It’s inspirational, experimental film time!
My name is Oona by Gunvor Nelson
It’s inspirational, experimental film time!
A few memories from the cowboy life.
Sometimes, the most peculiar images can inspire you.
Bettina Gruber, Creatures of the Night, 1990
(Bettina and her dog Flicki)
Currently based in Toronto, Canada.
Lee Chang Ming: Tell us a bit about yourself.
Jes Cervoni: I’m currently studying photography at Ryerson University in Toronto. I work primarily with still life both on the street and in the studio. The enjoyment of working with inanimate objects…
Thanks to Nope Fun for the feature.
I love this girl, I’m so happy to call her my friend.
Anonymous asked: i'm in the midst of my sr year at an art school in the bay area. of the nearly 20 photo majors graduating with me, im one of two males. all but two of our faculty are female, including the chair. i'm a middle class, white and cis. i try to always be aware of the privilege it affords me as i move through the world and try to "make it." i love my peers to death, and want to support them however i can. i work my ass off, yet sometimes feel a sort of guilt for wanting to succeed. is that so wrong?
friend, i think you’re gonna be ok
wanting success is totally normal and good
i think that, basically, once you get into the post-academic world of where you are right now you will start to see that for whatever reason, the farther up you go the more white and male and straight it gets. Sounds like you will be in a good position to realize how fucking weird that is when there’s a lot more diversity in the waiting room, so to speak.
honestly, just really support your peers. that’s it. that’s the answer. like, just.. fully. support. your friends, and look out for them, and listen to them when they get frustrated, and (this is advice i’d give anyone not just this situation) but keep your friends making art. Help keep your friends accountable to their own art practices because everyone needs a nudge every once in a while, and everyone wants their friends in their corner telling them their voice is worthwhile. Because anyone who isn’t your friend won’t tell you you’re worth anything.
This sounds kind of harsh but, I feel like it’s a necessary thing to be said:
No one cares about you when you’re not in school. This is why it’s necessary for you and your friends to stick together. When you stick together with your friends magical things happen. Your friends are going to be the ones who will be giving you opportunities, putting your work in shows, putting your name out there. Your friends do that. Not curators, not your favorite artists, there are very few art fairy godparents. Which is why it gets hard when white/male photographers, who are benefited by their hegemonic positions within society, stick together and only form those tight friendships with other white male photographers. Like, it’s kind of like, the hegemonic component is like having a step-stool, and you still can talk to people not on a step stool, but when you just have a group of people on step-stools.. I don’t really know where to take that analogy but I am ok with leaving it in. Thinking is a process I think should be a bit more transparent in general..
So in a way I guess my argument from before was more like, check yourself every once in a while and make sure you are surrounding yourselves with different perspectives than your own and that includes going outside of your own identity characteristics. I know some might draw an issue with that but i think it just makes sense. you never want to be in a room full of people just nodding along with you and agreeing with everything you say in a critical context. once you’re there.. that’s like, death. (This is separate from being a friend and telling someone they rock. There are times to be supportive and times to be critical and i think since you seem pretty sensitive you probably already know the difference)
also please feel free to email me/talk to me off anon too, you sound awesome.
Let’s stick together kids!
Geeking out over this fascinating conversation.
A really interesting conversation is happening between male and female photographers in this blog post. It feels especially relevant that I post this link because after class today at my university where I am studying photography, my predominantly, white, male friends where criticizing an article we discussed (Undertones: Nine Cultural Landscapes, by Lucy Lippard in Reframings New American Feminist Photographies), they did not agree on the need for a focus on feminist photography/photographers or that the difference of women in photography needed to be emphasized. I’m not criticizing their opinion, the majority of my class is white and female. I am interesting in challenging it. This post is not just about gender, but about sexuality and race as well. If you don’t read the post here is an important quote I want to share:
"Who do you email your opportunities to? Who do you send insider info about jobs? When people ask you for recommendations on artists, who do you send them? If you have teaching power, who do you show in your classes? Who do you ask for/bring in as visiting artists? Who are your references when you critique the work of someone else? Do you only give one set of references when you are talking to a q/w/oc photog or do you use them for your cis/het/white students too? Do you default to a Evans/Winograd/Atget/Bresson/Frank model of photographic history? Did you notice I only have to use last names for those guys for you to know who they are? If I said, Weems/Cahun/Lawson/Strauss, would you be able to pin point all the references without having to really think about it?"
Awe and wonder can quickly blur into terror, giving rise to a darker aspect of the sublime experience, when the exhilarating feeling of delight metamorphoses into a flirtation with dissolution and the ‘daemonic’…to what extent is the sublime ultimately about embracing the death drive?
Simon Morley in The Sublime: Documents of Contemporary Art
Blue Still Life
If you are in Toronto on Thursday November 28th, 7-10pm, come to the IMA Gallery on Spadina and King and you can buy this print and other fantastic prints created by some up and coming image makers!
Drawing of me by my house mate Sarah!
My awesome pal jes-cervoni did an interview:
1. who are you?
2. when did you start shooting?
3. what inspires you?
4. why do you take pictures?
5. where would you like to be right now?
6. how do you understand photography (or art in general)?
7. anything you would like to add?
Thanks to Zzzzoom for having me on their blog. Cool interview format.
When the land subsumes the dead, they become the rich body of earth, the dark matter of creation. As I walk the fields of this farm, beneath my feet shift the bones of incalculable bodies; death is the sculptor of the ravishing landscape, the terrible mother, the damp creator of life, by whom we are one day devoured.
Sally Mann in What Remains
I photographed her the day before she had to be put down and I photographed her again on the day of her death. I dug the hole with my hands, placed her in the grave with my hands, and covered her in dirt with my hands. It was the only way I knew how to say goodbye.
I have had her since I was 10 years old. I remember when her mother died, a barn cat out in the pole shed, with one surviving kitten. I picked that kitten up and took her to my mother crying. I cried “You are a nurse, you can help her.” And we did, she lived with us for 11 years.
When you are an only child, and only grandchild, life is lonely. Living on a farm I was privileged, to be surrounded by animals, and to have pets to call my friend. These marvellous creatures fill the void. I know she was only a cat, but she was my playmate, my sister, my family.
I find it peculiar that in one roll of film there is a cat, living and breathing, full of the mysterious elixir that makes up the bits and pieces of life and there is a cat, deflated, a void empty container.
Death is the ultimate truth. It is absolute. However it is the space in between the last chapter of life and the perfect departure that is haunting.
One of the coolest people I know took this photo. The enigmatic: