Krista and I are writing about on our upcoming experiment over at Imagineourparks.org. In our first post, we write about how “The Perfect Moment” started as a tongue-in-cheek response to the US’s NEA/NPS call for applications, Imagine Your Parks. As
October 17, 2015 Reciprocity: the large camera and the studio wall looked at the relationship between analogue photography and the real. October 23, 2015 The Long Exposure: Duration, Meditation and the Un-archivable, brought a group of people to the studio to meditate together while exposing a 16×20″ negative of the studio wall. November 1, 2015 The Artist Studio: Disappearances and Reappearances looked at the lives of artist studios.
The online archive of the zine and documentation of Terminus: Archives, Ephemera and Electronic Art is now live. This workshop was organized by the Ethnographic Terminalia Collective in collaboration with Tarah Hogue and Glenn Alteen of the grunt gallery in Vancouver
562 fisgard: a 16 x 20 camera, wall peel, b&w contact prints
Portable Camera Obscura at Robert Smithson’s Spiral Jetty at Rozell Point, on the Great Salt Lake, Utah. Installation with University of Utah Honors College Class that I was co-teaching in Fall 2013, Landscape, Place and the Visual Anthropology of Utah.
IOP is looking for nine artists to join us at different places along an artist-led expedition beginning in (present-day) Yellowstone National Park, (the first USAmerican national park) and traveling along the 42nd parallel…
Photograph showing Vasia Markedis filming beside the Portable Camera Obscura at sunset on Capitol Reef field station butte, 2012 Next week, artist Krista Caballero and writer/scientist Sylvia Torti, from the initiative Mapping Meaning, will be joining Ryan Hilperts, from the
Portable Camera Obscura at Crane Arts in Philadelphia, PA, 2009 as part of exhibition, Ethnographic Terminalia. Installation with early 20th century hand-tinted print (32x 48″) on easel, spotlights, tent, lenses, pillows inside for lounging.
This photo shows a glass plate negative we made a few years back (a re-enactment of a EG Deville photograph from the archives) showing the outside of the studio space. 562 Fisgard is a project that I use to think