I came across German photographer Peter Wildangers work this week, and liked it quite a bit, though some of what I assume are artist statements don’t pertain very well to the work.

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Artist Website

For her series Re-unifications, Susan Silas couples images of the German Olympic Stadium, in what was West Berlin with images of the Jewish Cemetary at Weißensee, once in East Berlin.

The Helmbrechts Walk is a particularly profound set of photographs.

Helmbrechts walk, is a visual representation of the act of walking through a landscape marked by the historical specificity of the forced march of 580 Jewish women prisoners at the end of the Second World War. This book is a document of that endeavor - walking for 22 days and 225 miles in Germany and the Czech Republic on the fifty third anniversary of those events. A historically accurate reconstruction of the march route was possible with the help of the German trial transcript of Alois Dörr and historical maps housed in the New York Public Library.

Her ongoing projects Yard Bird and Bleeding Bird are also interesting.

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Artist Website

The photographs by Dutch photographer Popel Coumou are paper constructions in built in two dimensions then lit to give the illusion of three dimensions.

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Artist Website

Magnum photographer Mark Power caught my eye.

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Artist Website

This weeks post is going to be postponed. I’m in Island Park, Idaho and internet access is limited, as well as time, and far away, so I haven’t been able to spend much (read any) time looking at photographers to post. I do have a few in mind and as soon as I get time I will put up an official post.

Crawl is the beginning of my ongoing investigation into a part of our landscape we, as upright creatures, rarely take the time to think about. Infants know this world for a time. Picnickers and soldiers glimpse it. There is no more dynamic stage of life and death on earth than the first few inches above its surface. This is where prairies and forests are born. Here is where the bulk of our food comes from, and where all terrestrial creatures return when we die. Comforting, beautiful, frightening, strange–this is the terrestrial world. And it can only be discovered and known intimately on hands and knees.

I really like Sally Gall’s photographs of insects. They’re unlike the typical macro photograph of a bug that is seen so often. They feel as though they are biographical or “a day in the life of…”.

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Sally Gall

Saul Gallery

The photographs made by the late Chinese photographer Don Hong-Oai combines several negatives to achieve a style that is influenced by Chinese and Japanese prints, such as Hiroshige.

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Don Hong-Oai at Photo-Eye

I came across Tiina Itkonen’s work back in January, and I must say, it made me feel even colder.

Since the early 90’s, Finnish photographer Itkonen has been searching for her Ultima Thule, or her “place in the Far North” in Greenland. She has returned several times, and has made beautiful photographs of the snowy landscape and iceberg-riddled sea, and the people that inhabit this all but barren land.

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Kashya Hildebrand Gallery

First off, I apologize for the late post. I caught influenza this weekend and was feeling too horrible to write a post yesterday.

I remember the first time I saw the photographs made by this husband and wife duo. I was at the Newport, Rhode Island Society for Photographic Education national conference, and there was a show of their work in one of the local galleries. I remember not liking the work at all. I liked the aesthetics of the process they were using (photogravure) but I didn’t like the subject matter, or concept. Probably because it was some of the first conceptual photography I had seen, and didn’t quite “get” it. Over the years though, their work has really grown on me and they are among my top favorite photographers.

Featuring the “everyman,” (who is Robert himself) the photographs depict a man trying to repair the damage done to the land.

Their latest work is all in color and I find it even more enjoyable than the monochrome photogravures.

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Artist Website

Jack Shainman Gallery

For her series of River Taw images, Susan Derges goes to creeks and river beds during the day and suspends flash guns high in tree limbs. At night she returns, places a sheet of color photographic paper in the creek and fires the flashes, exposing the paper. The flash and ambient light cast shadows of the tree branches and the water flowing over the paper.

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Artnet

Ingleby Gallery