One of those magical days…

…when the planets seem to be alignment…

…occurred two days ago again in class.

Justine Kaszynski, Caroline Horswill, Emma Haney, Nicole Galanti, and Joyce Gaffney.

The semester is rocketing into the stratosphere, print by print.

Frank Driggs, 1930-2011


Mary Lou.


Duke and Sweet Pea.




Police may not delete your photographs

“…photography is a form of public oversight over the government and is important in a free society.”

You have no idea…

…how tight the jazz scene is, especially the Chicago scene. We in the local fo-do community are often this way, but we can still learn from this.
Henry Johnson
Just heard about the passing of Chicago drummer, Gerryck King. He was personally responsible for introducing and recommending me to Joe Williams. When I met him, he could scat and play almost every Billy Cobham solo recorded at that time. We played a lot together in Chicago jazz clubs during the early 70’s. By the early 80’s, he had moved up to playing with the heavy hitters like Ray Brown, Gene Harris, and Joe Williams. Thank goodness that he’s played on some great jazz recordings and we’ll always be able to listen to him. Condolences to the King family. R.I.P. Gerryck. You were a bad cat, my friend.LikeUnlike ·

Late Summer Work

Here is a semi-arbitrary selection of pieces made by members of the AP class, which were made into digital files during the week before the equinox. We hope you find all of it engaging; it’s a promising start to the year. My bad if anyone is left out (or represented twice).

The workflow is: 1. Pry the work from the artists’ clutches. 2. Make digital copies, often whilst chewing or before sunrise, or both. 3. Transfer the files to a work station that is balanced on one’s knees (cf. Mr. Nicholson). 4. Clean up the borders; guess which way is up for some; compress the files to a practical size (and not touch up the charming dust spots). 5. Drag ’em into this post.

Having done those steps, we note that the pictures were made by Kendall Wallin, Margaret Rajic, Rachel Parker, Nikki Nixon, Corey Nguyen, Sam La Bar, Justine Kaszynski, Michelle Henneberry, Dr. Emma Haney, Jamie “Aubergine” Gray, Nicole Galanti, and Chanelle “Tubs” Biangardi. (Lemme know if this is less than accurate.)

Not Dead.

Yet. (Ever?)

Many of you know how this guy feels:

Artist’s Statement: Natalie Krick

A good one. Concise, literate, just enough.

“This work revels in the gap between idealized images of glamour and the failure to create a flawless feminine appearance. I am interested in deconstructing traditional ways women are decorated, posed and photographed. Through repetition and exaggeration of gesture and color these photographs emphasize the clichés used to visualize female sexuality. I want to complicate the pleasure of looking by creating a tension between attraction, aversion, intimacy and artifice.

“The women depicted in my photographs are styled to exaggerate the artifice of cosmetics and the flawed distortion of prescribed beauty. Their poses reference traditions depicted in soft-core pornography, the pin-up, celebrity portraiture and fashion photography. Perceived as both alluring and garish, the use of glossy saturated color and the harsh revealing light encourages scrutiny. The flaws on the body and the act of styling disrupt the construction of the façade and reveal the corporality of the body.”


Get thee downtown and bring your student ID, ut get in to see an exhibit entitled Ralph Eugene Meatyard: Dolls and Masks.

Omigosh! It ends this Sunday!

Extremes on a spectrum of artists’ statements

Which of the following statements is more specific, more elucidating?

John Kilar: “These images represent the juxtaposition of the timeless and majestic elegance of nature’s sensory-surpassing miracles with the entangled and growing tensions of our time in culturally reconnecting with the shift away from the human condition of love.

In developing my visual perspective, I’ve discerned the fleeting significance from the invariable through emphasizing the growing collective disdain for the socially underdeveloped that has come to define our generation and crystallized over the last decade.

Through highlighting this generational discontent in honing its cultural responsibility of deconstructing traditional understanding of social roles against the unrefined purity of the emotionally captivating cycles of nature, my work serves as a middle ground to visually level and gauge the social progress of man by means of extremities occurring in class stratification.

In giving careful attention to the mediating filters that propagates socially-constructed irreverence, I aim to address the necessity of breaking down the symbolic paradigms of understanding to revisit the overlooked empathy for humanity and its greater accountability to each other.

Mark Bradford: “I want to engage a social, political conversation about the contemporary world that I live in or my relationship to it, and at the same time I want to abstract it.”

(Perhaps this will come in handy for you at some point in the not-too-distant future:

(Or this:

Actually, here is a very cogent statement by Connie Imboden, not unrelated to a “Commentary” for a College Board portfolio:

“These images are seen through the camera, they are not manipulated in the darkroom or computer. I am often amazed at the shapes and forms that have appeared in my work. My intention has always been to explore the body, not to alter it. I want to find the camera angle from which the forms can be the most that they can be – whatever that is. If it is a grace to the limbs, then I want the angle from which that grace becomes the absolute most it can be at that moment. And so it leads me on, to explore angles, space, reflections, and light. I strive to make forms make sense visually and trust that the metaphor, the poetry, will follow.”

More W. o’ W. from John Szarkowski

“It is often thought (by non-photographers) that documentary photography records something that was evident before the photograph was made, but in fact good photographs are the product of discoveries made within the process of photographing.”

“When the photographers are sharp-eyed and clear-minded their pictures can seem to describe the very flavor of the moment—the fulcrum on which the present changes to the past.”