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PHOTO OF THE DAY
Steve Schapiro, Martin Luther King Jr. (with Flag), Selma March, 1965 © Steve Schapiro & Fahey/Klein Gallery
Steve Schapiro, Martin Luther King Jr. (with Flag), Selma March, 1965 © Steve Schapiro & Fahey/Klein Gallery

You may all go to Hell, and I will go to Texas.”
– Davy Crockett (American frontiersman and politician) 

The caliber of the various exhibitions at the 2016 edition of Houston’s Fotofest’s “Changing Circumstances: Looking at the Future of the Planet” is very high, and the venues look good.  There is so much to see, so little time.

The breakout talent this year is Roberto Fernández Ibáñez from Uruguay.  His handworked, ephemerally delicate and seemingly modest work challenges the giantism of big color pieces of glaciers and trash.  Upon closer inspection the handsome oddness proves to be layered and textured reconsiderations of individual gelatin silver prints of drawings he has made of flow chart graphs from the internet.  The artist manipulates the emulsion to create profiles of mountain-like shapes of gray and sepia, like 19th Century engravings of unknown topographies, all with  subtle political urgency.   They are mesmerizingly exquisite and worth the trip to Houston, and for Mr. Fernández, these represent a seismic positive shift as an artist.  Yes, they are that good.

Jamey Stillings has shown work at Fotofest before, his bridge at Hoover Dam project.  His newer Ivanpah Solar power plant portfolio is exceptional.  This is a long term look at the construction of a 2.2 billion dollar installation in the Mojave made Desert, and the work ranges from clean aerial landscapes before ground was broken to overhead and on the ground images of the completed projects.   The later works play with the way in which all the 173,500 mirrored heliostats behave like points of light on a dark abstract field: handsome, epic and somewhat unnerving.  His Steidl publication traces the journey more clearly.  It is a perfect book.  

There is much to take in with the central “Changing Circumstances” exhibitions with Silver Street and Spring Street Studios and The Silos at Sawyer Yards located close together.  (Williams Tower proved to be too far away to visit.)  Even though the theme may seem out of date – are we too late to save ourselves? – the mix of artists is fascinating with Vik Muniz programmed next to Mandy Barker and Chris Jordan’s heart sickening video (and stills) of sea birds and their fatal ingesting of plastic, Nigel Dickinson‘s deceptively inviting trash heaps lit by campfires in Phnom Penh and Daniel Beltra’s bold expanses of glaciers, to name several.

Separate from this, “The Discoveries of the Meeting Place” installation lives up to its name with some genuinely fascinating and often unfamiliar work.  The best is the photo/text/sound journal of Diana Matar’s searing search for her Libyan opposition leader father-in-law.  Her modest entries make your heart race and break as she chronicles her thorough investigation of his disappearance.  Haunting. 

Similarly Clare Carter’s  “Corrective Rape” and Mahtab Hussain “You Get Me?” demonstrate mad soullessness in the world.  

Mary Ellen Bartley “Standing Open” is less visceral, but great looking and sly, a smart photographic take on books about the same.  The accompanying texts by 2014 reviewers are strong, and the selections are truly international.

Session 2 of “The Meeting Place” portfolio reviews for 2016 had its highlights. Best was Judy Gelles and “The Fourth Grade Project” which is bright, coherent, meaningful and wise.  A mini-visit could include (alphabetically) Michael Borek who had droll Washington D.C tour bus advertising appropriations; John Chakeres with “Structures” wall studies; Alejandro Duran with “Washed Up: Transforming a Trashed Landscape”; Vadim Gushcin with minimal table top still lifes (homage to Malevich); Dennis Hodge with “Eyedentities”, more sly appropriations; Miho Kajoika’s restrained “And where did all the peacocks go”; Vladislav Krasnoshek and Sergiy Lebedynsky’s black and white Ukrainian revolution work; and Peter Molick’s “Crossings”, gridded aerial drone photographs.  All well done and worthwhile.

Even the “Fine Art Auction” offered a thoughtful cross section of works by a range of exhibitors from Turkey’s Ferit Kuyas’ Chinese ferry to Toronto’s wonderful Elaine Ling with an iconic Baobab tree from Madagascar.  The auction presented collectors with a unique opportunity to trust their instincts about works new to the marketplace. 

A special note is that Steven Evans, Fotofest’s Executive Director, has done the seemingly impossible job of moving into a role supportive of founders Wendy Watriss and Fred Baldwin, managing to honor and sustain their presence and legacy while establishing his own identity, artfully asserting his own taste and intelligence without laying waste to theirs.   

We may have hurricanes and tornados as the world tears itself apart due our shortcomings as caretakers, but we can look forward to vibrant, meaningful celebrations of photography every other year with future Fotofests. 

FESTIVAL
Fotofest 2016
March 12-April 24, 2016
Houston, Texas
United States
http://2016biennial.fotofest.org

See more

PLACES
Fotofest
Event
Fotofest Portfolio Review 2016

Over its 30-year history, FotoFest’s Meeting Place Portfolio Reviews have been a launching pad for the careers of hundreds of photographic artists. Many artists have been discovered by this program and many reviewers have found new talent to exhibit, publish, collect, and repre...

Event
The Unseen Eye goes to sea with “new eyes”

After being on view for almost 50 years, London’s Science Museum’s legendary collection of ship models was basically “deep-sixed” in 2012, de-commissioned and taken out of view, ostensibly for conservation and storage.

Awards
The Unseen Eye on Joseph Sywenkyj and The Smith Fund

Here is a short profile of the 2014 W. Eugene Smith Memorial Fund Grant recipient, Joseph Swyenkyj. The Photographer offers this advice to applicants for the W. Eugene Smith Fund grant.

Event
Classic Photographs Los Angeles : Mmm, mmm, good

Classic Photographs Los Angeles is the comfort food of photography fairs: warm and satisfying, a kinder, gentler throwback to the hotel fairs of the early 1980’s. The Unseen Eye was there to get out of New York and to take a look, do a walkthrough and book signing. He had a yum...

Event
The Jewish Museum gives it up to The Unseen Eye

Free Stuff, like t-shirts, temporary tattoos, fortune cookies and candy,
girly photos, used clothing and more plus a plastic bag to carry them in, is all there for the taking at The Jewish Museum’s Take Me (I’m Yours) on view until February 5th.

Event
“The Unseen Eye” on the road: All Aboard!

The O. Winston Link Museum in Roanoke Virginia is unique in that it is probably the only single artist museum in the US dedicated to a photographer. It is a shame that it is not better known because it is first class and worthy of a long visit. The Museum is dedicated to preservi...

Event
The Unseen Eye falls in love in London

My report on Photo London is a mash note. The fair was great, yeah, read about it elsewhere. The Unseen Eye has fallen in love. Not the tumultuous head over heels kind of love, but the more tentative, neurotic kind, tremulous, uncertain. He’s a guy, English, off beat I imagine ...

Event
”The Unseen Eye” succumbs to the thrill of the chase
The Wagstaff Collection of Photographs

Sam Wagstaff was the ultimate amateur, doing for pleasure, not for work. Standing at the entrance to « The Thrill of the Chase: The Wagstaff Collection of Photographs » at the J. Paul Getty Museum holds the rush of excitement a child feels at the top of the stairs on Christmas ...

Event
Regardez Voir : Cédric Gerbehaye

Every week, L’Oeil de la Photographie presents the radio program Regardez voir, produced by Brigitte Patient on France Inter. This week, Interview with Cédric Gerbehaye, belgian photographer who speaks about his country.

Event
The Unseen Eye at Doug Dubois “In Good Time” at Aperture

Doug Dubois makes photographs that other photographers only wish they could make. It has been twenty five years since Peter Galassi’s “The Pleasures and Terrors of Domestic Comfort” debuted at the Museum of Modern Art.