Guangzhou’s art hub ambitions in doubt with sales slow at Moordn Art Fair

Guangzhou’s art hub ambitions in doubt with sales slow at Moordn Art Fair

“All these hint at a great potential, and the local audience are studious and well-mannered,” says Sophia Wang of Beijing’s Pifo Gallery, who brought work by eight artists to sell at the fair, the prices for which ranged from 40,000 yuan (US$5,600) to 900,000 yuan.

This was not the first Moordn Art Fair. It was first staged online in 2022, when Covid-19 pandemic social-distancing precautions were still in effect.

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Some of the art on show at Moordn Art Fair 2023. Photo: Cheung Hon-hang

Moordn is a four-year-old art-industry consulting and marketing business whose quirky spelling comes from its Chinese name – a pun on the words for magic lantern and modern, which are homophones in Mandarin.

The company’s founder Tim Lee, a graduate of the Academy of Art in Guangzhou, set up a collectors’ club in collaboration with high-end lifestyle brand K11 in Guangzhou in 2020, followed by an art space in the nearby city of Foshan in 2022.

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Tim Lee, founder of the Moordn Art Fair. Photo: Moordn Art Fair

Lee says the art fair is his latest venture to engage with the thriving art scene in China’s Greater Bay Area, which comprises nine cities in southern China plus Hong Kong and Macau.

But does the Greater Bay Area need another art fair?

Beyond Hong Kong’s well-established art fairs, another of those nine cities, neighbouring Shenzhen, has Art Shenzhen – a government-sponsored fair that has just celebrated its 10th anniversary, and DnA Shenzhen – the third art fair put on by Shanghai-based ART021; staged for second time this year, it was well attended.

We believe that the art market in Guangdong will develop rapidly

Zhang Yong, director of the Shanghai branch of Arario Gallery, present at Moordn Art Fair 2023

Guangzhou itself isn’t without art fairs, but their impact remains limited.

The Guangzhou International Art Fair focuses primarily on traditional Lingnan-style ink paintings, while the fourth staging of the Guangzhou Contemporary Art Fair was reduced to just 10 exhibitors this year, compared to over 30 galleries before.

Lee says the time is ripe for an art fair that caters to local collectors’ tastes, and that his experience in organising gallery and artist studio visits for members of his collectors’ club gives Moordn Art Fair a competitive edge.

First solo exhibition in Hong Kong of ‘rainbow artist’ Ay-O’s work

Forty-five galleries took part in the fair, which ended on December 11. They ranged from established names like Tang Contemporary Art and Galerie Urs Meile to emerging galleries from beyond the major art hubs of Beijing and Shanghai.

The works exhibited by the galleries were largely at the affordable end of the spectrum, with prices starting from thousands of yuan. Arario Gallery and Tang Contemporary were exceptions, both offering works in the 1 million to 6 million yuan range.

Kenna Xu’s eponymous art gallery attended the fair with works by artists from America, Africa and elsewhere at prices ranging from 45,000 yuan to 800,000 yuan. The Shenzhen gallerist says he was drawn to the high quality of the fair and the potential of Guangzhou.

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The Moordn Art Fair drew 45 art galleries, both well-established and emerging. Photo: Cheung Hon-hang

“There is not only young but also old money here [compared to Shenzhen],” he says.

Despite the potential of Guangzhou’s art market it remains small, a fact which limited the success of the fair.

Representatives of many of the galleries the Post spoke to, including Arario, Tokyo Gallery + BTAP and Tang Contemporary, said they had not closed any deals at the time of writing.

Christie’s Hong Kong auctions see strong demand for Asian masterpieces

Galerie Urs Meile sold an abstract painting by Zhang Xuerui for 300,000 yuan, as well as a few other paintings. The gallery said it sold to existing clients rather than new ones at the fair.

So will galleries come back next year?

“We believe that the art market in Guangdong will develop rapidly and therefore we are willing to come back with works more attuned to the local taste,” said Zhang Yong, the director of Arario Gallery in Shanghai.

But others are not so sure.

“We will focus on fairs outside Guangdong,” said Aaron Chen, the owner of ATTN Gallery, a Guangzhou gallery with a second space in Guizhou province, southwest China. There simply wasn’t any “home advantage” that warranted his gallery’s return, he said.

Camera photos & videos Christmas gift guide 2023: Capture the cosmos

Camera photos & videos Christmas gift guide 2023: Capture the cosmos

Christmas Gift Guide for Photographers: Jump Menu

Various photography items on a coloured background

(Image credit: Getty, Nikon, Sigma, Peak Design, Benro, Sandisk, LaCie, COOWOO, BioLite, K&F Concept, Anker, JJC)

1. Gifts for beginners
2. Gifts for intermediate users
3. Gifts for advanced users
4. Christmas Gift Guide FAQ

If you’ve been tasked with buying a Christmas gift for a photographer and have no idea what to get them, you’ve come to the right place. Chances are the person you’re buying for either seems to have everything already, or you don’t know a single thing about photography and have no idea what to buy for them — this is usually how every single photographer ends up receiving the dreaded lens coffee mug at some point in their life.

In this guide, we’ve rounded up some of the best equipment and accessories to buy a photographer, and we’ve split it up into sections for what to buy a beginner, intermediate and advanced user, then provided three different price tiers for each section.

You’ll find an affordable sub-$20 option, which is great if you’re looking for a cheap stocking filler or you’re buying a Secret Santa gift and don’t have much knowledge about cameras and photography. Then there’s a sub-$100 price tier for great quality gifts that don’t break the bank, and finally, a $100+ category for if you really want to splurge.

These gift ideas are primarily geared toward astrophotographers in particular, but many of them will also suit other styles of photography as well.

Beginner

Beginner gift advice

It can be really fun and exciting being a beginner photographer discovering all the different styles of photography with a world of camera and lens options (not to mention all the accessories) at your feet, but it can also be a very expensive time because you need to invest in, well, everything — especially if you want to get into astrophotography specifically.

Beginner photographers usually only have one (typically more affordable) camera with one or maybe two accompanying lenses and not much else, so there’s a whole host of helpful extras and accessories you could gift them to help them along with their photography journey. Or perhaps they’ve been using their smartphone and want to make the jump to a proper camera but don’t want to spend too much — one of the best budget cameras or best beginner cameras would be a great place to start.

Understandably, you may not want to spend a lot on a gift for a beginner if they aren’t sure whether photography will be a long-term hobby, so we’ve given various price options below to give you some choices depending on your budget. From memory cards, spare batteries, lens warmers, star filters and astronomy software to bags, tripods and astro-specific lenses, you’re sure to find the perfect gift for any beginner astrophotographer.

If you want to spend a bit more, or if you’re buying a gift for yourself (no judgment here!), this could be a great time to invest in one of the best lenses for astrophotography. The kit lenses that come with starter cameras are fine but usually don’t have the large aperture or wide focal length required for dedicated astrophotography. 

There are two routes you can take here: Prime lenses (fixed focal length) or Zoom lenses (variable focal length). Prime lenses are generally favored for astrophotography as they can let in a lot more light than a zoom lens can, but they’re less versatile and can be more expensive than zoom lenses. A zoom lens can still produce great astro results though, and you can use it for other styles of photography as well. 

If you’re buying a lens as a gift, make sure it’ll fit the recipient’s camera, and look for a fixed or minimum focal length of 20mm or lower (14mm or 16mm are great), and an aperture of no more than f/2.8 — f/1.8 and f/1.4 are perfect for astro, but f/2.8 will still give great results.

Intermediate

Intermediate users can be a bit more tricky to buy for (unless they’ve outright told you what bits they want to upgrade!), as they already have a bunch of gear and know how to use it to a reasonable degree, but buying the best of the best could well be overkill (and expensive). There’s a fine line to balance, and we’ve provided some options below that can certainly work for anyone who wants to level up and take astrophotography more seriously, plus some ideas they may not have thought of if they’re only just branching out into astrophotography.

Let’s assume they’ve already got a camera, a lens or two and a tripod — what’s next? It’s likely they’ll have made their way through all the entry-level gear and are now looking to invest in more specialized gear or better quality upgrades of what they already have. This is where some of the best accessories can come into their own, as they’ve already bought all the basics and can now start collecting extras to help advance their chosen photographic style. 

If you want to spend a bit more or are buying a gift for yourself (again, no judgment!), perhaps it’s time to level up by investing in one of the best cameras for astrophotography — we named the powerhouse Nikon Z8 as the best mirrorless camera overall for astrophotography.

While the focus for astrophotography is usually more on what the lens can do, it’s still important to have a camera that can handle low light effectively. If you’re buying a camera as a gift, you want to take the camera’s ISO range into account, as well as the autofocus detection range and number of megapixels. Some cameras even have dedicated night modes, check out our best cameras for low light photography guide for some ideas.

Advanced

Advanced gift advice

Advanced users usually already have all the gear they need and then some, so it can be a nightmare buying a gift for an advanced photographer — what do you buy someone who has everything? Not to mention, the kind of gear advanced and professional users are investing in is usually on the more expensive end of the spectrum, which not everyone can afford to buy as a gift. Advanced users are more likely to be using some of the best cameras for astrophotography alongside the best star trackers and best lenses for astrophotography.

You may think you need to know a lot about cameras and photography when buying a gift for a user at this level, but this isn’t always the case. We’ve listed some options below that are suitable for any and every type of advanced photographer, plus a ‘best of the best’ option to really knock their socks off.

If you want to spend a bit more or you’re buying a gift for yourself (still no judgment!), why not consider attaching your camera to one of the best telescopes to really level up your astrophotography?

We named the Sky-Watcher Skymax 150 PRO as the best telescope for astrophotography as it covers a wide selection of celestial objects from planets to nebulas, has excellent optics and a high-quality build. It’s lightweight enough to take with you to dark sky sites, and it’s user-friendly and easy to accessorize. We think you can’t go wrong with this telescope for astrophotography.

Christmas Gift Guide FAQ

What should I get a photographer for Christmas?

But here’s a quick rundown of some ideas for a great Christmas gift for a photographer:

– Camera: Photographers usually already have a camera, unless they’re complete beginners and have told you specifically which one they’d like, so most of the time you’re off the hook here. Buying a camera is a very personal decision, so make sure you know exactly what they’re looking for if you’re looking to gift them one. Check out our best cameras for astrophotography guide to give you some ideas. Or if you’re buying a ‘first camera’ for someone, you’re sure to find something in our best beginner cameras guide.

– Lens: A lens is a great gift if you know what camera they have and whether there’s a specific focal length they’re missing in their lens lineup (or one they want to upgrade). If you’re buying for someone who wants to take up astrophotography, the best lenses for astrophotography are prime lenses with a focal length of 20mm or lower, and an aperture of f/1.8 or f/1.4. 

– Tripod: A tripod is a brilliant gift for an aspiring astrophotographer, and there are tons available that all do different things at different price levels. The best tripods are reliable, sturdy and lightweight to carry.

– Camera bag: One of the best camera backpacks can make a great gift if the person you’re buying for is growing their kit list and not only needs somewhere safe to store their gear at home but something comfortable that can accommodate all their equipment when they’re out in the field.

– Star tracker: Star trackers are primarily used by more serious astrophotographers, so it’s a great gift idea if you know they focus on shooting the night sky. The best star trackers move your camera in line with the Earth’s rotation to avoid capturing star trails, so it really opens you up to shooting those super long exposures to capture stunningly detailed shots.

– Storage: Photographers always appreciate storage! It’s not the sexiest gift in the world, but it is incredibly useful. This can be in the form of memory cards and card holders, or even an external hard drive to back their images up on. 

– Filters: Filters are a great gift for any photographer, but they all do different things. Astrophotographers will love a light pollution filter (especially if they live in urban areas), or you could also opt for some ND (Neutral Density) filters, a polarizer or some UV filters for more general photography. 

You’ll need to know the size of the filter thread of the lens they’ll be using it on, so make a note of the lens they use so you can look on the manufacturer’s website to find out the size of the filter thread (or look on the front of the lens, it’ll have this symbol Ø with a number (eg Ø67) — that means the filter size is 67mm).

– Power bank: Another practical gift for a photographer, the best power banks can hold a lot of charge to help astrophotographers on a long night of shooting. Make sure you get one that has a large capacity, suitable ports and isn’t too big and bulky to carry around.

– Headlamp: Another helpful inexpensive gift is one of the best headlamps. Astrophotographers need to be able to see what they’re doing when out on a shoot, so having a hands-free headlamp is super useful. Make sure you get one that has a good battery life and has a red light to preserve night vision.

– Lens warmer: One accessory that’s often overlooked is a lens warmer — particularly if your area gets very cold at night. A lens warmer can be plugged into a USB device (often a power bank) and has a few different heat settings to keep your lens (drinks, hands etc) toasty warm, and it’ll help prevent permanent damage to the lens due to condensation.

– Camera strap: Most cameras come with straps, but you can buy some stylish and incredibly comfortable camera straps separately — this is a particularly good gift if they have a heavy setup and need a wide strap to prevent neckache.

– Spare batteries: A useful gift, sure, but not the most exciting one. This would definitely work as a stocking filler, just make sure you buy the right ones depending on their camera.

How does astrophotography gear differ from regular photography gear?

Photography is all about capturing light, and dedicated astrophotography equipment is designed specifically to let as much light in as it possibly can. The cameras need to have good noise handling, the lenses need to have a wide focal length and big aperture, and you may even want to invest in a star tracker to help counteract the movement of the Earth in long-exposure astrophotography. While you can get away with basic astrophotography with most photography gear, dedicated astrophotographers will want to invest in gear that will produce the best results.

Do I need to spend loads on a christmas gift for a photographer?

Not necessarily. Photography can be an expensive hobby and career, but there are certainly more affordable bits of kit out there that you don’t need to be spending a huge amount on. While a photographer will certainly want to invest in their camera and lenses, you can still find affordable tripods, bags, power banks and other accessories that won’t break the bank.

What if I don’t know what camera setup they have?

This won’t matter too much unless you’re planning on buying them a camera, lens, spare batteries, lens filter or possibly a memory card. There are still plenty of options, such as a bag, tripod, strap, flashlight or hard drive that you can buy for them without knowing what camera they have. If in doubt, you can always try to bring it up in conversation and ask them what they have without giving away that it’s for a gift.

In photos: the new zine chronicles grime’s glory days

In photos: the new zine chronicles grime’s glory days

Simon Wheatley has spent a career capturing the key players of grime. Bound, his new exhibition and zine, explores the spirit of resistance vital to the genre

14December 2023

If there’s one photographer who really knows grime, that person is Simon Wheatley. He’s been on the ground since the beginning, capturing unguarded moments from the key players of the scene – but doesn’t always like to call it that. “I’ve never really been interested in any ‘scene’”, he tells Dazed. “I actually find the whole concept of ‘scenes’ limiting. They end up being uncreative places once everyone jumps on.” Instead, Wheatley prefers to think of grime as a ‘moment in time’, one where political expressions of angst were not only as important as the music, but the reason the music exists in the first place.

Political currents have always run through Wheatley’s work. His 2011 photo book Don’t Call Me Urban! The Time of Grime acted as an antidote to the glamorisation of “urban” life, while his 2016 documentary film Goldenboys charted grime’s second wave, away from the commercialisation that had erupted in recent years. Now, for 2023, the photographer continues that political mission, presenting a collection of photographs that capture grime’s spirit of resistance. Taken between the years of 1998 and 2015, Boundis a zine that chronicles the behind-the-scenes moments of London’s grime heartlands, from the nappy changes, to the dog walks, and the tower blocks that no longer exist.

In the conversation below, we chat to Wheatley about his artistic practice, the commercialisation of grime, and why political resistance is a key component of the genre.

Hi Simon. Congratulations on the publication of Bound. How long have you been capturing the Grime scene, and what led you to becoming involved?

Simon Wheatley: I’ve never really been interested in any ‘scene’. I actually find the whole concept of ‘scenes’ limiting. They end up being uncreative places once everyone jumps on. Grime struck me as a moment in time. I had been photographing the youth on London’s council estates for five years when this new sound emerged like a soundtrack to pictures I had been making. So I saw it as something on a sociological level, a powerful expression of alienation and angst. 

Fortuitously, I started to work for Rewind magazine and obtained a lot of access. I came across most of the prominent crews and as I was living in east London I was just about, rolling with the younger kids who frequented the youth clubs – which were the original grime underground. The kids interested me far more than whoever was becoming famous.

Did you also photograph grime’s second wave?

Simon Wheatley: I was also around when it had its resurgence around 2014, but that wasn’t anywhere near as interesting as the original grime days. For me, what I had known as grime didn’t really exist anymore. Most of the youth clubs had closed, there was no pirate radio and some of the iconic estates had been demolished or transformed. Brands and their PR companies had taken over the scene, and the audience was more Dalston and Shoreditch than Bow and Plaistow – more middle-class and white.

I was making a film about The Square – the most instrumental crew in that resurgence – and was fascinated by the contrast between the shallowness of mainstream hype and the way the roots of the music were still in that raw and vulnerable social place. Sometimes I would take a break from filming and take a few pictures, and in Bound there are some shots of The Square and also a touching moment when Elf Kid is at home with his brother and sister, checking Twitter reactions of his smash hit ‘Goldenboy’, which had dropped a few minutes earlier. And I’m still around photographing, whatever the genre might be called.

Was there an exact moment of inspiration that led you to create Bound

Simon Wheatley: Bound came about from a session with the curator after I was approached by Bernie Grants Arts Centre to exhibit there. I showed him a wide edit of pictures for a big book I had in mind, covering the long years of my involvement on London’s council estates. I liked the way he was honing in on pictures where people come together and hold on. He went for the outtake from my famous Crazy Titch shoot because of the manner in which Titch was grasping the dog.

In Debo Amon’s introduction to the zine, he outlines the importance of ‘building communities of resistance’ and adds that grime is an ‘artistic act‘ of that resistance. How important is this concept to your artistic practice? 

Simon Wheatley: It’s fundamental. I first became interested in photography when I saw Sebastião Salgado’s pictures of the mines in Brazil – I’d just been at university there as part of my degree. I was searching for some purpose in life and I found it in those pictures and also in the character of Salgado himself, who had been exiled by Brazil’s military government as a young economist in the sixties. I also studied a lot about the American civil rights movement at university and my interest in rap came about through that, being black America’s voice of protest and discontent. All the books of my photography are very political.  

Do you prefer to set up the shots or capture the subjects as they are?

Simon Wheatley: The only set-up shots in the exhibition are the ones shot on a 6×7 medium format camera, the portraits of music personalities. I prefer not to set up pictures otherwise and be faithful to the truth of a situation, whatever it may be. I’ve always shot my reportage on 35mm cameras, so there’s been a fundamental distinction in my work based on what camera I use, certainly in this exhibition.

The photographs are at times extremely intimate and personal. Did you ever feel like you were intruding?

Simon Wheatley: Intimacy is important to me, I always search for it. I’m very emotional. I learned that a documentary photographer should have an antenna to feel out situations, to know when to go. There are no situations in the exhibition in which I felt unwelcome – I never felt I was intruding. Often we would be having deep conversations and I’d just make a few frames here and there.

If you could choose one image in the series, that is either your favourite image or representative of the project as a whole, which one would it be and why?

Simon Wheatley: There’s no one representative picture. I feel Bound is a collection of images. But looking through the fanzine, the picture that touches me most emotionally is the square black and white one of the guys standing on a walkway that was demolished the following winter. I don’t think it’s the best photograph necessarily, but it reminds me of a more innocent time – when ‘youth’ didn’t begin at the age of 12, when guys didn’t feel the need to look so tough like they do now with drill culture, before the corruption of smartphones and social media.

I didn’t know those guys so well, but there’s a warmth in the way they look at me. It’s like a prophetic welcome from those first days of my London work back in the early summer of 1998. In their smiles and grins I see now, perhaps, the secret to my success, the way people might find me amusing.

Is there anything about London specifically that inspires you?

Simon Wheatley: I find London overly materialistic and people can be cold. I always ran away from England in  search of somewhere else because of my teenage traumas. But finally, after a decade in India trying to find someone I might never be, I have come to accept London as my home, largely through the love I have had from those in my pictures and the people who have grown up with my work. I would say that inspires me, the love I now feel from the younger generation. It gives me the strength to continue, to find new paths ahead, to not just sit back in the glow of my previous work, but to use it as the basis for further endeavour. 

What would you say is the guiding principle behind the work? 

The search for truth, and having some fun along the way.

Bound exhibition is open at Bernie Grants Arts CentreTottenham, London, N15 4RX until January 31, 2024. The Bound zine launches at Claire de Rouen Books, Bethnal Green, London, E2 0JD at 6pm on December 13, and is available to purchase here via Backdoor Editions.

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Fashion photographer Paula Watts chases light

Fashion photographer Paula Watts chases light

Los Angeles-based editorial and advertising photographer Paula Watts turn to Profoto gear to create her spectacular images. Here she guides us through how she used the Profoto B10X and Profoto OCF Softbox 3′ Octa for a jaw-dropping fall fashion shoot.

Meet Paula Watts

“Lighting is the most crucial part of photography,” says photographer Paula Watts, who was honored in 2022 with an American Photography Artists award for her work in beauty and fashion. “In her work she uses light to imbue drama and tell a story to her viewers. For this reason, lighting is always her first priority, including for this fall fashion shoot in a Calabasas, CA, field.

Lighting the way

I’m always chasing light in outdoor photo shoots, assessing if I want the subject to be backlit, harshly lit, or in open shade. I ask myself what the story is. Do we want deep shadows to tell the viewer something or do we want it light and airy?

Soft and natural

I had a very short amount of time to capture four looks on the model for this shoot, during which the sun was ever-changing. I didn’t want to compete with the natural light, but rather create a softness using the OCF Softbox 3′ Octa for its range and versatility, and the Profoto B10X because of its portability. I could carry them all over the field, bouncing soft light in.

Following the sun

Outdoor settings are challenging because the sun is always moving. Once we were dealing with sunset, we had a lot of harsh light from the sun. We loved this, but we also wanted to open up the shadows in the field and on the model’s face. We relied on the Softbox Octa to bump in much-needed light as the environment went dim. We changed the setups as the sun moved. Sometimes you only have five minutes as the sun is setting. The B10X’s ease of use meant I was able to get in a multitude of shots in a small amount of time.

Setting the mood

Light helps create the artist’s point of view in any setup. I love that you can experiment and find new ways to relay different feelings and moods. You can create beautiful light with one head and no modifier or five heads and every different kind of modifier. To see more of my work and learn about my other lighting setups, visit my Share The Light profile.

Photographer: Paula Watts @pwattsphoto
Model: Kendall Harris @kendallharris
HMU: Lindsey Williams @crazypretty
Stylist: Jaclyn Eve @jacalynevestyle
Retoucher: Julia Kuryliuk

‘If Memory Serves’: Los Angeles Center of Photography unveils new show honoring Aline Smithson

‘If Memory Serves’: Los Angeles Center of Photography unveils new show honoring Aline Smithson
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Memory and photography are inextricably linked, bearing witness to life’s most significant moments: birth, death and all that transpires between. Throughout her career, teacher and photographer Aline Smithson has chronicled how photographs move through time — conveying memory, history and being — and shift based on ever-changing technology.

“If Memory Serves: Photography, Recollections and Vision,” produced by the Los Angeles Center of Photography, honors Smithson’s contributions to photography and her work as a teacher and mentor. The exhibit will open with a reception on Saturday, Dec. 16, at the Brand Library and Art Center in Glendale and continue through Saturday, Feb. 24.

Filling out the 5,000 square-foot gallery, Smithson’s work will stand alongside collections by 12 of her former students and collaborators: Safi Alia Shabaik, Elizabeth Bailey, Dena Elisabeth Eber, Sarah Hadley, Diane Hemingway, Rohina Hoffman, Susan Lapides, Annette LeMay Burke, Annie Omens, Lori Ordover, Aurora Wilder Collective (Jennifer Pritchard in collaboration with Patrick Corrigan and DALL-E), Aline Smithson and Rosalie Rosenthal.

“Since the beginning of my photography career, I’ve been looking at how family photos move through time,” Smithson said. “Even in the ’80s, I began to find photographs on the ground and started thinking about how our legacies are increasingly difficult to keep.”

Since the early aughts, when digital photography began gaining popularity, photos and memories have slowly migrated from physical images and albums to the ether of the net. While digitization may seem like an indelible canonization, files corrupt and hard drives fail, eradicating years of photo memory. Smithson’s work documents the decline of the photo album and underscores the need to preserve family histories.

“The ‘corruption,’ the literal de-composition of digital files is its own kind of fugue state — a loss of ‘consciousness’ with wide-ranging implications and effects: the erasure of histories, writ large, and those quieter histories of the self and family,” Smithson explained.

Smithson’s portion of the exhibit, titled “The Ephemeral Archive,” consists of dozens of photo albums and thousands of photographs untethered from their families, collected from across the country. Her show will feature six bodies of work, including three installations and Smithson’s first foray into filmmaking. As the name suggests, the works examine the transience of technology and its effect on collective family memory.

“This show allowed me to take this concept that we’re losing our physical histories and expand and create six bodies of work around that idea,” Smithson explained.

One installation will feature a wall of family photos chronicling life events, great and small. The piece touches on the “ubiquitousness of what we put in the photo album — birthday parties, graduations, weddings — what we choose to document and save,” Smithson said.

The show also features Smithson’s first short film, which explores the burden of carrying memories through time. Another work features a found photo album, with only captions remaining, inviting viewers to imagine what the pictures might have been. Captions in physical photo albums are often hyper-specific, including notes, dates and anecdotes, providing invaluable historical context. Digital photos are often scattered across various devices and platforms without context.

“As memories fade and individuals move on, the meaning behind these images can be lost. The stories that once accompanied family photos may be forgotten, leaving future generations with incomplete narratives or archives lost to apathy, technology or time,” Smithson explained.

Since 2001, Smithson has worked as a teacher and mentor at LACP. Many of the participating artists in the show came out of Smithson’s year-long portfolio master class in 2021 during the pandemic.

“We all wanted to be connected,” Smithson said. “Everyone in the group is a true artist. They’re not like student photographers. Everyone got along really well and brought wonderful attributes to the group.”

By the end of the class, Smithson realized each person’s work, including her then-current projects, touched on the same theme: memory. Inspired by this synchronicity, the group went on to collaborate on a traveling exhibition with the same focus.

Curated by LACP Executive Director Rotem Rozental, “If Memory Serves” is the newest iteration of the group’s previous work, including new works and two new artists, Hoffman and Shabaik. The show is entirely women-led and features artists from LA and nationwide.

“I think the show is going to touch people that are not necessarily in the art world. … It is about family, and it’s about archives, personal things,” Smithson said. “It’s an amazing opportunity, and I’m so grateful to LACP, and I’m so excited to be showing with all these wonderful artists and showing so much work at once.”

Pictures Worth Thousands of Words: Local photographer’s Community Giveback Event grows

Pictures Worth Thousands of Words: Local photographer’s Community Giveback Event grows

IMPERIAL – A slew of adults in ugly Christmas sweaters alongside smiling kids in Santa hats came out to celebrate a comeback and capture a moment of togetherness during the second annual Giveback Event and toy drive held on Sunday afternoon, December 10 at Cheval Farm in Imperial.

The event, put on by local photographer Rudy Leyvas Jr., boasted over 40 local vendor booths at the entirely free event, which has doubled in size since its first year, according to organizers.

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Anime-niacs unite: Anime Art Market heads to the El Paso County Coliseum

Anime-niacs unite: Anime Art Market heads to the El Paso County Coliseum

If you’re an anime fanatic, then listen to what I’m saiyan.

Kaleidoscope Art Market is kicking off the new year with an Anime Addicts Art Show and Market.

The colossal event is happening inside the El Paso County Coliseum, 4100 E. Paisano, on Saturday, January 6th.

Get ready for 8 hours of fun starting at 2 in the afternoon until 10 p.m.

RECOMMENDED:Git ready El Paso: A Country Girl Christmas Mega Market heads to the Coliseum

Do you have what it takes to ‘Goku’ a super form like the characters in Dragon Ball Z?

Put it to the test in their Super Saiyan Scream Contest.

Aside from that, you have the opportunity to donate books or toys to benefit Guardians of the Children, a nonprofit organization comprised of motorcycle enthusiasts who help children overcome child abuse.

Members of G.O.C. will escort children to court, attend school and social events at the child’s request, provide protection and support and sponsor “Little Guardian” private events yearly.

The event will also feature a cosplay contest for kids, teens and adults alike.

There will of course be food, vendors, live entertainment and much more!

You even have the chance to trade some of your Anime and Sanrio collectibles. How cool is that!

The calendar date also marks Three Kings Day so it was a ‘wise’ choice to schedule the event on the same day!

The celebration wouldn’t be complete without Rosca, which will be available while supplies last.

The event is free and open to everyone of all ages!

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