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Delhi hosts India’s first hotel art fair, a new meeting place for art market

Delhi hosts India’s first hotel art fair, a new meeting place for art market
Artix, India's first-ever hotel art fair in India, at the Taj Mahal Palace in New Delhi (August 25-27) (Photo: Courtesy of Artix)

Artix, India’s first-ever hotel art fair in India, at the Taj Mahal Palace in New Delhi from August 25-27. (Photo: Courtesy of Artix)

“I have kept one painting in the bathroom,” says Lindsey Nobel as she steps in front of a large canvas leaning against the wall close to the wash basin. “It was painted during the pandemic,” explains the Los Angeles-based American artist about Gathering, an abstract work linking people with nature.

At Artix, India’s first-ever hotel art fair at the Taj Mahal Palace in New Delhi (August 25-27), each artist, gallerist and collector has a room for themselves. Artworks are mounted on walls and floors in luxury rooms relieved of their furniture. Bathrooms are no exception.

Blue Door by artist Siddharth Shingade at the Gallery Vision Art (Photo: Courtesy of Artix) ‘Blue Door’ by artist Siddharth Shingade at the Gallery Vision Art (Photo: Courtesy of Artix)

“A room for an artist is much more personal,” says Nobel, an abstract artist and sculptor who first came to India on a cruise ship to Chennai two decades ago. Nobel’s conceptual, futuristic paintings in acrylic reflect the idea that “we are all connected”. Colourful droplets of water drip from above in her Syringe Series, a tribute to life and planet Earth.

Nobel is one of the two artists from abroad who are part of Artix, which promotes the philosophy that a hotel is an immersive space suited for creativity and business as a home away from home. “The fair is happening on an entire floor. There are 43 rooms for 20 galleries, 10 solo shows and three collectors,” says Arushi Arts gallery founder Payal Kapoor, one of the creators of Artix.

Six months ago, Kapoor had just returned to Delhi from a tour of international art fairs when she discussed the idea of a hotel art fair in India with Malvika Poddar, founder of fashion boutique Carma and Timsy Anand, the owner of Jalsa, the annual fashion exhibition in Delhi. “We wanted to create a different fair for the new art collectors of tomorrow,” recalls Kapoor. “This showcase encompasses a rich tapestry of artistry, from textiles to jewellery, aimed at nurturing a new generation of connoisseurs,” adds Poddar.

Jewellery designer Archana Aggarwal's collection at Artix (Photo: Courtesy of Artix) Jewellery designer Archana Aggarwal’s collection at Artix (Photo: Courtesy of Artix)

Among the participating galleries at Artix are Dhoomimal Art Gallery, which has two rooms for postmodern and contemporary art, Anant Art Gallery, which has the works of Baroda-based artist Anikesa Dhing and Delhi-based Harsh Nambiar among others, Delhi’s Artoholics, which has FN Souza’s works, and Kapoor’s own Arushi Arts gallery. Gallerists are joined by three private collectors — Priya Paul, Lekha Poddar and Saloni Doshi — while solo shows include artists like Sakti Burman, Sukanya Garg and Faiza Huma.

Paul’s collection at Artix from her 30-year-old archive, the Priya Paul Collection of Popular Art, has travel posters of different airlines and destinations created by famous artists. Among them are limited edition lithographs commissioned by the tourism ministry and the Railways. The posters include Benares on the Ganges in the See India series issued by the traffic branch of the ministry of transport and another, titled Travancore, also from the See India series. A poster issued by the Railways shows Emperor Akbar receiving an emissary of Queen Elizabeth at the Fatehpur Sikri in 1586.

Artix founders Payal Kapoor, Timsy Anand and Malvika Poddar (Left to Right) (Photo: Courtesy of Artix) Artix founders Payal Kapoor, Timsy Anand and Malvika Poddar (Left to Right) (Photo: Courtesy of Artix)

“The hotel art fairs in Hong Kong and London have been well received by the international art community. It is an interesting concept different from whatever we have been doing before,” says Sagan D’Souza of Dhoomimal Art Gallery, whose exhibits include Jamini Roy, Amrita Sher-Gil and VS Gaitonde.

Hotel art fairs are gaining currency in the art world as artists, gallerists and collectors look forward to personal and localised spaces such as a room in a luxury hotel or a repurposed house. Last year, Thailand launched a hotel art fair in Bangkok, joining the existing fairs in Spain (Hybrid Art Fair in Madrid) and Japan (ART in Tokyo). The Artix creators say they will make it a travelling fair, with Hyderabad chosen as the next destination in April 2024 along with an annual edition in Delhi.

Artist Gariba Singh Tekkam's work, which is part of Gallery Arts of Earth (Photo: Courtesy of Artix) Artist Gariba Singh Tekkam’s work, which is part of Gallery Arts of Earth (Photo: Courtesy of Artix)

“Every room is a gallery,” says Poddar about the inaugural hotel art fair in Delhi. “We will take the fair to metros and smaller cities. We have had a good response from the artist community in the country to the new venture,” she adds. “In my view, Artix is a canvas of self-expression, an avenue where imagination breaks free from constraints and conventions,” says Anand.

The ongoing business summits at major hotels in Delhi, including the Artix venue, Taj Mahal Palace Hotel, to coincide with next month’s G20 summit of world leaders have provided a captive international audience to the new fair. “The hotel art fair is an interesting take on the art fair format,” says Shankar Tripathi of Delhi’s Anant Art Gallery. “The fair exposes Indian art to business leaders from the G20 countries,” adds Tripathi.

American artist Lindsey Nobel's painting, Gathering (Photo: Faizal Khan) American artist Lindsey Nobel’s painting, Gathering (Photo: Faizal Khan)

Artix creators are hoping the fair will be an instant hit with India’s art community. “Unlike traditional trade shows, where people are herded through big hallways, in a hotel, they can wander in and out of suites, mingle with each other, even take a break, and sit around the pool,” says Kapoor. “This unique set-up allows buyers to envision how the art will complement their own living spaces, and the intimacy of the setting enables art enthusiasts to appreciate it closely.”

Essential Photography Apps in 2023

Essential Photography Apps in 2023

Like most people, photographers are rarely caught without their smartphones. There are so many great apps available on iOS and Android devices that a photographer’s phone can become an integral part of their kit.

Whether taking photos with a smartphone, editing images on the go, or planning a photo for capture with a dedicated camera system, this guide outlines essential apps that every photographer should consider adding to their phone.

Table of Contents

The Best Apps for Planning and Capturing Photos

PhotoPills (Android and iOS)

PhotoPills is a fantastic app for photographers who want to leave nothing to chance. It helps photographers plan their images and dial in their settings with sophisticated maps, diagrams, and tools.

Essential Apps for Photographers
PhotoPills is one of the best apps for photographers because it offers sophisticated planning tools and excellent calculators, like exposure calculators and hyperfocal distance calculators.

For example, photographers can use PhotoPills to pinpoint the angle and direction of sunrise, sunset, moonrise, the Milky Way, and much more. Better yet, the app lets the user change the date, time, and location, so it is possible to scout out shots anywhere in the world.

PetaPixel’s guide to using PhotoPills will help photographers get the most from the app, and trust us, PhotoPills has a ton to offer.

Available on Android and iOS for $10.99. Includes in-app purchases.

The Photographer’s Ephemeris (iOS)

In a similar spirit, the Photographer’s Ephemeris is a landscape photographer’s best friend. Available on iOS and desktop, this app offers augmented reality on iPhone and iPad, offering a preview of the sky at a selected time using a mobile device’s camera. It also offers 3D diagrams and maps, offering a sophisticated preview of how light and shadow will fall over a landscape at any time.

Essential Apps for Photographers
The Photographer’s Ephemeris offers 3D previews of how light will fall on a scene, delivering landscape photographers an outstanding app for planning photos.

Available on iOS for $9.99. Includes in-app purchases.

Exposure Calculator (Android)

One of the most challenging parts of using strong neutral density (ND) filters is dialing in the perfect exposure. Even though modern cameras have excellent metering systems, they can only sometimes accurately meter exposure through very dark filters.

That is where the Exposure Calculator on Android comes in. The free app allows users to set aperture, shutter speed, and ISO and add up to three ND filters of up to 30 stops to each exposure calculation.

Available on Android for free.

Essential Apps for Photographers
Long Exposure Calculator calculates shutter speed for given camera settings and neutral density (ND) filter strengths.

Long Exposure Calculator (iOS)

Long Exposure Calculator is a similar app for iOS devices. The app, which works on iPhone, iPad, and even iPod Touch, allows users to set ND filter strength and exposure settings to receive a shutter speed recommendation. The app supports up to 24 stops of ND filters and includes a built-in countdown timer.

Available on iOS for free.

MyLightMeter (Android and iOS)

Analog and digital photographers alike sometimes need a bit of help metering light. MyLightMeter Pro for Android and iOS offers stylized user interface options, incident and reflected light metering modes, the ability to save exposure data, saved lens presets, hyperfocal distance calculation, and more.

Essential Apps for Photographers
MyLightMeter (LightMeter on Android) is an analog-inspired app that uses a user’s phone to meter exposure for a separate camera.

User reviews praise the app for its accuracy and utility, especially when shooting film without a dedicated light meter accessory. The app relies upon the user’s smartphone camera system to meter a scene, and by all accounts, the app is very good.

Available on iOS for $3.99. On Android, the app is known as just LightMeter and is $1.99.

The Best Weather and Light Apps

Although undoubtedly related to “planning” a photography adventure, no photographer’s mobile toolkit is complete without good weather apps and apps for predicting optimal photography conditions.

Alongside built-in weather apps on iOS and Android, Carrot Weather is a fun app for Android and iOS. It is free, although it offers a premium subscription for $20 per year.

Essential Apps for Photographers
Every photographer needs a good weather app, and Carrot Weather is not just good, it has a personality.

Outdoor enthusiasts may prefer the highly detailed data delivered by WeatherBug. Available on Android and iOS for free with premium subscription options, WeatherBug shows how favorable weather is for outdoor activities, including information about where the latest and nearest lightning strikes were to help outdoor enthusiasts stay safe.

Skylight Forecast (iOS)

Just because the weather is suitable for being outside does not mean it is good for taking photos, either. That is where Skylight for iOS helps. The app uses artificial intelligence to predict evening light and show photographers a daily forecast for the quality of different times of day for taking photos.

Essential Apps for Photographers
Skylight helps photographers get great shots by predicting the quality of sunset and golden hour conditions.

For example, golden hour is a fantastic time to take photos, but not every day’s golden hour is exciting. Skylight helps photographers know beforehand if it is worth setting up a quick shoot or grabbing their gear and heading out the door for sunset.

Available on iOS for $1.99 per month or $9.99 per year.

The Best Apps for Taking Photos With Your Phone

While the apps so far have focused on helping photographers capture better shots with their dedicated camera equipment, these apps are designed to enable shutterbugs to create better photos using the cameras on their mobile devices.

Phone cameras have come a long way in recent years, with sensors getting bigger and megapixel counts increasing. Talented photographers create stunning art using their smartphones.

However, while native camera apps on iOS and Android are good enough for many, some enthusiasts yearn for more control over their smartphone cameras.

Photon (iOS)

Developed by the makers of Camera+, Photon is focused on offering iOS users professional-style image capture tools and features.

Essential Apps for Photographers
Photon

Photon offers an auto mode, but its strength is in the app’s manual control over focus, shutter speed, ISO, and white balance. The app also offers control over format and resolution and the ability to shoot in RAW or Apple ProRAW formats, plus HEIF and JPEG.

The app also includes focus peaking, a histogram, grid overlay options, flash control, and more.

Available on iOS for $3.99 per month or $19.99 per year.

ProCam X (Android)

ProCam X for Android is similar to Photon in functionality, offering users control over camera settings like exposure, focus, white balance, and ISO.

Available on Android for $4.99.

Halide Mark II (iOS)

Halide Mark II offers a comprehensive assortment of controls and features. It is designed with professional photographers in mind, and its rich controls support this notion.

Essential Apps for Photographers
Halide II is a refreshed version of the popular Halide camera app. With more controls and features, it is a camera app built for pros.

Despite its wide range of features and tools, the app has a relatively simple, clean user interface that heavily relies upon swiping gestures. Halide Mark II also supports the Apple ProRAW image format, delivering outstanding image quality on top of its excellent camera controls.

It is worth remembering that Halide Mark II exclusively captures photos on an iPhone and does not include photo editing tools.

Available on iOS for $9.99 per year or a one-time purchase of $29.99.

Spectre (iOS)

Halide also makes an AI-powered app just for capturing long-exposure images. Known as Spectre, the app uses AI and Apple’s Neural Engine Processor to deliver stabilized handheld long-exposure photos.

Essential Apps for Photographers
Spectre is a long-exposure photography app made by Halide.

While available for free, a paid “Pro” version adds additional long exposure modes.

Available on iOS for free. Includes in-app purchases.

Filmic Pro (Android and iOS)

Filmic Pro version 7 delivers a redesigned camera interface and brand new features for Filmic’s acclaimed mobile cinema app.

Essential Apps for Photographers
Filmic Pro

Designed to offer mobile users a high-end video interface, Filmic Pro offers extensive controls over camera settings, custom function buttons, and a robust interface. For any users aiming to improve their mobile video, Filmic Pro is a must-have application.

Available on Android and iOS for $2.99 per week or $50 per year.

First Light (Android and iOS)

Filmic also has a great mobile app designed for photographers called Firstlight. Firstlight includes advanced image processing, excellent visualizations, and sophisticated manual controls.

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The mobile photography also includes excellent film simulations and Apple ProRAW support. Firstlight offers extensive controls over crucial camera settings like shutter speed, ISO, and focus. The app also includes focus peaking, zebras, histograms, and more.

Essential Apps for Photographers
Filmic’s Firstlight is a robust mobile camera app that delivers outstanding image quality.

PetaPixel has previously written that Firstlight “is capable of the absolute best image quality you can get on a smartphone.” For photographers looking to take great photos on their phones, what more could they ask for?

Available on Android and iOS for $7.99.

The Best Apps for Photo Editing

Whether taking photos on a smartphone or just editing images captured with a dedicated camera system, there are many ways to edit photos on smartphones.

From mobile versions of desktop apps like Lightroom and Capture One to mobile-only apps like VSCO and Pop!, mobile apps make editing and sharing your best photos easy.

Adobe Lightroom Mobile (Android and iOS)

Lightroom for Mobile brings many of Lightroom’s excellent photo editing tools from desktop to the palm of your hand. The app also recently added “instant access” to photo libraries, allowing users to skip the typical import process.

Lightroom for Mobile includes powerful tools, including masking and numerous other AI-powered photo editing features.

Essential Apps for Photographers
Lightroom for Mobile even includes AI-powered masking tools.

Few apps offer as many editing tools as Adobe Lightroom for Mobile.

Available on Android and iOS for free. Includes in-app purchases.

Capture One (iOS)

After a lengthy wait, Capture One is finally available on iPhone. However, it is less powerful on iPhone than on iPad.

Essential Apps for Photographers
Capture One on iPhone is powerful not not quite as good as it is on iPad or desktop.

Importantly, even though perhaps not a complete replacement to Capture One on desktop, Capture One on iPhone delivers much of Capture One’s fantastic color editing tools.

Available on iOS for $4.99 per month or less depending on a user’s additional Capture One subscriptions.

VSCO (Android and iOS)

Last year, after more than a decade of making a mark in the mobile photography space, VSCO rebranded and pledged to return to its roots. The app still offers extensive photo editing tools and more than 200 presets, plus a built-in camera app, but it is now also a platform where creators can gather and share their work.

Essential Apps for Photographers
VSCO is a longtime name in the mobile photography space. Its latest app offers photo and video editing tools plus a social media platform to share content.

Alongside photo editing tools and film emulations, VSCO offers video editing tools with presets, color controls, and a GIF creator.

Available on Android and iOS for free. Includes in-app purchases.

Pop! (iOS)

Packed to the gills with excellent film emulations, Pop! for iOS is a great way to give photos and videos an analog look and feel.

Essential Apps for Photographers

Pop’s editing interface is straightforward, although some features are locked behind a paywall. The app makes it easy to dial in the perfect film photography-inspired look and includes simple but powerful controls and sliders.

Available on iOS for free. Includes in-app purchases in the form of a one-time purchase or subscription.

Photomator (iOS)

Photomator is a powerful and easy-to-use app for iPhone, iPad, and even macOS. With support for more than 650 RAW image formats, AI-powered image editing tools, and powerful corrections, Photomator is an exceptionally robust mobile photo editing app.

Essential Apps for Photographers
Photomator is a very powerful mobile image editor that also offers a desktop version.

In many ways, Photomator mimics the capabilities of a desktop photo editing app, albeit with a simpler, mobile-friendly user interface. The app includes non-destructive editing, impressive repair tools, and even a new Smart Deband tool.

Available on iOS for free. Includes in-app purchases

Grant program puts Native artists in touch with museum collections

Grant program puts Native artists in touch with museum collections
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A grant program called Access to Alaska Native Collections (AANC) is accepting applications through Sept. 8.

The program helps Alaska Native artists and culture bearers get access to museum collections across the state. Alaska Native artists and culture bearers are invited to propose a visit to a participating museum housing a collection that has a clear benefit to the development of the applicant’s work. Eligibility is limited to Alaska Native artists. The grant covers travel costs for the collections visits, including flights, ferries, mileage, per diem, lodging, parking, taxis and family care needs. Funds may cover travel between mid-October through June 30, 2024.

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In Macro Photos, Barry Webb Captures the Fleeting, Otherworldly Characteristics of Slime Molds and Fungi

In Macro Photos, Barry Webb Captures the Fleeting, Otherworldly Characteristics of Slime Molds and Fungi

Didymium squamulosum with ice crown. All images © Barry Webb, licensed

Photographer Barry Webb (previously) continues his hunt for the speckled, glimmering, and ice-crested organisms that pop up near his home in South Buckinghamshire, U.K. Armed with a 90-millimeter macro lens, Webb ventures into woodlands and other natural areas where slime molds and fungi thrive. There, he zeroes in on their microscopic features, documenting their wildly diverse characteristics that often last for just a brief moment in time. Recent shots include a tuft of Muppet-like fuzz topping Metatrichia floriformis, a water droplet suspended between two cup-like Craterium minutum, and a cluster of Pink stemonitis filaments propped on spindly black legs.

Webb has won several awards in recent months, including from the Royal Photographic Society and Close-Up Photographer of the Year. Four of his photos will be featured at the Vienna Mushroom Festival next month, prints are available on his site, and you can find more of his work on Instagram.

 

A fluffy orange growth rests on top of smaller, white-speckled globs

Metatrichia floriformis and physarum

Five small green globules grow from yellow matter

Cribraria

A pink growth with a cluster of tiny, individual filaments

Pink stemonitis

A drop of water is suspended between two cup-like growths

Craterium minutum

Three orange bulbs descend from the edge of a twig

Leocarpus fragilis

Two small growths covered in tiny red spines grow from the left and right of a branch

Holly parachute fungus, Marasmius hudsonii

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article In Macro Photos, Barry Webb Captures the Fleeting, Otherworldly Characteristics of Slime Molds and Fungi appeared first on Colossal.

Capturing the golden age of 90s hip-hop

Capturing the golden age of 90s hip-hop
  • Sue Kwon has captured intimate moments of some of the biggest names in hip-hop. 
  • Her immersion into hip-hop was a result of her passion for photography and desire to freeze moments in time. 
  • Her book, “Rap is Risen,” is a compilation of some of her greatest photos. 

This is an as-told-to essay based on a conversation with Sue Kwon, a photographer who was immersed in the world of hip-hop during its golden era. She has photographed some of the biggest names in hip-hop and captured intimate photos of behind-the-scenes moments as seen in her book, “Rap is Risen: New York Photographs 1988-2000’s.” The essay has been edited for length and clarity.

I’m a photographer. I didn’t know I’d be a photographer for this long, and I wasn’t hell-bent on being a photographer now that I look back on it. I never thought I could be a photographer as a career. It wasn’t my goal. It was something that really made me happy, and I loved doing it. 

I’m like anybody from the ’90s. I was just very lucky to be, by chance, immersed in that emerging hip-hop culture just because I liked the music. But being able to document that era, I’m very happy and grateful that actually happened.

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I would leave the house every day with my Rolleiflex camera and the light meter and be like, “I might capture something cool.” It wasn’t always music or people on the street. And that really inspired me and kept me a part of it.

Kevin Bray dressed as Eazy E in a car surrounded by men with bats.

The director Kevin Bray dresses as Eazy-E for the “Fuck Compton” music video.

Sue Kwon



Capturing a moment

My dad was an amateur photographer. I remember seeing him photographing family events or outings and looking back at his photos, and I loved that. He didn’t talk about it, but he always had a Super 8, a point-and-shoot, or other cameras that he used to document our family events. When I was in middle school or high school, I remember asking to borrow his camera. 

I suddenly got hooked on the idea of, “Wow, this photo stops time.”  I was obsessed with time changing, people passing. Maybe morbid, but I realized, “Oh, this captures a moment and stops it.” And I loved that idea.

I wouldn’t say my parents were discouraging or encouraging. I think a lot of immigrant families are just working day to day, making money, wishing their daughter was a doctor, a lawyer, and they were very patient with me. 

I assisted a fashion photographer for a few years right after graduating college. But I found that I really disliked it. It just struck me in a different way.

I was like, “What does this all matter?” We’re shooting a dress, like 30 rolls for one dress, and I’m not trying to put down fashion, of course, or stylists, but at that time, it didn’t matter to me. My interests were always documentary, behind-the-scenes, or capturing life.

A photo of Fat Joe holding a bat, getting ready to swing at a softball

Fat Joe at bat playing softball with Big Pun in the South Bronx.

Sue Kwon



Behind-the-scenes

I’d grown up obsessed with the Vietnam War. That was always of interest to me: the daily life, the difficulties of war, and the discomfort of war.

I just remember thinking that photographs, without words, can change or break a situation. So, I thought I could speak with my photos, and speaking on social climates at that time was more important.

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I think there are definitely parallels between conflict photography and hip-hop photography in the sense of unpredictability, but, obviously, without the danger.

I worked with a little company called Hex Films, which produced a lot of hip-hop videos back in the day. I would go up there and shoot photos. It wasn’t a paid gig, but it was fun to see what was going on and document behind-the-scenes. That’s where I first met Fat Joe. 

When I first met Fat Joe in the Bronx, he was like, “What are you doing? You’re taking pictures? Take a picture of me. I’m gonna be a big rapper.” He appreciated that I had a camera and I was documenting it. But at that time, I wasn’t taking these photos professionally.

A photo of Method Man and his son Sha.

Method Man and his son, Sha, at their home in Staten Island.

Sue Kwon



Getting assignments

I attended a new music seminar event, which was a DJ battle. There I met a gentleman named David Funken Klein, who worked with Red Alert. Because I had a camera, I remember him being like, “Oh, you’re a photographer.” He gave me his card and told me he would be working on a project I might be interested in. I remember thinking, “Yeah, right.”

He did contact me. He said, “I’m going to shoot the Lifers Group at Rahway State Prison in New Jersey, and we’re gonna do a record through Hollywood Basic.” 

Of course, I said yes. Eventually, The Source magazine used some of my photos.

That’s how I started to really get immersed into getting assignments for all that amazing ’90s music that was coming out.

A photo of the Wu-Tang Clan

Wu-Tang backstage at The Source Awards.

Sue Kwon



Working with the Wu-Tang Clan

I’m most comfortable doing a shoot where the subject can just forget about me being there. I feel like a background story or behind-the-scenes photos tell so much more. Like U-God washing dishes, I remember him laughing at me, like, “Why are you taking pictures of me doing this?”

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But to me, that was so amazing. It’s U-God washing dishes! That was the end of the shoot, and I just happened to wander there where he was doing it.

I met the Wu-Tang Clan one by one through Loud Records. I was friends with Gerard Marinacio and Mojo Nicosia, who worked at Loud Records, and while hanging out at Loud Records they asked, “Can you come by the label today and take some pictures? Raekwon might be showing up.”

Method Man, of course, is near and dear to my heart. He was always great and always stayed for the photos. 

When I first met him, he was open to the camera. I think he understood. He wasn’t hamming it up for the camera, but he always just gave to it. Whenever I asked for a photo, he’d always say yes. 

Notorious B.I.G with his arms raised, singing along to a song.

Biggie Smalls at a private listening party at Puff Daddy’s House.

Sue Kwon



A decisive moment with Biggie

That moment with Biggie Smalls is still so clear to me. Everything leading up to that shoot and the days after is so vivid for me because of his talent and his unfortunate death soon after.

Back then, I don’t think I even had a pager yet. I remember being at home, answering the phone, and Dream Hampton, who was the editor of Rap Pages, said, “Biggie’s doing a new album. Go up to the studio tonight at 7 o’clock.”

Dream gave me the address of Puff Daddy’s house. It was a sunny afternoon, I remember going up there by myself, with just a few rolls of film, photographing it, and then leaving. I remember walking in and hearing “Hypnotize.” That was the first song I heard blasting, and I remember I got goosebumps because it was so good.

I went up to Biggie, introduced myself, and said, I’m just here to document behind the scenes, and he just nodded. And that was it. Because the music was so loud, I didn’t really have many words with him. I just got to walk around, do what I wanted, and be a fly on the wall.

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I think it was 11 days after that shoot that I found out Biggie had died. I remember getting called about how the film had to be rushed. My film was still sitting in my apartment. I hadn’t even brought it into the lab yet, so I had to run to the lab and get it rushed. It was all so crazy.

A photo of Ol' Dirty Bastard laughing with a bottle in his hand

Ol’ Dirty Bastard laughs while on the set of the video shoot for “Brooklyn Zoo.”

Sue Kwon



The shot of Biggie with the champagne, I didn’t know that was a decisive moment back when I took the photo. It was more so when I got the film back that I was like, “Wow, that’s the moment.” I like to look at the room or the situation, and I think everything is possible because a lot of it is always so interesting to me, every moment. 

My photo of Ol’ Dirty Bastard where he is drinking the 40, that was just on a roll of 36, and the first part of the roll is me when I was doing laundry in a Chinese laundromat with my son.

A photo of Jay-Z with his head in his hands.

Jay-Z during his photo shoot in the basement of Supreme on Lafayette Street in the late 90s.

Sue Kwon



I hope with my book “Rap is Risen,” people see hip-hop for what it is or was with no pretense. Photos, like U-God washing dishes or early Wu-Tang stuff, just show that it was not always glossy and perfect. It was just going in, shooting them, and photographing them as is. It’s not just about me. It’s about those artists. They allowed me in.

Pneuhaus’s wild inflatable sculptures

Pneuhaus’s wild inflatable sculptures
Would you lay down inside of this inflatable sculpture that reacts to wind? I sure would! Created by Pneuhaus (instagram), this public sculpture has a bunch of moving parts that react to the wind. …

Cass County Fair FFA Photography

Cass County Fair FFA Photography

FFA Photography Awards

Champion FFA Photography – Makayla Atkinson – Atlantic FFA – Parent: Angela Atkinson – Trophy Sponsor: Saeugling Family

Reserve Champion Photography – Leah Ohms – CAM FFA – Parents: Matt and Carrie Ohms – Trophy Sponsor: Boes Repair

Cass County Fair FFA Floriculture Contest

Cass County Fair FFA Floriculture Container

Champion – Collin Evans – Griswold FFA – Parents: Ryan and Jessie Evans – Trophy Sponsor: Kevin and Donna Blair

Reserve Champion – Alyson Dreager – Griswold FFA – Parents: Mike Dreager and Becky Hansen – Trophy Sponsor: Boes Repair

Cass County Fair FFA Floriculture Hanging Basket

Champion – Trista Swain – Griswold FFA – Parents: Doug and Sarah Swain – Trophy Sponsor: Don and Amy Smith

Reserve Champion – Kailey Swain – Griswold FFA – Parents: Doug and Sarah Swain – Trophy Sponsor; Kevin and Donna Blair

Results

FFA Static and Floriculture Container Class

Natalie Behnken – Blue – CAM FFA

Parker Brock – White – Atlantic FFA

Alyson Dreager – Lavender

Collin Evans – Purple – Griswold FFA

Ryleigh Harrison – Red – Griswold FFA

Lily Johnson – Blue – Atlantic FFA

Rio Johnson – Blue – Atlantic FFA

Emma Mundorf – Blue – Griswold FFA

BrookLynne Peterson – Blue – Griswold FFA

BrookLynne Peterson – Blue – Griswold FFA

Abbi Richter – Red – Atlantic FFA

Kailey Swain – Blue – Griswold FFA

Trista Swain – Blue – Griswold FFA

Collin Evans – Blue – Griswold FFA

Ryleigh Harrison – Blue – Griswold FFA

Lily Johnson – Blue – Atlantic FFA

Rio Johnson – Red – Atlantic FFA

Kailey Swain – Lavender – Griswold FFA

Trista Swain – Purple – Griswold FFA

Perspective | Can you belong to a place that never belonged to you?

Perspective | Can you belong to a place that never belonged to you?

NEW YORK — The landscape seen in photographs made by Shelley Niro, an Indigenous artist in Canada, is worn low by ancient glaciers, and the rivers are fringed with thick forests. Everything about this place felt distinctly familiar, and alien to me, a place where I once lived, a place I left long ago.

Niro’s images, part of a 2015 work called “Battlefields of My Ancestors,” went straight to where memory and emotion are entangled, where words like place and home and the possessive “mine” all seem inadequate to describe one’s feeling for the land. The work is included in an exhibition, “Shelley Niro: 500 Year Itch,” on view at the Smithsonian’s National Museum of the American Indian Heye Center.

But the word Mohawk, the name of a people and a river in Upstate New York where they once made their home, was even more arresting. Niro, born in Niagara Falls, N.Y., grew up there and on the Six Nations Reserve in Ontario, Canada. So how is she also Mohawk, and why did she photograph the Mohawk River? A foolish thing to ask unless history has been erased.

Niro’s ancestors lived where my family lived, in the same watershed of the Mohawk River, two centuries before my parents arrived there. Niro’s people are Kanyen’kehá:ka, or Mohawk, and many of them allied with the British during the Revolutionary War. When George Washington won the war, the newly minted Americans kicked the Mohawks off their native land. They resettled in different places, including near Niagara Falls and across the Canadian border in the Six Nations Reserve of the Grand River.

When I was a boy, a Mohawk woman came to our school to tell my almost entirely White classroom about her people. She talked about where they lived, what they ate and what their homes once looked like, but I don’t remember her saying anything about being evicted from the land. She was speaking to children, and she didn’t speak of genocide or displacement. It’s a dim memory, both sweet and sad, and I realize now that the success of historical erasure also removed anything that might have pricked the conscience of a child.

Even as, somewhere north and west of me, a Mohawk girl named Shelley was coming of age, this woman spoke in the past tense, about things long ago, things that had seemingly disappeared. And because they were gone, there was nothing to stumble over, nothing to trouble ideas like place, home and “mine.”

And yet that was my first response upon seeing Niro’s depiction of the old ancestral land of the Mohawks: mine. This is a place I know, and a landscape that inveigled its way into my memory more thoroughly and deeply than I could have acknowledged 10, 20 or 30 years after leaving it. I have no legal, historic, ethnic, residential or professional connection to this place, just memory, but when I saw her river I thought of it as my river.

Niro’s art, which speaks in the present tense and affirms the continuity of the Mohawk people, is haunted by the displacement of her ancestors. She remembers her father speaking of the lost Mohawk lands, recounting stories told by his grandmother. Neither Niro’s father nor her great grandmother ever lived there, so their memories must have been a mixture of anecdotes and fragments of anecdotes stitched into poetic coherence by imagination — like most memories of things that happen before the horizon of our individual consciousness.

If they hadn’t seen the Mohawk River since they were forced to leave it for other shores, Niro’s kin may have remembered a place before it was disfigured by bridges, barges, locks and pollution. They certainly remembered a river different from the one I experienced, an often muddy and dirty waterway dotted with crumbling factories, a river that flooded almost every spring when the ice broke up, threatening the historic neighborhoods of old Schenectady. The Kanyen’kehá:ka almost certainly knew the land where the Dutch wanted to build was prone to flooding when they allowed them to create a settlement there — the name Schenectady is derived from a Mohawk word meaning “beyond the pines” — in 1662.

Not far from where we lived, General Electric (where my father worked) dumped more than a million pounds of PCBs into the Hudson River, north of its confluence with the Mohawk, which was also polluted by industry and the salt washing off the roads every winter. The river was something to cross over, not swim in. My mother, in moments of exasperation, would threaten “to go jump in the Mohawk,” by which she meant take her final exit from the burden of family and motherhood.

Sometimes rivers are seen defiled by electrical power lines in Niro’s work but more often they are a source of other, more intangible powers. The Niagara River was a sacred site for rituals, and Niagara Falls appears with a thundering muteness in a haunting 2015 video called simply “Niagara.” An idealized, unnamed river is rendered as a source of life and purpose in a 2013 painting “Wishing a River,” in which a woman’s gaze seems to meet a river’s unseen headwaters in the far distance of an idyllic landscape.

The last time I saw the Mohawk River, just a few months ago, it was cleaner than it was when I was a child. And I had matured considerably into the wisdom of what it means to love a river. The art of Native and Indigenous people is often bound up with the loss of land and displacement, and because Niro’s work is so closely connected to the land where I once lived, I felt accused by it, implicated in the tragedy that befell the Mohawk people at the end of the Revolutionary War.

What follows will read to some like an effort to avoid that moral conundrum, but it is also an honest effort to preserve something vital for my own existence, a love of the land, a love of rivers. We are thrown into the world and land where our mothers ground us. It may seem to us, at some point in our lives, that the place where we land is beautiful, that it is home and we may say, “this river, these hills, are mine.” The claim isn’t legal or contractual or binding on any other person.

And it isn’t even sensible. For if we are truly at home, the land isn’t ours. We are of it.

None of this has anything to do with the larger, unresolved questions raised by centuries of theft and broken treaties and forced displacement. I don’t know how to solve that. But if I took something essential from Niro’s work — and yes, it may be self-serving and not what she intended — it is this: Loving a river is never wrong.

Shelley Niro: 500 Year Itch Through Jan. 1 at the Smithsonian National Museum of the American Indian Heye Center. americanindian.si.edu.