Arriving in the first batch of fixtures from this international break, our latest Framed instalment saw us taking in Italy’s first trip Stateside in almost 20 years. Their opponents were Venezuela, who weren’t at the Chase Stadium to role over on ceremony. Italy had a game on their hands…

Ellen Dahl, a Sydney-based artist from Arctic Norway, has won the $30,000 National Photography Prize from the Murray Art Museum Albury (MAMA), for her work exploring climate change in the Arctic.

Dahl’s work was chosen from a field of 12 finalists, including Sammy Hawker, Nathan Beard and Ali Tahayori. It’s a series of four prints, titled Four Days Before Winter, and part of the artist’s larger project Field Notes from the Edge, which explores peripheral spaces including Svalbard in Norway and Tasmania.

The photographs, taken on a trip to Norway in September 2019, depict the remote Norwegian archipelago of Svalbard — the fastest-warming place on earth, which is also the site of more than 100 years of coal mining. In late 2023, the Norwegian government mandated the closure of the last coal mine in Svalbard within two years.

Running since 1983, the National Photography Prize is a biennial, acquisitive prize. At the opening event on Saturday, Sydney-based Russian artist Olga Svyatova also won the $5,000 fellowship for an emerging photographer, for their work They/Они, which features family photographs from the 60s paired with photos taken in the present-day.

‘Barren and raw’

Dahl wanted to capture the Norwegian landscape at its most “beautiful and melancholic”, she says.

“I knew that I was pushing my luck going up in mid–late September because it’s right at the cusp of winter.

Nici Cumpston, judge of the National Photography Prize, and curator of Aboriginal and Torres Strait Islander art at the Art Gallery of South Australia, says she awarded the prize to Dahl because of the beauty and intimacy of her photographs, and the thoughtfulness and innovation in the way they are displayed.

One large image from Dahl’s series, Collapse, is a close-up of a collapsed terrain caused by melting permafrost. It’s printed on fabric and hangs from the gallery ceiling, moving slightly.

Three photographs in the series were taken in the abandoned Soviet mining town of Pyramiden. For Two Sides of the Same Place, a black mountain, once the site of coal mining, is presented on one side of a piece of fabric and a nearby shrinking glacier on the other. The work is mounted at 90 degrees from the wall.

The other photograph taken in Pyramiden is Arctic Coal Diptych, two framed images of a piece of arctic coal — one the original image and the other inverted digitally, turning the coal a shade of glacial blue.

The last photograph, titled Here/Now, depicts a mountain shrouded in fog and is displayed in a light box designed to mimic the soft light of the Arctic.

“It’s such a contradicting concept to have coal mining in the most vulnerable area of the world when it comes to climate change. Climate change is happening incredibly fast up there,” says Dahl.

Not a documentary

Dahl is descended from the Sámi, the Indigenous peoples of the northernmost parts of Norway, Sweden, Finland and Russia. She grew up in Hammerfest, in the north of mainland Norway, and studied photography in California before she moved to Australia at the age of 29, where she later received her masters of Fine Arts at the University of Sydney.

Now working across photography, video, sound and installation, Dahl made her start in advertising and editorial photography, and in 2006 her portrait of model Megan Gale was acquired by the National Portrait Gallery. She is currently working on her PhD at University of Tasmania.

Dahl doesn’t see herself as a landscape photographer. Instead she’s interested in her photography being a reflection of place, belonging and identity. Her work is not an act of documentary either, but instead is trying to inspire connection between the viewer and Svalbard as a place — at a time when people may feel numb to hearing the facts about climate change.

“I hope people see it maybe from a slightly different perspective and different light and feel something,” she says.

Cumpston says it’s important to listen to First Nations artists like Dahl who are highlighting the threat of climate change.

“It’s important for all of us globally to know what’s happening on that international scale, because of course these same effects are happening within our country,” she says.

“But to be able to relate it internationally helps raise a deeper awareness. And it’s really important for the education of the next generation of people coming through, so they actively do something about it.”

The National Photography Prize is at Murray Art Museum Albury until September 1.​

A new book, The Package Holiday 1968 – 1985, published by Hoxton Mini Press (available from Amazon), taps into 1970s Brits’ love of sun, sea and teensy weensy Speedos.

In 1960s Britain, jetting ‘abroad’ was a pursuit associated with sophisticated socialites like Aristotle and Jacqueline Onassis, characters such as James Bond and working-class superstars the Beatles. It was only the late 1950s that British European Airways set up its ‘package holiday’ deals to Spain, incorporating short flights, hotel, all-day board, and lashings of family-friendly fun, with Valencia being the first destination. The deals were a hit, and the White Coast region got a canny rebrand as ‘Costa Blanca’ soon after. 

Package Holiday: a very British love affair in pictures

By the 1970s, many Britons, accustomed to their nation’s short or often rain-drenched summers, were thirsty for a taste of the White Coast and its exotic promise of tans, al fresco dining, and bourgeois sports such as table tennis. The chance to slip into something more comfortable by way of Speedos, bikinis and super-short shorts was an added, and most obviously welcome, extra.

None of this new-found Technicolor fun was lost on the London Royal Air Force-trained photographer Trevor Clark, an Eastender who, having set up a studio in Soho, had become the go-to photographer in 1960s Swinging London, documenting the exploits of bands such as the Beatles and The Rolling Stones while he was at it.

Clark fancied a few rays himself and spotted a gap in the market photographing the wave of newly established resorts in the Balearics, and Mallorca in particular. His images, now collected in a book by his son Jake Clark, not only captured the glamour of the location – those saturated colours would have seemed like a window into another universe on the brochure stands of high-street travel agents back in Blighty – but reflected the ambitions of a generation eager to escape the social and economic restraints of life in a rapidly de-industrialising Britain. Two weeks in Magaluf were, then, an exercise in aspiration acted out in the new style of nylon leisure suits and, a dream that was accessible in the way that Carnaby Street’s delights of the previous decade simply weren’t.

The Package Holiday 1968 – 1985, by Jake Clark with photography by Trevor Clark, at hoxtonminipress.com, also available at Amazon

KINGSTON, R.I. — Amid the echoes of shutter clicks, the South County Art Association’s (SCAA) Open Juried Photography Annual has returned, running from now through April 13, drawing both emerging and seasoned artists into its fold.

As a staple exhibit of the SCAA for over three decades, this year’s event has attracted a record number of 140 submissions.

“Each year we have returning and new photographers who submit their photographs for a chance to be selected and shown in our gallery,” said Jen Ferry, the executive director of the SCAA.

The juror for this year’s exhibition is Al Weems, a visual artist born in Fall River, Massachusetts. He received a BA in Psychology from UMass Dartmouth.

For several decades, Weems was a corporate and commercial photographer with a focus on environmental portraiture. He now concentrates on fine art portraiture with a practice that seeks to elevate the ordinary.

Weems’s work has been included in numerous exhibitions, including shows at the Providence Art Club, the Newport Art Museum, and the Art League, Rhode Island.

“Our juror Al Weems did a great job selecting the pieces, and the exhibit as a whole has a very tranquil feeling,” said Ferry. “Some of the photographs have the subtlety of using monotones and minimalism. Others use light and shadows to evoke feelings from the viewers. All of the photos are unique in their own way, just as each photographer is unique in his or her style.”

During the opening reception last week, Barbara Crane won first place with “Inspiration,” praised for its captivating sculptured natural light. William Brennan’s “Hydrangea” earned second place, notable for its golden hue. Third place went to Joe Hyde for “Out of the Dark,” celebrated for its composition, print quality, and reflections. Honorable mentions included Tracy Stillwell’s “Blue Elephant” for its creativity, Marc Jaffe’s “Hugs & Kisses” for its engaging flow, and Renee Syed’s “Morning Dew” for its inspirational pull into the center.

Jaffe shared the story behind “Hugs and Kisses”, he was in Newport at Brenton Point, a popular spot for kite flying, and noticed three kites dancing in the wind. “I liked this shot because of its simplicity, but liked it even more when I realized the tails formed the letters ‘XO,’” said Jaffe. “That’s why I titled it ‘Hugs and Kisses.’”

The inspiration behind this juried exhibition is rooted in the SCAA’s commitment to supporting and promoting photographers of all levels, offering a platform for both emerging and established artists to exhibit their work. “We didn’t want to limit the show to only ‘traditional’ photographs,” said Ferry. “The work will be considered as long as the main impetus for the work was created using a camera.”

In a bold move to reflect the ever-changing dynamics of photography, the exhibit has embraced not just traditional photography but also experimental forms of lens-based media. “Many photographers are experimenting and pushing the limits of the medium,” Ferry said.

Ferry also highlighted that by providing a platform for photographers to exhibit and potentially sell their work, the event offers exposure and support that might otherwise be difficult to obtain. “We exhibit a wide range of fine art photography. It reflects the true creative expression of each photographer,” she said.

The SCAA is keen on preserving the integrity and originality of photographic art, especially when artificial intelligence (AI) and digital manipulation are today’s hot topics.

“AI is a complicated issue,” said Jaffe “If AI is used just to sharpen or improve one’s own photo, that’s OK. Like using Photoshop. But if the entire artwork is produced by using other people’s work searched for on the internet and used without consent or credit, I do have a problem with that. And definitely in that case the work should be labeled as done by AI.”

The organization has implemented policies to ensure that all exhibited works are original in conception and execution, maintaining a level playing field for all artists.

Ferry points out, “Most photographers use some sort of digital manipulation to enhance their photos, but it has to be done in a way that the idea comes from them, not an AI program.”

As a nonprofit that has existed for almost 100 years, Ferry noted that the SCAA values history and tradition.

“Much of the work these days revolves around digital photography. However, some still develop their work from film in a darkroom,” said Ferry. “We hope to see a trend of going back to traditional processes.”

The South County Art Association is located at 2587 Kingstown Road in Kingston. The gallery is open from Wednesday through Sunday from 1 to 5 p.m. For exhibition updates and event information, visit southcountyart.org.

KINGSTON — The Center for Photography at Woodstock (CPW) announced today the ten artists who have been selected for Woodstock AIR, its 25-year-old artist residency.

They are: Harlan Bozeman, Ally Caple, Sabiha Çimen, Kholood Eid, Salvador Espinoza, Camille Farrah Lenain, Arlene Mejorado, Zora J Murff, Andina Marie Osorio, and Avion Pearce.

For 40 percent of the 10 accepted artists, this is their first residency.

They come from New York City, Arkansas, Connecticut, California, and Rhode Island.

They work in diverse lens-based mediums and styles, utilizing portraiture, documentary, conceptual, interdisciplinary, still life, 16 mm film, archives, street photography, and collaboration in order to create works that range from installation, collage, zines, and mixed media assemblage.

For example, Kholood Eid, a Palestinian-American photographer, filmmaker and educator explores the depths of vulnerability, the strength in survival, the beauty in adversity, and the intersectionality of identity by blending conceptual and reportage practices.

And Nuyorican artist Andina Marie Osorio utilizes photography and image-based installations to create still lifes, environmental portraits, and pictorial collages that activate ancestral energies of feminine domestic settings.

Now celebrating its 25-year anniversary, the Woodstock AIR residency was founded in 1999.

It is committed to providing direct support to artists working with photography and expanding the critical dialogue around diversity, race, and identity in the context of social justice.

Open to US-based artists working in any genre of photography or related media, the goal of this program is to free the artist from the busy routines and demands of everyday life, and to provide a sanctuary for creativity.

The ten artists selected for Woodstock AIR 2024 will occupy CPW’s artist studio in Woodstock, two at a time for four weeks, from May to the end of the year.

Residents receive an honorarium, a travel stipend, and accommodations in a fully equipped artist studio, with a large-format printer, editing setup, and ample workspace.

In addition, residents receive critical and technical support at CPW’s Digital Media Lab in Kingston.

“These outstanding artists are making bold work that is driven by fierce, imaginative explorations of what the boundaries of contemporary photography can be,” said CPW Executive Director Brian Wallis.

“In our 25th year of Woodstock AIR, hosting this group of photographers underscores the reasons why the residency was established: to nurture emerging visions.

Thanks to our fantastic all-star jury we can welcome and celebrate these deeply thoughtful, creative artists. We can’t wait to see what they accomplish!”

Evaluating the 200+ applications began February 1 and ended March 5, and was undertaken by a four-member panel consisting of: Eric Booker, Associate Curator, Storm King Art Center; Baldwin Lee, photographer and educator; Miwa Susuda, Publisher, Session Press and manager, Dashwood Books; and Daniella Zalcman (Woodstock AIR 2022), photographer and founder of Women Photograph.

March 22, 2024

Massachusetts Lieutenant Governor Kim Driscoll plans to attend an opening reception for a photography exhibit celebrating transgenderism.

The event highlights an exhibit called “This Is Trans.”

“This project was started at the beginning of 2022 as a way to bring visibility and awareness to transgender people of all forms,” a web landing page describing the exhibit states.

The reception is set to feature the photographer and Miss Trans Massachusetts 2023. The reception is sponsored by Miss Trans Global USA.

The event is scheduled for 6 p.m. Saturday, March 23 at Salem Arts Association at 159 Derby Street in Salem, where Driscoll, a Democrat, served as mayor before being elected lieutenant governor.

New to NewBostonPost? Conservative media is hard to find in Massachusetts. But you’ve found it. Now dip your toe in the water for two bucks — $2 for two months. And join the real revolution.

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