Podcast appearances and mentions of david campany

n this special episode Grant Scott speaks with editor, writer and curator of photography David Campany. This conversation was instigated by an Instagram post Campany made which Grant responded to thanks to one of his podcast listenners. Grant and David's rigorous debate deals with the subject of how a photographer should/could present themselves and issues with gatekeepers. David Campany is a curator, writer, editor who has worked worldwide with institutions including Tate, Whitechapel Gallery London, MoMA New York, Centre Pompidou, Le Bal Paris, ICP New York, Stedelijk Museum Amsterdam, The Photographer's Gallery London, ParisPhoto, PhotoLondon, The National Portrait Gallery London. His work has been published with Aperture, Steidl, MIT Press, Thames & Hudson, Phaidon, MACK, Frieze, The New Yorker, The FT Weekend, and The Telegraph. He has written over three hundred essays for monographs, museums, and magazines, he has a Phd and has received the ICP Infinity Award, the Kraszna-Krausz Book Award, the Alice Award, a Deutscher Fotobuchpreis, and the Royal Photographic Society award. Instagram: davidcampany https://davidcampany.com Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8 magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), and What Does Photography Mean To You? (Bluecoat Press 2020). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. Scott continues to work as a photographer, writer and filmmaker and is the Subject Coordinator for both undergraduate and post graduate study of photography at Oxford Brookes University, Oxford, England. Scott's book Inside Vogue House: One building, seven magazines, sixty years of stories, Orphans Publishing, is now on sale. © Grant Scott 2024

I love cinema. I love photography. Why not talk about the commonalities and differences between these two camera-based mediums? My guest David Campany has literally written the book on "Photography and Cinema." A wide-ranging conversation with my first return guest to the podcast.David Campany's Photography and Cinema bookFinal scene of Truffaut's "400 Blows"Eadweard Muybridge motion studies (text by David Campany)

-> This episode is an extract from an interview. You will find the entire interview on this same account.In this episode, we are at Somerset House during Photo London with David Campany. He is a curator, writer, publisher, and educator, teaching at the University of Westminster, London, and serving as Curator at Large for the International Center of Photography, New York. We talked about his love and addiction for writing, the projects he undertakes as an independent, as a teacher, and at ICP. Through his experiences, he gave us advice on how to protect our passion and keep our curiosity alive. Subscribe to the podcast newsletter: https://bit.ly/lesvoixdelaphotonewsletterStay updated with the podcast: https://bit.ly/lesvoixdelaphotowebsiteYou can also find the podcast on Instagram, Facebook, and LinkedIn @lesvoixdelaphoto Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In this episode, we are at Somerset House during Photo London with David Campany. He is a curator, writer, publisher, and educator, teaching at the University of Westminster, London, and serving as Curator at Large for the International Center of Photography, New York. We talked about his love and addiction for writing, the projects he undertakes as an independent, as a teacher, and at ICP. Through his experiences, he gave us advice on how to protect our passion and keep our curiosity alive. 1'40 - Born in the late '60s, he was influenced by TV culture and movies by Fellini, Godard, etc. 6' - He quickly realized that he wanted to be involved with images because he found pleasure in looking at them and thinking about how they fit into the world. 9' - After his graduation, he was invited to curate shows and write texts. He became known for making unexpected connections between things. For example: an exhibition at Le Bal about Anonymous Americans in film. 19' - Why it is important to write to a writer if you think their work is good. 20'30 - Writing as an addiction. 23'10 - Juggling multiple projects: working on 3 shows and 8 books at the same time. He does not support repetition. 27'30 - The first text he wrote as a professional and his book for Phaidon, "Photography and Art." 32'10 - The magazines he created with the auction house Christie's and the collector Christina Belker. 37' - His experience in NY at the ICP, managing the program for 5-6 years. 45' - Now, exhibitions are collaborations between photographers and curators because, most of the time, the photographer has an idea of what the show will look like. Making exhibitions is part of their work. 47'40 - Advice for curators: you need to go beyond your ego in helping the artist create the work they can't do on their own. It's tempting to say, "I will do it like this." But it is important to move past that phase. 51'30 - Advice for writers: just write, whether it will be published or not, and your writing will improve. Don't be afraid to approach people you admire. Stay interested and aware of the possibilities. There is no formal career path. 53'15 - Now, he says yes to only 10% of the proposals he receives. If his heart is not in it, he cannot say yes. He cannot do something he is not interested in because it would kill the thing he loves. One important thing is to keep your curiosity alive.Subscribe to the podcast newsletter: https://bit.ly/lesvoixdelaphotonewsletterStay updated with the podcast: https://bit.ly/lesvoixdelaphotowebsiteYou can also find the podcast on Instagram, Facebook, and LinkedIn @lesvoixdelaphoto Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In this episode we go all around the houses, pubs and hotels with celebrity guest David Campany! David Campany is a curator, writer, broadcaster, editor and educator.Renowned for his smart and accessible writing, public speaking, David has worked worldwide with institutions including MoMA New York, Tate, Whitechapel Gallery London, Centre Pompidou, Le Bal Paris, ICP New York, Stedelijk Museum Amsterdam, The Photographer's Gallery London, ParisPhoto, PhotoLondon, The National Portrait Gallery London, Aperture, Steidl, MIT Press, Thames & Hudson, and MACK.David has also written for The New Yorker, The Times, The Telegraph, The Financial Times, Frieze, Tate Magazine, Aperture, Source, and FOAM. Hosted on Acast. See acast.com/privacy for more information.

David Campany pays tribute to the multidisciplinarian artist Robert Cumming, known for his rigorous dedication to the aesthetic tonality of the B & W image and his uncanny investigations into the philosophical nature of perception. Lusciously printed images from original 8 x 10 negatives are evidence of Cummings' masterful camera work marrying his fascination with photography's ability to simultaneously describe and mislead. David Campany's equal sensibilities are evident in an erudite, witty essay and compelling image sequence.In this conversation, David discusses, among other things:Nonsense & SensibilityChicanery & witCraft and camera work Fluid interchange of mediaTransition of an object into an imageLooking at work in the roundNot getting pigeonholed SpecialismModernist IdealsThinking of scaleLanding in the middleViewers response to the work provides its meaningAll you can do with a watermelon

On today's episode, W. Scott Olsen talks to David Campany, curator, writer, broadcaster, editor and educator.This podcast is brought to you by FRAMES - a high-quality quarterly printed photography magazine. You can find out more about FRAMES over at www.readframes.com.Find our more about FRAMES:FRAMES MagazineFRAMES Photography AppFRAMES Instagram feedFRAMES Facebook Group

In this conversation, Jennifer and Odette discuss, among other things:CollaborationInherent trustBeing recklessBeing process drivenAllowing the material to speak for itselfThe social journey of a photographPlaying vs workingSimplicityGrowing understandingUndonenessReferenced in the episodeBooks by Odette England Jennifer Garza-Cuen's websiteBooks by Susan BrightPhotography and Collaboration: From Conceptual Art to Crowdsourcing by Daniel Palmer Indeterminacy: Thoughts on Time, the Image, and Race(ism) by David Campany & Stanley Wolukau-WanambwaLacuna Park: Essays and Other Adventures in Photography by Nicholas MuellnerAnonymous Was A Woman grantRobert Rauschenberg FoundationPenumbra FoundationRISD Photography DepartmentTexas A&M Photography BFAIthica College Image Text MFAOdette: Website | InstagramJennifer: Website | InstagramSusan: Website | Instagram

In this episode of PhotoWork with Sasha Wolf, Sasha and photographer, Raymond Meeks have a very open and frank conversation about staying true to yourself as an artist while also exploring new ways of making work. Ray talks about how he started in photography and it is a beautiful and moving origin story. http://www.raymondmeeks.com https://www.mackbooks.us/products/somersault-br-raymond-meeks?_pos=1&_sid=9a0d89916&_ss=r Raymond Meeks (Ohio) has been recognized for his books and pictures centered on memory and place, the way in which a landscape can shape an individual and, in the abstract, how a place possesses you in its absence. His books have been described as a field or vertical plane for examining interior co-existences, as life moves in circles and moments and events—often years apart—unravel and overlap, informing new meanings. Raymond Meeks lives and works in the Hudson Valley (New York). His work is represented in private and public collections including the National Gallery of Art, Washington D.C., Bibliotheque Nationale, France, and the George Eastman House, with recent solo exhibitions at Casemore Kirkeby in San Francisco and Wouter van Leeuwen in Amsterdam. Raymond Meeks is the sixth laureate of Immersion, a French-American photography commission sponsored by Fondation d'entreprise Hermès. He will be mentored by David Campany, artistic director of the ICP, and will carry out his residency in France in 2022. Raymond Meeks is a 2020 recipient of a Guggenheim Foundation Fellowship in Photography and was awarded a Pollock-Krasner Foundation Grant in 2022. Find out more at https://photowork.pinecast.co

Season Two kicks off with a great interview with curator and writer David Campany. David curated the current William Klein exhibition at the International Center of Photography in New York City. We discuss the inspiring life and work of Klein in this lively conversation. The exhibit is still open until September 12th, so if your are in the NYC go see it!Links of work mentioned in the episode:ICP William Klein Exhibition websiteMoscow "Bikini" photoDavid Campany websiteMany thanks to the staff at the ICP for their help coordinating the interview and accommodating my visit to the exhibition.

The latest episode of Making a Mark explores the graphic work of Cornelia Parker. Widely celebrated for her immersive installations that have become a significant part of Britain's cultural landscape, this episode explores the artist's printmaking, a medium that has been at the forefront of her practice for the past several years. Follow Parker and master printer Pete Kosowicz into the studio where they are making prints; find out how her works are made, her influences, the possibilities printmaking offers and the importance of collaboration to Parker's practice. Contributors include founder and gallery co-director, Alan Cristea; arts editor of the Financial Times, Jan Dalley; and photography curator and writer David Campany. Presented by writer and critic, Charlotte Mullins. Making a Mark is a podcast by Cristea Roberts Gallery exploring the relationship between artists and printmaking.⁠ Artworks discussed in the episode can be viewed online via https://cristearoberts.com/podcast/  Image: Cornelia Parker at Thumbprint Editions, London, 2022. Photo: Maxwell Anderson. #corneliaparker #printmaking #etching #photography #photogravure #resurrection #destruction #shadows #foundobjects #womanartist #womeninart #britishart 

A palpable synergy permeates David Campany's animated sequence of over 140 images and paintings in Anastasia Samoylova, Walker Evans Floridas. A playful interaction that recontextualizes Evans' archive, also illuminates photography's unique ability to capture paradox, metaphor and oxymoron. Both Samoylova and Evans investigate deeper truths and the mixed feelings generated at the intersection of myth, reality and the wild possibilities in between. In this conversation, Anastasia Samoylova and David Campany discuss, among other things: Contributing to the roadtrip canon from a female perspectiveLooking first Ungendered imagesParsimony and compositionShowing time in one frameAbility of work to endureLeaving meaning openNietzsche and BaudelaireNostalgia SovereignSense of scaleReferenced in the episodeFlorida by Lauren Groff AIPAD Laurence Miller Gallery ICP Photography Fest The Photograpers Gallery Photo LondonCarol O'Breen GalleryWalker Evans The Lives and Loves of Images, 2020William Klein: YES Natalie Goncharova - Rayonism The Picture of Dorian Gray Anastasia Samoylova Website | Instagram David Campany Website | InstagramEngage with J. Sybylla Smith https://www.jsybyllasmith.com Instagram @jsybylla and Facebook @j.sybylla.smithIf you like this show, remember to leave us a rating or review. It really helps.*Got Punctum? Podcast Listed on the 70 Best Photography Podcasts https://blog.feedspot.com/photography_podcasts/

Born 1953 in Cardiff, Wales, Peter Fraser acquired his first camera at the age of 7 and after a false start studying Civil Engineering, at 18, began studying photography at Manchester Polytechnic the following year. In the summer of 1974 he lived in New York and worked at the Laurel Photography Bookstore at 32nd St and 6th Avenue which significantly expanded his sense of photography's expressive possibilities. He graduated in 1976 after repeating his 3rd year due to major illness crossing the Sahara, while photographing in West Africa.Peter lived in Holland and Hebden Bridge, West Yorkshire, before moving back to Manchester in 1981. He then began working with a Plaubel Makina camera in 1982 which led to an exhibition with William Eggleston at the Anolfini, Bristol in 1984, and a move to that city. In summer 1984 Peter travelled to Memphis, USA to spend nearly two months with Eggleston, which confirmed for him the desire to commit his life to working with colour photography.He then worked on several series of photographs, leading to a first publication, Two Blue Buckets which won the Bill BrandtPrize in London (the precursor of the CitiBank International Photography Prize), in 1988.He moved to London in 1990, subsequently publishing several new bodies of work,  including Ice and Water1993, Deep Blue 1997,Material 2002, and Peter Fraser (Nazraeli Press) 2006.In 2002, The Photographers' Gallery, London, staged a 20 year survey exhibition of Peter's work, and he was shortlisted for the Citigroup International Photography Prize in 2004. In 2006 he was invited to be an Artist in Residence at Oxford University, England and produced new work for permanent installation in their new Biochemistry building in 2008.In 2009 Peter was given a major commission by The Ffotogallery, Wales, to return to his country of birth, to make new work for a solo exhibition at the gallery, which opened in March 2010, with a new publication, Lost For Words.In 2008 Fraser began working on A City In The Mind a new series of photographs in London, which was shown at Brancolini Grimaldi Gallery, London in May 2012 accompanied by a Steidl Publication.From January to May 2013, Tate St Ives held a retrospective of Fraser's career, the first Tate Retrospective for a living British Photographer working in colour, and Tate published a major monograph on the whole of Fraser's career with a text by David Chandler. Tate purchased 10 works for their permanent collection from theTwo Blue Buckets series in 2014.In 2014 Peter was awarded an Honorary Fellowship by the Royal Photographic Society, UK.In spring 2017 Peperoni Books, Berlin, published a new ‘Director's Cut' of Fraser's 1988 publication Two Blue Bucketswith 19 missing images from the original, and a new essay by Gerry Badger and a discussion between Fraser and David Campany.In 2017 Peter's exhibition Mathematics was exhibited at the Real Jardin de Botanico, Madrid, part of PhotoEspana 17 and Skinnerboox, Italy, published Mathematics with 52 colour plates, and essays by Mark Durden, David Campany and an afterword by Peter. The first UK exhibition of Mathematicsopened at Camden Arts Centre, London on the 5th July, and ran to 16th September 2018. The accompanying File Note no 120 published by the gallery, featured a specially commissioned essay The Things That Count by Amy Sherlock, Deputy Editor of Frieze.In March 2021 Peter received a Pollock Krasner Foundation Award, to support the production of new work in the UK and across Europe in the time of Covid-19 ‘paying subtle attention to atmosphere and nuance, quietly reflecting on manifestations of our responses to the enormous changes taking place across the human landscape'. On episode 172, Peter discusses, among other things:The Pollock Krasner Foundation Award.Responses to Covid and his approach.Poetic truth vs. documentary truth.How he came to live in Hebden Bridge, Manchester.Seeing in colour, having made a B&W darkroom.His epiphany in the sahara desert.The influence of the film, Powers of Ten, which he saw at 15.His love of mathematics and how he came to explore it photographically.His Two Blue Buckets image and why it's significant.Staying with William Eggleston in the 80s and what he took away from it.His ‘lost decade', broke in London, printing for Martin Parr and other photographers. Referenced:Jackson PollackTed HughesAlbert Street Workshop - Ray Elliott and Jenny Beavan Martin ParrCharlie MeechamBrian GriffinPaul GrahamCharles and Ray Eames - Powers of TenMax TegmarkThe New Colour Photography by Sally EuclaireJem SouthamWilliam Eggleston Flannery O'connorVolker HelnzMarcus HansenChris Dorley BrownDafna TalmorWolfgang TillmansNick SerotaWilliam ScottDavid ChandlerWebsite | Instagram“I'm absolutely awestruck by the almost incomprehensible beauty and strangeness of everything that is around us. And that goes to the very heart of what I've spent 40 years trying to investigate.”

The medium of photography and the world are changing rapidly. Photographers Igor Tereshkov (RU, 1989) and Anastasia Samoylova (RU/US, 1984) are part of a new generation of documentary photographers. Experimenting with different techniques, the two research the connection between humans and their environment. Together with David Campany, Managing Director of Programs at the International Center of Photography, the two artists speak about their research. Igor Tereshkov works with mixed media including documentary photography and experiments with different photo process and mediums. His work revolves around topics such as environment, ecology and the Anthropocene. One of these examples is his series ‘Oil and Moss' shot in KhMAO, the district producing about 50% of Russia's oil. This work shows the irresponsible handling of fossils and the damage this brings to Indigenous People and nature. Anastasia Samoylova moves between observational photography, studio practice and installation. By utilizing tools and strategies related to digital media and commercial photography, her work explores notions of environmentalism, consumerism and the picturesque. Her recent series ‘Floridas' document Florida's complex history and its connection to the broader context of contemporary USA. Together, Foam and Paris Photo present a brand-new season of the podcast series Foam Talks: Talent Edition. This series presents eight talented image-makers from both the fair's Curiosa Sector and Foam Talent 2021. Each of the episodes welcomes two photographers, one of each organisations' talent programme. Brought together by a common theme and approach, the photographers speak about their projects and motivations, as well as the challenges they encounter. Not to miss the works of the artists, please visit the digital exhibition at Talent.foam.org and the work at the Curiosa sector of Paris Photo. Concept: Amelie Schüle and Hinde Heast 
Production: Nordin Janssen
 Mastering & Mixing: Andersen Audio Productions

On this week's show we will explore the great art of photography, through the lens of New York City.My guests are David Campany, Managing Director of Programs at the International Center of Photography in New York; and Alex Harsley, documentary photographer and Curator of the 4th Street Photo Gallery in the East Village.Tune in for this fascinating conversation at TalkRadio.nyc or watch the Facebook Video by Clicking Here.Show NotesSegment 1The topic of photography is mentioned first. It is an artform that means a lot to the state of New York. Today's guests are David Campany who is an author and the managing director of programs at International Center of Photography. In addition, Alex Harsley has joined who is a documentary photographer and Curator of the 4th Street Photo Gallery in the East Village. When David first came to America, it was in the late 1980's. He is from England but loves the people and the light of New York. The city is so theatrical it seems to be asking to be photographed. David also mentions versatility and how one can walk just two blocks in New York and feel like they're in a new place. He states how important it is for his program to build strong relationship with their surroundings and community He was able to open a gallery featuring hundreds of imagesSegment 2David is asked what attracted him to the ICP and he explains how it is a perfect fit for him. He enjoys the creative side to his work by taking a space that is given and presenting it in different ways. He also likes collaborating with others to produce a quality finished product. Next, he talks about how in a photography institution, everyone will have a variety of reactions towards an image. That is less likely to occur with painting and drawing. The ICP has a show running currently featuring the theme of life and how it just goes on. He says that it is very gentile and observational work. His staff works with the artist to coordinate the gallery.Segment 3The second half of the show will be with the guest Alex Harsley who has photographed a number of historic figures throughout the years. After being taught to be a farmer, he concluded that was not what he wanted to do and moved to New York. He first got into photography in 1957. He eventually got into photojournalism and got to see a different perspective on situations that others did not. Furthermore, he talks about how much he wanted to take photography in school because equipment was not very accessible for him. Most people only used cameras for capturing portraits and significant moments. His family had a camera but was not allowed to touch it. After he got his equipment he began capturing moments of his life, friends and environment.Segment 4Alex is asked about if racism was an issue while transitioning from North Carolina to New York in the 1950's. He explains how there was some discrimination but the neighborhood he grew up in was a melting pot and nobody was racist. Alex first started the 4th Street Photo Gallery after observing what was occurring in Far Rockaway New York. He took some documentary shots which contributed to opening the gallery in 1974. Next, Alex confesses how it is the diversity and ability to dream of the East Village citizens that motivates him to continue doing work in that area.

Sandwiched between endpapers featuring the 1938 Photogram, Stars, by artist Alexander Rodchenko, 120 photographs by known and anonymous artists reflect how one can think about images - underscoring their uncontainable hybrid nature. His compelling text ignites curiosity, excavates and illuminates intention and process, inviting the reader/viewer to ponder what and how they see. In this book group, David Campany discusses, among other things:The paradox of the malleability of an image and it's fixed singularityThe boundary-defying work of women artists who have been largely ignored by traditional canons of art historyThe symbiotic relationship of text and imageScale and materialityThe experimental spirit of the BauhausThe meaning between photos The muteness of imagesPhotoshop as a beauty parlorReferences/Resources from this episode:Traveling exhibition: https://davidcampany.com/a-handful-of-dust/Visual IN Dialog https://davidcampany.com/da-dialogue/www.instagram.com/dialogue_aandd/,Roland Barthes essay Leaving the Movie Theater, Victor Burgin essay, Seeing SenseDavid Campany Website | InstagramEngage with J. Sybylla Smith https://www.jsybyllasmith.com Instagram @jsybylla and Facebook @j.sybylla.smith

With four issues of Offline Journal now published since its launch in October 2018, I thought it might interest people to learn the story of each cover image: the where, when, what and why of each photograph described, when possible, by the photographer. In this new ‘Covered’ series - available here on the Newsletter - I’ve asked photographers to put themselves through the torture of recording their cover stories. To kick things off, Listen to Rob Law’s story behind his Offline Journal issue #004 cover in the audio clip at the top of this page.Photography Online - lots of inspiration!I had hoped to get this Newsletter out last weekend but distractions abound - even in lockdown it seems!The ongoing Covid-19 lockdown here in Wales and around the world has stimulated creative ways for many to stay engaged with photography. Many thousands of enthusiasts and professionals alike are finding new and some not-so-new routes to create and share projects indoors and also connect with others to learn more about photography through online talks and group video discussions.It’s interesting to note how some photography institutions and galleries currently closed in the Covid-19 crisis have been compelled to adapt their normal marketing and communication efforts. It will be interesting to see if and how these positive activities - appreciated by the seemingly vast numbers engaging with them - might continue when some form of normality returns. Wales should also embrace this opportunity to share its own talent with the wider photography world going forward.I thought I’d share a few that interested me and had me engaged…Photography from Isolation to Communication - ICPBased in New York, The International Centre of Photography (ICP) ran a series titled ‘Photography from Isolation to Communication’ with David Campany - the respected photography writer and curator.Costing $35 in total, his three sessions - delivered via Zoom (from what appeared to be his kitchen table!) - ran over consecutive evenings 15-17 April with roughly 300 participants watching and posting questions:Session 1. Collaboration in IsolationSession 2. Photobook EditingSession 3. The Photographer-WriterAlthough ended, you can read the outline topics covered by Campany on the event page here.I’m sure we’ll see more of these from ICP: $35 x 300 = $10,500.00 (from a kitchen table) - but well worth it when you have a quality speaker!Keep an eye on their website.Mack LiveSpecialist UK Photobook publisher Mack Books were very quick to react to the lockdown and have been hosting a new ‘Mack Live’ series of videos since late March with photographers and curators discussing photobooks. The recent ‘Alec Soth Bookshelf Tour’ video is a fascinating insight on this Magnum photographer as photobook collector: his diverse taste in photography and how and where it’s published in book form. One of my favourite parts has him showing a strange, run of the mill and mass-produced American cookery book titled ‘White Trash Cooking’ at 25:12 on the video - then revealing pseudo-William Eggleston photography included in the centre pages.You can watch the Alec Soth video and others in the ongoing series at https://mackbooks.co.uk/pages/liveMagnum Quarantine ConversationsCreative thinking is emerging from Magnum Photos in the form of pairing up its member photographers by drawing two names from a hat and having them discuss their work and approach in online video conversations. These are really quite inspiring - particularly when you consider the calibre and experience of the individuals taking part. Two of the series had me rewinding and relistening to parts of the respective discussions: Richard Kalvar & Jérôme Sessini discussing conflict photography, fear, and invulnerability; and Lua Ribeira & Susan Meiselas exploring collaboration, intuition, the importance of rich archives and how photographing revolution helped Susan understand the structures of power.I really hope Magnum continue with this series of random pairings for very unique conversations. You can watch them now at www.magnumphotos.com/theme/quarantine-conversationsDavid HurnOn the subject of Magnum photographers, Wales’ own David Hurn continues to demonstrate a seemingly unbounded enthusiasm for experimentation and making photographs despite his Covid-19 confinement. As the screenshot above (shown here with permission) demonstrates, he has set himself a brief to photograph his cottage as though working for an Estate Agent! Sounds easy but actually very challenging! If you don’t follow his Instagram feed (his only online presence away from the Magnum website) his weekly posts are worth browsing through as they form a visual journal on photography, life and memories.David’s text in the above post also has a complimentary mention for Offline Journal and the new Valleys book by Paul Cabuts coming in the next few weeks - read his Instagram post here.Ffoton LivestreamAlso in Wales, Ffoton has started experimenting with livestreaming these last few weeks with a new series of live conversations with photographers - each lasting approximately 30 minutes with questions from the online audience enabled via live chat. The first two talks were photographers who’ve had their work featured on Offline Journal covers - Matt Eynon on issue #002 and Nick Wynne on issue #003 - and the latest conversation with Rhodri Jones (based in Bologna, Italy) is well worth watching on the Ffoton YouTube channel.Issue #005 of Offline Journal now underwayWith the latest issue of Offline Journal now in the hands of subscribers and many others who have purchased a copy online, work has now started on issue #005 to be published in October. To help realise some very unique articles I’m delighted to welcome Ellie Hopkins as co-editor of issue #005. Many will be aware that Ellie has been a contributing writer in the first four issues and I’m looking forward to having her creative input help mould the next one.Subscription - supporting Offline in uncertain timesIt has been interesting to experience first-hand how the seemingly predictable process of printing and distributing a small printed publication can be knocked sideways through the disruption caused by a public health emergency. Printers can print, but only if their paper and ink suppliers can make deliveries and their own presses be manned. As things turned out, Offline Journal was printed with just over a week’s delay - so no big deal really.The most frustrating but uncontrolable impact on the latest issue is the loss of physical outlets (six of which had been secured for issue #004 and were prepared to take #005) but are currently closed due to social distancing measures. Had they been open as normal, this latest issue might have sold all 150 copies.Modern technology has transformed both photography and publishing. The benefits of digital assets, fast file transfers over broadband and digital printing allow flexibility in types and quantities of materials printed - such as my own self-imposed print run of 150 copies of Offline Journal’s first four issues. I considered this a reasonably low target that might see all copies sold in the six month period between issues and, as a result, the Journal would cover its own production, print and associated costs.Offline Journal would not exist without the enthusiastic support of talented contributors - the photographers and writers who have worked with me on the Journal in these early days and share a desire to develop a publication dedicated to photography in and from Wales. These wonderful people have donated their talents and enthusiasm thus far in exchange for free copies of the Journal or beer (a couple of tough-nuts have haggled for both). Going forward, I’d like to offer contributors a small recompense for inclusion of their images and writing but that can only happen if Offline Journal increases its print run and gains more subscribers, with particular emphasis on the latter.If you have renewed your subscription for the next two issues - I thank you sincerely.If you have been supporting Offline through purchasing single issues up until now, my thanks again and I’d ask you to now consider also receiving the special printed supplements that accompany subscriber issues. I’ve had overwhelmingly positive comments on both the Offline Essays and the Indie exhibition posters that accompanied Ron McCormick’s ‘How Green was my Valley’ and David Hurn’s ‘Ynyshir: 25 Mile Radius’ exhibitions (the limited edition ‘Ynyshir’ poster will accompany issue #005 for subscribers in October).You can support Offline Journal’s future issues in these uncertain times by subscribing via the link below. My thanks in advance! Brianofflinejournal.bigcartel.comNewsletter © Brian Carroll 2020Subscribers to this Newsletter can leave comments (and I encourage them to do so!) to express their views and ideas around photography to hopefully stimulate further constructive and supportive discussion with others.Basic community guidelines: be active and supportive where possible in feedback and discussion threads, be respectful of others, avoid profanity - abusive and disrespectful behaviour will result in being immediately unsubscribed from the Newsletter. Simple.Offline Journal Newsletter is usually published every first and third Sunday each month to offer the wider photography community an opportunity to discuss photography in, from and of Wales.Back Issues of and Subscriptions to the limited edition printed Offline Journal (published every April & October) available via www.offline.wales===I respect your privacy.You have received this Offline Newsletter because you provided your email address when purchasing a past issue issue of Offline Journal or you subscribed directly. If you would prefer not to receive future Offline Newsletters like this or participate in its community discussions, just click the Unsubscribe link at the bottom of this page.(Thanks again either way! - Brian)If you’d prefer to read this and previous posts on the website, click here.If you haven’t yet subscribed, do the business with the button below! This is a public episode. 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This interview is with Claire Howard, the Assistant Curator of Modern and Contemporary Art at the Blanton Museum of Art here in Austin. The museum is currently hosting a traveling photography exhibit called The Open Road: Photography and the American Road Trip. Claire speaks about the content and images that make up the exhibit and shares what goes on behind the scenes to plan for and integrate an exhibition into a new space. She also had the chance to add elements to the original line up that enhance the conversation and relate to our location and it’s history for the benefit of a local audience. Don’t miss this great exhibition which will be on view from November 25th, 2017 until January 7th, 2018. It was organized by the Aperture Foundation in New York and curated by David Campany and Denise Wolf, supported in part by an award from the National Endowment for the Arts. Photographs by Robert Frank, Inge Morath, Ed Ruscha, Garry Winogrand, Lee Friedlander, William Eggleston, Joel Meyerowitz, Stephen Shore, Victor Burgin, Bernard Plossu, Shinya Fujiwara, Eli Reed, Joel Sternfeld, Todd Hido, Alec Soth, Ryan McGinley, Justine Kurland, Taiyo Onorato and Nico Krebs. Blanton Museum of Art The University of Texas at Austin 200 E. Martin Luther King Jr. Blvd. Austin, TX 78712 PHONE: 512-471-5482 EMAIL: info@blantonmuseum.org Some of the subjects we discuss: The Blanton Claire’s previous work history Austin gallery spaces Prep for The Open Road Origins of the exhibition Hanging the show Photographing america Joel Sternfeld Lee Friedlander Alex Soth Inge Morath Justine Kurland Photography today Robert Frank Claire’s additions Eli Reed Road trip inspiration Walt Whitman quote Claire's Bio Claire Howard is the Assistant Curator of Modern and Contemporary Art at the Blanton Museum of Art. She was the 2016-2017 Vivian L. Smith Foundation Fellow at the Menil Collection in Houston, and from 2010 to 2013, she was a Graduate Research Assistant at the Blanton, where she worked on exhibitions including Through the Eyes of Texas: Masterworks from Alumni Collections, and curated the collection exhibition Cubism Beyond Borders (both 2013). Claire previously worked at the Philadelphia Museum of Art, where, as a Research Assistant for Modern and Contemporary Art, she helped organize special exhibitions including Marcel Duchamp: Étant donnés and Arshile Gorky: A Retrospective (both 2009). Claire has also worked and interned at the Fabric Workshop and Museum (Philadelphia), Cooper-Hewitt, Smithsonian Design Museum (New York), and Wellesley College’s Davis Museum and Cultural Center (Wellesley, MA). She is a PhD Candidate in Art History at The University of Texas at Austin, and is writing her dissertation on the Surrealist movement and its cultural context from 1950-1969. Claire earned an MA in Art History from The University of Texas at Austin and a BA in Art History and English from Wellesley College. She is a native of Philadelphia.

Stephen Shore (photographer, New York) & David Campany (writer, curator and artist, London) in conversation at Frieze London 2013

Writer, curator and artist David Campany speaking about his new book, A Handful of Dust (MACK, 2015), with faculty member Adam Bell. Campany will sign copies of his book following the conversation.

This lecture is presented in partnership with Presentation House Gallery and Dream Location, curated by Stephen Waddell. David Campany (b. 1967) is a writer, curator and artist living in London. His writing focuses on subjects of photojournalism, conceptual art, cinema and the archive. His publications include Art and Photography (Phaidon, 2002), The Cinematic: Documents of Contemporary Art (Whitechapel Gallery and MIT Press, 2007) Jeff Wall: Picture for Women (Afterall, 2010), Gasoline (MACK, 2013) and his forthcoming Walker Evans: The Magazine Work (Steidl, 2014). In 2012, Campany received the International Centre of Photography (ICP) Infinity Award for his writing. He is Reader in Photography at the University of Westminster, London where he teaches all levels of studio photography and theory. *Please note that the introduction and the first minute of the lecture is missing due to technical difficulties. We apologize for the inconvenient.

Speakers for this symposium provided a rich overview of documentary photography from the 1940s through the 1990s. Jason Hill, PhD candidate, Department of Art History, University of Southern California, reviewed the 1940s newspaper PM. Louis Kaplan, Professor, History and Theory of Photography, Department of Visual Studies, University of Toronto Mississauga, spoke on William Klein's 1956 photobook. David Campany, Reader in Photography, The University of Westminster, spoke on Dan Graham. Heather Diack, Postdoctoral Fellow, Department of Art History, Visual Art and Theory, University of British Columbia, talk about John Baldessari. Sophie Hackett, Assistant Curator of Photography, Art Gallery of Ontario, discussed Barbara Kruger. Abigail Solomon-Godeau, Professor, History of Art and Architecture, University of California, Santa Barbara, spoke on the 1990 Rodney King beatings. This event, held in conjunction with the special photography exhibition American Modern: Abbott, Evans, Bourke-White, was supported by the Terra Foundation for American Art. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.

Speakers for this symposium provided a rich overview of documentary photography from the 1940s through the 1990s. Jason Hill, PhD candidate, Department of Art History, University of Southern California, reviewed the 1940s newspaper PM. Louis Kaplan, Professor, History and Theory of Photography, Department of Visual Studies, University of Toronto Mississauga, spoke on William Klein's 1956 photobook. David Campany, Reader in Photography, The University of Westminster, spoke on Dan Graham. Heather Diack, Postdoctoral Fellow, Department of Art History, Visual Art and Theory, University of British Columbia, talk about John Baldessari. Sophie Hackett, Assistant Curator of Photography, Art Gallery of Ontario, discussed Barbara Kruger. Abigail Solomon-Godeau, Professor, History of Art and Architecture, University of California, Santa Barbara, spoke on the 1990 Rodney King beatings. This event, held in conjunction with the special photography exhibition American Modern: Abbott, Evans, Bourke-White, was supported by the Terra Foundation for American Art. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.

Speakers for this symposium provided a rich overview of documentary photography from the 1940s through the 1990s. Jason Hill, PhD candidate, Department of Art History, University of Southern California, reviewed the 1940s newspaper PM. Louis Kaplan, Professor, History and Theory of Photography, Department of Visual Studies, University of Toronto Mississauga, spoke on William Klein's 1956 photobook. David Campany, Reader in Photography, The University of Westminster, spoke on Dan Graham. Heather Diack, Postdoctoral Fellow, Department of Art History, Visual Art and Theory, University of British Columbia, talk about John Baldessari. Sophie Hackett, Assistant Curator of Photography, Art Gallery of Ontario, discussed Barbara Kruger. Abigail Solomon-Godeau, Professor, History of Art and Architecture, University of California, Santa Barbara, spoke on the 1990 Rodney King beatings. This event, held in conjunction with the special photography exhibition American Modern: Abbott, Evans, Bourke-White, was supported by the Terra Foundation for American Art. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.

Speakers for this symposium provided a rich overview of documentary photography from the 1940s through the 1990s. Jason Hill, PhD candidate, Department of Art History, University of Southern California, reviewed the 1940s newspaper PM. Louis Kaplan, Professor, History and Theory of Photography, Department of Visual Studies, University of Toronto Mississauga, spoke on William Klein's 1956 photobook. David Campany, Reader in Photography, The University of Westminster, spoke on Dan Graham. Heather Diack, Postdoctoral Fellow, Department of Art History, Visual Art and Theory, University of British Columbia, talk about John Baldessari. Sophie Hackett, Assistant Curator of Photography, Art Gallery of Ontario, discussed Barbara Kruger. Abigail Solomon-Godeau, Professor, History of Art and Architecture, University of California, Santa Barbara, spoke on the 1990 Rodney King beatings. This event, held in conjunction with the special photography exhibition American Modern: Abbott, Evans, Bourke-White, was supported by the Terra Foundation for American Art. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.