008


Amani Olu, Brklyn, 2007


Stephen Schuster


Will Steacy, Marfa, TX, 2008


Sarah Sudhoff, Fallopian tube, 2005


Kevin Faulkner, Brklyn, '08, (photo: Amy Elkins)


Shawn Records, Portland, 2008


Brian Ulrich, from Backrooms


Alison Malone, from Daughters of Job


Cara Phillips, Untitled Beauty Still


Peter Haakon Thompson, Minneapolis, 2008


Tema Stauffer, Couples embrace, Chicago, 2000


Andy Adams (Flak Photo), Madison, WI, 2008


Liz Kuball, S.

David Wright & Ethan Jones (pause, to begin)
Point Reyes Nation Seashore (or close to it), CA, 2008

Greg Wasserstrom, from Doldrums

Damn you, 20x200!

Damn! I have no money. And I normally dislike "20x200" and "Hey Hot Shot! " Or as I used to call it, "Hey, F$$k You, Hot Shot!" (that is until Ms. Bekman started to give out $500 to each of the competition winners).


No. 13. 3/11/2006 (plane lifted by men). ©William Lamson

So, what is my point? Well. How do you not buy the above print by W. Lamson for only $20! I couldn't help it. This guy is one of my favorite artists working today.

I don't know Jen. And I doubt she even knows who I am. But I have just always gotten a weird vibe from her whole thing: HHS, her store-front gallery, 20x200. It just seems like she keeps trying to make herself or her next endeavor the center of attention and not the artist. Someone once said it perfect, "who has become a star from being apart of Jen Bekman's thing? Jen Bekman, and only Jen Bekman." I mean, she puts a diary entry about herself on the bi-weekly 20x200 newsletter. And both the 20x200 and HHS sites both advertise "A Jen Bekman Project."

But I can't talk shit anymore. I almost entered the HHS competition this time around for the prize money. And many of my close friends support her, have sold work through 20x200, have had shows with her, and are friends with her. So, I take it all back. I now "heart" Jen Bekman. Ok, maybe not. But I did just send her $20 that I don't have. Thanks Credit Cards!

But seriously, how much does she make off of 20x200? With a 50% commission (did I hear that right? Does she take a full 50% for online sales?) I am guessing she makes anywhere from $125,000 to $200,000 annually? And that is completely separate income from her self-titled gallery and HHS!

An estimated 200 prints a week at $20, multiplied by 52 weeks, equals $208,000. Of course she has to pay her printer, and packaging, blogger, assistants, etc. But still. It's f$$king amazing!

So you're still asking what is my point? I am not sure. I guess I have to say now that there is prize money involved in HHS and that 50% (or more?) of the 20x200 sales do directly support the art, it's a good thing. And that is cool by me. Me, who has no say in the matter at all. Just another shitty blogger trying to say something worthwhile, and still promote theirs and others work.

I am still very, very much in debt from my recent project. Jen? Want to sell a print?

I do remember why I care for you!

© Walker Evans

Laura and I were driving through East New York the other night. As we were stopped at a light, a shiny black Escalade pulled up full of passengers. I looked over at the guy in the back seat, and a stiff-faced, I'm-a-bad-ass starring contest ensued; Neither of us twitched. All the while, this gentleman was smoking what I will call a "rolled cigarette." After what felt like three or four minutes (more like 15 seconds), I gave a smile and motioned for him to pass me some of the love. His face immediately broke into a smile and he began rolling with laughter as the car pulled away. We never caught up with them.

This morning, while on the "4" train to the Upper East Side during rush hour, Laura and I were crammed into the train like sardines. It had been a full year since I have felt that sensation. In that moment I mentioned to Laura about how so many of the people I met on my trip would find it beyond crazy to willingly rub up against sweaty strangers for 10-30 minutes, while being stuck inside a tin can in a tunnel ten feet underground. I then mentioned how I loved the subway during rush hour for those exact reasons, and that actually, "I get off on it!!"(I was joking of course). At the next stop, when most of the masses got off the train, Laura said that she saw the woman that had been forced to rub up against my backside for 10 minutes give a nice little smile in response to my bad humor.

Those moments make me happy. And they make this huge city and world seem just a little bit smaller. I love it. And I love being back. It took a few unlikely encounters to make me remember how much I love this city (it can be easy to forget). And I sit here wondering, did that moment mean something to them in some small way? Either way, I got a smile out of them. And that feels pretty good.

Highlighted

Robert Adams, 'Colorado Springs, Colorado', 1979, © Robert Adams

During my editing battles of Do I Like This, Do I Hate This, Will They Like This or Understand This... I found this:

'All people in this world are made to give evidence or to signify something. [...]' In that spirit we ought as critics to remember that no subject matter is unimportant and no human response to it is unworthy of our attention.
The word of encouragement I would like to give to photographers is in the form of a statement by Matisse about painting, a statement we can apply by analogy to photography: 'A painter has no real enemy but his own bad paintings.' It is possible that, were I to look at your work, I would misunderstand or misjudge it, but my mistake would be of limited significance, assuming that your work is substantial and that you who made it see it clearly. A good picture powerfully vindicates itself in time; it is far stronger than a mistaken critic. -Taken from Civilizing Criticism, from Beauty in Photography, Robert Adams, 1981

I've been looking over my journal, letters to Laura, and old emails to friends to recapture some of my feelings and thoughts while I was on the road. The edit is going well. I've finally crossed the first of many obstacles.

I think the Photography.Book.Now competition is out of the question. Unfortunately I won't have time to do an accurate edit. I'm bummed. But it motivated me to really start moving on this process, and that is reward enough.

What's the deal with Blurb!? UPDATE

This was my concern (taken from the competition guidelines):

By entering a Submission through the web entry form at www.photographybooknow.com, Contestant agrees that the Submission entered may be showcased in Blurb's online bookstore, making previews available to the public and making the book available for purchase, as subject to Sponsor's Terms of Use, to which Contestant agrees.

So I found a contact over at Blurb, this was their response:

So we’re using the books only to showcase the best and brightest for the events around Photography.Book.Now. There’s no reason why you can’t change back to private [meaning it won't be available for sale to the public] after the event is over, but we’ll be showcasing these in our bookstore, and if your intent is to not have them purchased, simply set your price ridiculously high.

They also mentioned that the artist does get 100% of any online sales, minus the artist's cost to print the book. So if you don't want to sell the book, price it $1000. And if it does sell, well, then you just made $950. Sounds good to me.

Right now, there are thousands of photographers pacing back and forth; cigarette, coffee, scotch, edit... repeat.

Next Monday is the deadline for the now infamous Photography.Book.Now competition. I'm guessing 3,345 photographers will enter. Even if it is half that, those judges are gonna be pretty tired. I'm curious how the judging process goes down? Over how many days? How many weeks? How many... Nevermind, I have too many other things to deal with, I don't want to know.

DEADLINES!

Aperture deadline: Friday, July 11 ($2,500 prize)
Photo.Book.Now: Monday, July 14 ($25,000 prize)
Eugene Smith: Tuesday, July 15 ($30,000)

Valérie Belin & CocoRosie

© Valérie Belin

Valérie Belin recently photographed the talented and fabulous Sierra & Bianca Casady -- the sisters behind the band CocoRosie -- for this Sunday's NY Times Magazine.

Valérie Belin is an amazing photographer and inspiration. Her powerful studies of mannequins, Michael Jackson impersonators, body builders and simple objects such as bags of potato chips, masks, and engines, never cease to amaze. They are simple, thoughtful, and stunning. Examples below.


All image © Valérie Belin.



Laura and I had the opportunity to see CocoRosie in 2005, and we (or I) LOVED them! I've fallen out of the music scene lately, but I hear their new album is insane. Check out a video from the album below.



Bianca is a talented visual artist herself, recently having a show at Deitch Projects. After the CocoRosie show that night in 2005, I stuck around to buy a shirt. I was lucky enough to have Bianca personalize the back of it for me. I told her I really wanted a shirt with the tour dates on it. So she told me to put it on. The next thing I know, she is drawing on my back. It has since faded, but she wrote, adding a few extra squiggles here and there, "CocoRosie, 1993 World Tour." It was nice while it lasted.

In Congress, July 4, 1776

The Unanimous Declaration of the thirteen united States of America,


From American Moments, ©Ellen Kok

When was the last time you had the Declaration of Independence read to you? Have a great Holiday!

http://www.npr.org/templates/story/story.php?storyId=92108861

Editing, etc.

I've been home now for about two weeks. If you are just checking in, I've been traveling the country and working on a new project for the last eleven months. I have not looked at a single sheet of film from the project since being on the road. I'm very excited to do so, but right now I am a bit overwhelmed.

In regards to the struggles of undertaking and completing a project, Sarah Sudhoff hits it right on the nose:

"First you have to think of an idea. Second you have to figure when and where to produce this idea or image in my case. Third you have to find the resources to take action and quite possibly get time off from work or other responsibilities. Fourth the work must be successfully shot followed by precise editing. Fifth, if you're still counting, is printing the work or uploading it to a website. Sixth getting the courage to share the new work which by this time seems old to you and has already taken up so much or your time, exhausted your funds and so forth. It seems at times the road leads no where with no end in sight."

Words cannot express my feelings about this project. I worked my ass of for a solid year to make it happen, and then I left everything behind, shut everyone out of my life, and focused on only myself and my work for roughly 300 days. Sounds wonderful, and it was, sort of. But the fact is I lost a lot this last year. I also gained a lot. Only time will tell...

I am going to try and dive into editing as early as tomorrow. I have decided to submit to the Blurb Competition (deadline in two weeks): I've talked to a few other photographers, and carefully read the comments on my previous post, and I do agree that the opportunity has the potential to outweigh the fine-print.

As of late, I have been struggling with discussing the editing process and showing Boonville work on the blog. Recently I've been reading Robert Adams' Beauty in Photography.

"To begin with, we ought to decide whether any public discussion of a particular work is appropriate. There are legitimate reasons for being hesitant to speak. Silence is after all the context for the deepest appreciation of art; the only important evaluations are finally personal, interior ones."

The blog does allow an outlet for me that I am comfortable with, to a certain point. But I've never really been one to show work online, or talk about a specific piece (with a few exceptions). Less is more? I believe there are eight images floating around the net from the project. In my opinion, that is too many. But with some time, it is possible that more will surface. Stay tuned for editing details, and other news.

Sarah Sudhoff & WIP

Uterus, 2006, © Sarah Sudhoff

My friend Sarah Sudhoff is the featured artist over at Woman In Photography this month. What a beautiful body of work. Check it out HERE.

Following my surgery in 2004 for cervical cancer, I began to photograph and perform in hospitals, morgues, medical museums and my doctors’ offices. My photographs and videos focus attention on the physical and emotional traces cancer and surgery can leave on the body while challenging the prescribed treatment for recovery and role of the patient.

View a great video interview with Sarah, HERE. You have to click on a few extra links to find it.

Read an essay written for The Intrepid Art Collector, HERE.

Also, Sarah has a limited-edition print for sale through Humble Arts, HERE.

What's the deal with Blurb!?

Blurb, the online DIY book-publishing company, is presenting Photography Book Now. An impressive photography-book competition with a grand prize of $25,000.

OK, a $25,000 Grand Prize! Nice! Very nice! That would not only pay off my debt from the last year, but it would insure that I could return to the road and finalize the project, edit, and print, with no worries.

But the best part about it isn't the award. It's getting your work in front of the likes of Charlotte Cotton, Darius Himes, Leslie A. Martin.... a VERY nice list, check it out in full here.

The catch!

So, after getting stoked about a rough edit of Boonville falling in the laps of these people, I went to check out the dreaded fine print. And let me tell you, the shit stinks. I love the idea. And I would love for these people to see the work. Not to mention I was extremely motivated to put a rough edit of Boonville together in book form. But then I found the below:

By entering a Submission through the web entry form at www.photographybooknow.com, Contestant agrees that the Submission entered may be showcased in Blurb's online bookstore, making previews available to the public and making the book available for purchase, as subject to Sponsor's Terms of Use, to which Contestant agrees.

OK, I obviously don't want my first edit available for sale with no edition set. The good news: There is way around this. You can submit a hard-copy book made by you or another online self-publishing house:

Hard-copy Submissions must be self-published books printed using a commercial quality printing and binding mechanism... Submissions can alternatively be made by mailing a completed, hard copy entry form... as well as three (3) physical copies of each book entered.

GREAT!

Oh, shit. More fine print:

All Submissions become the sole property of Sponsor and will not be acknowledged or returned.

Blurb, you just crushed me!

WTF! Major bummer. I'm gonna spend around $500 to make three book maquettes -- the first three of the project -- and I don't even have the option to have them returned?

This competition really is amazing, and has the ability to inspire many of us to get off our asses and put something together. It has a killer grand prize and an amazing judge list, but it all gets smashed because... well, why? Why not offer the option to send a SASE for returns if you don't want the books to be sold online? Or why not give the option to not sell online? What's the point?

Am I wrong? Did I misread something? I hope so. Maybe the people at blurb simply don't see a problem with it? But next to contacting the judges (which I wouldn't do), I can't find a way to contact Photography Book Now to ask them what's the deal. Anybody?

Day 328, Greetings from NY!

Laura, NY Subway, July, 2007

A few days ago I picked up seven small boxes of film from Louisville, KY. These boxes represent the culmination of the last five years of my life, and the future of Boonville. The last year will always mean so much more then a few boxes of film, but there is an overwhelming feeling of satisfaction when holding the (near) entirety of the project in my hands -- It really blows my mind that all the sweat and tears, in its physical form, can simply be held in my arms!

Over the last year I've pretty much been in my own world, but now I'm finally back and dealing with the reality of it all. I'm excited about the editing process, etc. But I'm completely broke, have no income at all, do not have a job lined up, and I'm desperately trying to rebuild my relationship with Laura (I believe we are on the road to a healthy recovery!). Not to mention coming down from being on the road for the last 300+ days and having the weight of the projects completion on my shoulders.

Over the last few days that I've been home, I've been having trouble sleeping, I can't sit still, and the anxiety is giving me crushing headaches. Although I currently feel like it's all crashing in around me, I'm embracing every minute of it. I worked for a very long time to make it to this place. And as I sat in my kitchen staring out the window today, I remembered the long nights in which I would dream about this moment. I'm extremely grateful and proud. And very excited! Stay tuned. More on editing and the next phase soon.

Lame Deer & Devils Tower

Devils Tower

After an hour of driving on Rt 90 through Montana, I decided to turn off and take the back roads. What a beautiful thing. No cops, no trucks, no cars, and the few people I did pass waved to me, or tipped their cowboy hat.

I made my way about 60 miles before I found gas. A close call. Especially since I still have no cell service. I roll into the sparse town of Lame Deer, MT. Minutes after entering, I see 10 kids on four wheelers, 6 people riding horses, and 50 to 100 people walking the dirt roads. The town was old and beautiful: Robert Adams beautiful, not Ansel Adams. The economy is obviously depressed, and the town was littered with "I Am Meth Clean" stickers. Lame Deer is in the middle of Cheyenne Country. About 95% of the people I saw were American-Indian. I spent a few hours taking photos, and I was even invited into the home of local who wanted to show me the Buffalo head in his bedroom. He explained how he places the skull face down to keep its spirit from escaping. He then invited me to a Sweat. I denied. It was a fun few hours. And a needed boost.

I then headed to Devils Tower, and the to Deadwood, SD, where I stayed the night. I'm finally off to Mt. Rushmore today. And then no more screwing around, I'm getting my ass home.

Hannah Montana

Somewhere in Montana, June 8, 2008

A lot has happened over the last few weeks. Laura and I started out on a great road trip that ended up being awesome, terrible, horrible, and awesome. It's back to being somewhere between terrible and horrible. Laura flew home from Spokane, WA yesterday: The road, and the stop-and-go was getting to her -- and of course there is being stuck in a small car with me.

I will write more later, but the bottom line is that Boonville, and my (often selfish) obsession with the road and my work, has damaged our relationship. There were many times on this trip I struggled with this projects purpose, and the purpose of life and art in general. These are thought-provoking and important questions -- in my opinion -- but right now none of it seems remotely worth it.

After Laura flew out, I went across the street to fill up the car with gas. I was shocked to find out my bank card get denied. It turns out that I recently lost track of my bank acct while traveling, and I now have a balance of -$27. I then realize my emergency CC expired just last month, and all I have is $20 in cash. I pulled out the greatly-in-debt Amex card used for Boonville, and although it is far passed max, it still worked. And to top it all off, my cell phone has not had service since.

I am in Montana now, and will be heading to Devils Tower and Mt. Rushmore and the Badlands today. I hope to be home soon. I am very tired of being on the road, and all I want to do is figure out my life, my relationship and to sleep in my own bed for the first time since November.

Kody

Kody, Midnight Milking, Boonville, New York, 2007

Last week I received some tragic news about a dear friend in Boonville, NY. During the time I was in NY, I stayed with the Beasock Family for three or four weeks. The time spent with them and in NY was some of the most productive, inspiring and enlightening times I had over the course of the entire trip.

I cannot fully express how amazing the Beasock Family was. They took me into their home and cared for me as if I was one of their own. We had a sit-down dinner almost every night. I went hunting with them, carved pumpkins on Halloween, and witnessed their immense love for one another first hand.

Sadly, their youngest boy, Kody, and his brother Christopher, were in a terrible dirt-bike accident on Memorial day. Kody passed away instantly (he was only twelve), and Chris is in critical condition in Syracuse. I want to, and could, write an entire thesis about those two boys and their love for each other and the outdoors. But right now I can't. I love those boys, and that family very much. And I am still at a loss for words.

*Taken from a post about the Beasock Family, dated November, 3, 2007 (click HERE for post):

"I don't have a favorite, but Kody reminds me of myself at his age: Loud, obnoxious, and hilarious, with a slight touch of brilliance--if I may say so."

...

Pause | to Begin

Last week I met up with David and Ethan from Pause to Begin. They are on a month-long trip across the states and Mexico. They are meeting with and interviewing the 15 photographers chosen for the inaugural PtB book and exhibition.

We met up at Point Ryes National Seashore (or something like that) and found a nice place to camp for the night.

I had a few too many beers before the video-interview started and I had just finished the bulk of Boonville two days before. I was all over the place, to say the least. Regardless, I had a really great time. And it was actually very therapeutic to talk about the ups and downs and details of the last ten months, even if I wasn't ready for it.

They are writing a great blog about their travels: pausetobegin.com/blog

Thank You and Farewell, For Now

Wow! It's over...

I've spent the last ten months traveling to six different regions of this country. I have struggled with myself for much of the trip. I have encountered personal battles that I have won and lost. And I have discovered first-hand the infinite possibilities and layers of the American landscape.

"The United States themselves are essentially the greatest poem" -Walt Whitman.

With Boonville, I'm examining these six towns and the people that inhabit them as my way to investigate life and modernity in America: The people, the power, the corruption and the soil: All of this is my exploration of America's identity; through one lens, "one" town, and one collective ideology.

The first part of this project--the journey--is essentially over. Farewell, and thank you all. I have had the single greatest experience of my life. And without many of you (I began to make a list of names but stopped when it reached 200), it could not have been even remotely possible.

I would like to thank a few very special people: Laura Roemer, Spencer Chandler, George Rosa, Sandra Briner + Mike Zmuda, Skip + Dawn Briner, Karen + Charlie Roemer, Jason Covert and Andrew Dailinger. You were all instrumental in making this project come true. Thank you.

And thank you to every single Boonvillian and friend I have met along the way. You--individually and collectively--have given me more then I could have ever imagined.

This journal is not complete. Stay tuned for more, if you'd like.

Playing W/ Records

Shawn + Max Records, Portland, OR, 2008

I'm currently in Portland, OR. I've been having a tough time creatively while in Boonville, CA--I'm simply coming to the end of my rope. So I took off at the last minute on Saturday to get out of my head, and visit with an old high school friend, and Shawn Records. I've been having a nice and relaxing time: Playing video games with Mik (HS buddy) and his son, and tossing the frisbee with one of Shawn's two kids. I'm also lounging around with Shawn in his backyard, drinking beer and dorking out. A good visit. I am back to Boonville on Thursday after a nice coastal camping trip.

I turn twenty-seven on Wednesday.

In Search of America, Part 4

Flags & Roses, Boonville, IN, 2008

Anyone else feel like sleeping till noon, and then taking a nap at three? You questioning your existence? NO? Me neither!

"I have been traveling lately trying to understand what it means to be American. I have been doing my best to become an American, I have been eating, driving, dressing, talking, etc like an American, watching how Americans talk to each other, how they think, how they react, what they say behind closed doors, etc. What does it mean to be American? What have we become? What is our future? Are we realizing that everything we have allowed ourselves to become in the past 30 years is going to slowly kill us? Have we dug our own grave and are we now polishing the casket?" - Will Steacy

vs.

"The Americans of all nations at any time upon the earth have probably the fullest poetical nature. The United States themselves are essentially the greatest poem. In the history of the earth hitherto the largest and most stirring appear tame and orderly to their ampler largeness and stir. Here at last is something in the doings of man that corresponds with the broadcast doings of the days and night. Here is not merely a nation but a teeming nation of nations." -Walt Whitman

I Can't Paint

Noel Rodo-Vankeulen started a photography blog in December, 2007 called We Can't Paint. It's turned into my favorite morning coffee spot. I can say many things about Noel. But the bottom line is that he shows great work, asks great questions, he's extremely intelligent and there's no bullshit attached.

Over the last few months I have been sending Noel images from my Boonville work. I sent him a few pieces for an interview he did with me awhile back (Interview and images HERE), and Noel took the time to write me a wonderful review of each image. I have been sending him work ever since, and he has continued to send me lengthy reviews.

Noel has a way with words and he has an understanding of photography and art unlike anyone I have known.

I'm very excited about his upcoming project.

"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."

For more info, and to learn how to submit work for We Can't Paint--blog, magazine, and gallery--go HERE.

Pause | to Begin

Image Copyright Thomas Prior

I'm happy to announce that I was one of fifteen photographers to be accepted for the upcoming Pause, To Begin exhibition, book, and documentary. This is the first time the work from Boonville will be displayed. I'm very excited.

View the Pause, To Begin SITE to view selected works from the chosen photographers.

"In the coming months your work will be exhibited in our online gallery, in an exhibition, and in a limited edition hard bound book published by Booksmart Studio in Rochester, NY. Additionally, you will be featured in a Pause, to Begin documentary created by international filmmaker Bruno Toré.

In the next week we will be contacting you to schedule a time and date when we can come meet you in order to learn more about your work."

Women Photographers

unite.

"when you see one of these badges on someone’s site, you know that you’re free to e-mail her and you’ll be met with warmth and enthusiasm and a helping hand." -Liz Kubal

A new blog and resource for women photographers has been created: http://womenincontemporaryphotography.blogspot.com/

"The idea is to give women a place to show their work as well as share news, book releases, and opportunities. We would like to get things started with a group show. We are sending out a call for entries, suggestions or support. "

Women in Photography
submissions: womeninphotography@gmail.com

5 jpegs from a cohesive project
Brief bio / statement

Jpegs- 5x7 @ 150 dpi
named: photogsname_title.jpg

If you are a female photographer, or artist, and have not read this NY Times Style article or seen the responses by Edna, Cara, and Liz, then I am glad I added this. If you have... just ignore it.

Home-Cooked Meal, #24

Geoff Ellis and Sarah Lacy, San Francisco, CA, 2008

A huge thanks to Geoff (Sadkids) Ellis and Sarah Lacy for the most amazing fried chicken I have ever had (I just had seconds, it is good!). Also, they have opened their home and their Guitar Hero to me this week (and they have generously donated to the project in the past!). We are going to a Giants game tomorrow. Good times.

I am off to Boonville, CA on Saturday.

Tue, Wed: Random SF

This question has come up three times since I got to San Francisco: "Who in the world decided it would be a good idea to build a city here?" I love it, I really do, it is one of the most beautiful places I have ever been. But it is kinda crazy people agreed to build a large city here -- just doesn't seem possible. If it was my choice, I would have said no. But nobody listens to me anyway.

Boonville Archive

Between July, 2007 & June, 2008, I was working a project entitled Boonville. This blog was on hold between that time. To view my posts during that 11 month time period. Feel free to visit the archive, at boonvillearchive.blogspot.com.

Thank you.

Boonville, Missouri via Boonville, Indiana

Downtown Boonville, Missouri, circa 1850

I'm currently in Boonville, MO. I took a bike ride and then a walk around town this morning. What can I say? It truly feels GREAT to finally be out here. This community is something special.

Yesterday, after leaving Louisville, I stopped into Boonville, Indiana for lunch--It was right on my way and only about 5 hours from B-Ville, MO. That place is hauntingly beautiful: It has an amazing town square but there is almost nothing there, it was practically dead. After some hesitation I decided to walk into a bar on the square (its windows were blacked out). Other then a 20' x 50' mahogany back-bar with huge pillars and a ginormous mirror, it was kinda crappy on the inside. I saw two guys playing pool and Kenny, the owner, was standing behind the bar. Kenny is sixty-nine years old and has lived in B-Ville his entire life. His father was a saloon keeper before him and his daughter is following in their footsteps. He is extremely intelligent but on the verge of becoming deaf. As I entered I asked him if he served any food. "what?" He said. "He can't here you, ya need to scream." says one of the guys playing pool. "food?" I ask. "wha?" I then move my hand to my mouth (probably looking like an idiot). "Burger...but you can go to McDonald's and get it quicker." he says. (Screaming) "HOW ABOUT THE PLACE OVER THERE (pointing)" I say. "They don't make 'em like I do," he says. (Screaming) "I'LL TAKE A BURGER THEN."

Twenty-Five minutes later the burger comes out. There is no ketchup, mustard, etc. in site. Just a plain burger, bun, chips and a soggy pickle. "Can I get some ketchup?" I ask. "Hugh?" (Screaming) "CAN I GET SOME KETCHUP!?" Kenny snickers at me and says, "That burger is perfect the way it is." Needless to say, I didn't get any ketchup. And yes, it was a pretty damn good burger. Especially for three bucks.