Pope Mountain Arts Centre is showcasing the talents of local artists Taylor Hansen and the husband-wife duo Colleen and Jim Fitzpatrick as April’s featured Artists of the Month.

The Fitzpatricks specialise in pottery, crafting stunning, innovative, and functional pieces. Their passion for ceramics and global inspiration shines through in their vibrant colours, textures, and designs as they continually seek to innovate and learn from artists worldwide.

Hansen, known for her landscape photography, reflects on her artistic journey, stating, “Photography gave me instant results that didn’t need to dry or be clear coated.” Now, in her mid-30s, Hansen explores new artistic avenues such as woodworking, vinyl art, watercolour, and creative writing.

“Having photography and pottery as a new art form for feature artists, we are excited to have Taylor Hansen and Colleen and Jim Fitzpatrick here during April,” said Jo Anne Alexander, program manager at Pope Mountain Arts Centre.

The Artist of the Month program, which started in Fall 2022, aims to support and promote artists of all genres, averaging eight to nine featured artists annually, Alexander said.

“In February, we showcased kindergarten classes from Nakal’bun & David Hoy School, greatly appreciated by the community,” Alexander said. Pope Mountain plans to feature an artist from Prince George in May.

The month-long exhibition, held in the building gallery, is widely promoted on Pope Mountain’s social media platforms and website, offering artists the opportunity to sell their work.

“It has become quite popular, with requests from artists outside of Fort St. James,” Alexander mentioned, emphasising its openness to artists from any community within the area.

Interested artists can reach out to Pope Mountain Arts via email or the website, with no strict selection process in place yet.

“I am always looking for new and interesting art forms,” said Alexander, adding that community members are also welcome to nominate an artist or encourage them to contact her for a show opportunity.

The exhibition is open to the public during designated hours on Wednesdays, Fridays, and Thursdays, with workshops and classes held monthly at the centre. Artists are encouraged to interact with visitors during their show, and some arrange evening receptions featuring refreshments and artist talks.

Tamron – Need lightweight, compact mirrorless lenses? Tamron has you covered, with superior optics perfect for any situation. With weather sealing and advanced image stabilization, you’ll open up your creative possibilities.

Radiant Photo – Radiant Photo superior quality finished photos with perfect color rendition, delivered in record time. Your photos — simply RADIANT. The way they are meant to be.

Mylio Photos – Access your photos from anywhere, without the cloud! Easily showcase your photos on-the-go, resolve duplicates, find faces and look for those stunning locations.

B&H – B&H is a world renowned supplier of all the gear photographers, videographers, and cinematographers need and want to create their very best work.

MPB – Grab used but perfectly working cameras and lenses for less, or turn your old gear into cash by trading and selling them on MPB!

The legendary American photographer Nan Goldin never attempted to fit into mainstream society. She created her own family, her own ways of expression, and her own artworks regardless of the external demands. Decades later, her unique aesthetic vision influenced generations of photographers and revolutionized visual language. Here is what makes Nan Goldin a trailblazer in the world of modern photography.

Nan Goldin: Voyeur Turned Participant

The unique artistic style of Nan Goldin undoubtedly emerged from her troubled early years. She grew up as the youngest child in a respectable Jewish family based in Massachusetts. She never felt comfortable within the limits and restraints imposed on her by the outside world in this setting. The turning point was the suicide of her elder sister Barbara whom Goldin adored. After several years spent in psychiatric institutions expressing signs of homosexuality, Barbara decided to lie down on the tracks of a commuter train. Their parents never explained anything to the children, yet the truth was out there. It was then that Nan realized she needed to find a way of keeping her loved ones close to her, whether in life or death. Photography became the perfect medium for doing that.

Soon after the tragedy, the future artist ran away from home. Goldin started selling drugs at the age of thirteen. By her late teens, she became heavily addicted to heroin. She lived with friends, attended a hippie high school with a free curriculum, and gradually gathered around groups of like-minded creative minds. They were outcasts just like her, at odds with the normative world.

Since her earliest photographic experiments, she aimed to capture the beauty of her found family, their personalities, and their shared moments. Among her friends were drug addicts, homeless artists, drag performers, and unemployed actors. All these people often appeared in the works of other photographers who intended to capture the depravity of youth, the non-normative lifestyles, or the unusual preferences, essentially juxtaposing these marginalized people with the normal world.

Nan Goldin was different right from the start—she was never a voyeuristic camerawoman invited to someone’s party. She was the equally welcomed guest, if not the host. The most compelling part of her oeuvre is the deep love and mutual respect between Goldin and her models that always seem visible in her works.

Her Lifestyle Defines Her Methods

Although Nan Goldin received formal art education which came significantly after her art practice had already started, she never allowed theory to interfere with her vision of the process. Goldin’s oeuvre came from her lifestyle and her needs, as did her photographic style and artistic methods.

One of the markers of Goldin’s emotional involvement in her works is the use of light. All works

preceding the late 1980s featured artificial light or a total lack of it and were always shot at nighttime. This concept was far removed from a deliberate artistic decision—Nan Goldin’s lifestyle simply did not allow her to see daylight. For many of her friends, particularly drag queens, going out during the daytime was too dangerous. The whole drug-fueled bohemian surrogate family lived, partied, and wrote its history at night.

The change came to Goldin’s life after rehab. While recovering from her heroin addiction, Goldin literally and figuratively saw the light of day and was mesmerized by its varieties and undertones. Spending almost all her conscious life in the darkness, she had no idea of how complex sunlight could be. The rehab brought more than addiction recovery—it brought new artistic methods and possibilities.

She Puts Her Theory into Practice

Upon leaving rehab, Goldin faced a world that was even more hostile than the one before. The late 1980s saw the full swing of the AIDS crisis that would kill more than 40 million people by 2022. The artist and her chosen family, with their rampant drug use and unprotected sex, were among the prime targets of the disease. Over the span of several years, Nan Goldin lost so many friends that she herself felt guilty after testing negative. The same friends who were dancing, partying, and laughing in her old photographs were now lying sick in hospitals or being dressed for their funerals adorned with flowers and surrounded by crying survivors. These images created a powerful and heart-wrenching narrative that went beyond personal grief. It was also a sobering look at the indifference of those in power who did nothing to save their lives.

Goldin’s activism goes far beyond artistic means. She is the founder of an activist group P.A.I.N. – Prescription Addiction Intervention Now which demands global pharmaceutical companies to take responsibility for the ongoing opioid crisis. According to independent research, millions of people develop addiction to prescribed painkillers, while the companies refuse to share information about possible risks and side effects of their medication. So far, the biggest achievement of P.A.I.N. is forcing several cultural institutions to sever all financial ties with the Sackler dynasty, the manufacturer and distributor of one of the most addictive drugs on the market.

Nan Goldin Turned Her Life Into Art

The concept of transforming one’s life into a work of art is quite romantic. This notion frequently surfaces in the biographies of art collectors and socialites who immersed themselves in opulence, surrounded by the most expensive objects, the trendiest artists, and the most scandalous celebrities. They idealized their lifestyles filled with champagne and caviar in literature and painting, crafting narratives that evoke envy through tales of luxury, excess, and freedom.

In her works, Nan Goldin essentially did the same. The only difference was that her life was far from a glamorous fantasy of privilege. Nonetheless, she decided that her life was also worth documenting. This approach raised enough concerns inside the respectable art world, which accused Goldin of promoting drug use and self-destructive lifestyles. She survived several attacks in public and numerous incidents from angry visitors attempting to destroy her works. The attackers were mostly men. The artist believes the reason behind the violent outcry was the inherent sexism present in the photographic world. Just like many progressive art spheres in the 1980s, the world of photography was dominated almost exclusively by men who barely tolerated talented women. Goldin’s photographic account of her life was a long-awaited alternative to the omnipresent male gaze.

Over the years, the influence of Nan Goldin reached astonishing heights. Generations of young photographers adopted her raw, uncompromising style to tell their own stories, while the great masters like Juergen Teller and Wolfgang Tillmans named her as the principal influence in their art.

Outsider Turned Leader: Success Story and Questionable Connections

Ironically, her snapshot aesthetic and raw imagery made their way to popular culture. Their popularity is reflected in fashion campaigns and celebrity photoshoots. Goldin hardly finds this amusing, however. She is completely indifferent to pop culture but not in a snobbish manner. Mainstream media have never had a place for people like Nan Goldin before and she is very cautious in entrusting her feelings and messages to the general public. Great popularity leads to a great misinterpretation and for an artist like Goldin, getting her message right is pivotal. Many speculations and theories are thrown around her oeuvre daily, and Goldin finds some of them deeply offensive.

Some fans of Goldin’s work believe that the photographer shaped the present-day aesthetic of a generic Instagram post with its snapshot style, seemingly honest narratives, and use of music and poetry as captions. Some even link the format of The Ballad of Sexual Dependency—Goldin’s revolutionary work in the form of a visual diary—to contemporary oversharing on social media and faux intimacy created in one’s feed. If you agree with these points, you have all the right to do so, but please never tell that to Nan Goldin’s face.

Nan Goldin Hates Social Media with Passion 

Goldin feels uncomfortable in the environment of omnipresent social media. For her, the world became oversaturated with images that are mostly empty and meaningless, so the sheer force of visual communication has diluted too much. She has an Instagram account which she mostly uses to share photos of her new tattoos and old photographs from her private collection.

According to the artist, the overwhelming and unnecessary amount of images has blurred the line between photographs of life and actual life. Her biggest concern is the loss of ability to look and see—not in a superficial way, but in a way that allows the public to appreciate the qualities and the reasons for the existence of artistic images. In that sense, the immeasurable popularity of Nan Goldin and the monstrous number of shares and reposts of her work seem somewhat ironic and intriguing.

You don’t have to light paint everything in a scene. Sometimes, keeping parts in the shadow is emotionally more powerful.

What is light painting?

The term is often used loosely to describe any addition of light to a night photograph. Really, though, light painting is a technique that uses a handheld light source to illuminate a scene during a long exposure. Your flashlight is your paint brush, and you are quite literally painting the scene with light. Similar to a film director, you control what you illuminate and what you keep in shadow using your handheld light. Night photographers have used this technique for many decades.

Let’s see how I went about light painting this image.

Before I begin…what is this?

Nestled in nature, it’s easy to see why the Hog Farm hippie commune would have moved to this actual hog farm on top of a mountain in California in the 1960s. Founded by peace activist Wavy Gravy, the Hog Farm is perhaps best known for their involvement at Woodstock in 1969.

I put some miles on my shoes that day. I only had an exposure of 50 seconds because the city lights below would otherwise grow too bright. So I ran from position to position to light the windows and doorways in a single exposure.

Running…so much running

Earlier that day, I had walked three miles for my usual exercise. Then in the evening, I made the 1.3-mile night hike up the steep mountain trail. I probably walked (or sometimes ran) for about two miles while photographing. During the hike back down, my knees began feeling the weight of the camera bag and the day’s mileage.

The setup and the lighting

Setting my camera on a tripod, I focused it on the interior of the building and set the camera for 50 seconds at f/9 ISO 200. I stopped down a bit to get the city lights more as pinpoints as well as to lessen the amount of light in the exposure in general. 

I probably lit this the way you think I might. Then, I ran around the exterior of the building. I stopped at each window and doorway. There, I aimed a red-colored light from my ProtoMachines LED2 light for several seconds before hastily moving on to the next opening. Finally, I ran to the back of the building, ducked underneath the two windows, and aimed the light up at each window. The first time I attempted this photo, I didn’t run fast enough, and only one of the back windows was lit.

Sure, I could have lit the interior. But it wouldn’t have felt as ominous. In this case, I felt that emotionally, it felt heavier and weightier to leave the walls and ground in dark shadow. Mysterious. Emotional. Sometimes, less is more. And it’s up to you as the artist to determine what is right for you.

ProtoMachines lights

I get a lot of questions about the ProtoMachines, and I should have addressed it earlier. There is currently no stock. I hope that they release more lights in the future. However, for now, what I would recommend is that you simply email them to get on their waiting list. Tell them I said hello.

If you wish to light paint with another light, there are many options available. I have written Bright ideas: The best light painting tools for night photography, a guide that provides a lot of information about light painting subjects.

Griffin Lipson‘s life changed because of a chance encounter on an otherwise average train ride.

The William Penn Charter School graduate was a 22-year-old photographer who had recently moved to New York City when a head photo editor for the New York Times sat next to him.

Shortly after meeting him and seeing his work, she hired him.

His journey as a celebrity photographer began with Lipson starting at the top.

His first subject? Oscar Award-winning actor and producer, Nicole Kidman.

“I was so green, I was so naïve, I didn’t really understand the magnitude of what was actually happening in the moment,” Lipson told NBC10.

He learned as he went along, capturing A-list celebrities like Tom Hanks, Grace Jones, Meryl Streep and Denzel Washington.

“From the exposure to the Times I was able to connect with other clients,” Lipson said of the experience.

Then, at 24, he took a risk deciding to go freelance. Eventually, he found himself at the Met Gala where a photograph Lipson shot of a then-pregnant Cardi B getting ready for the gala went viral.

“Within 20 minutes every news publication put it out. That was really a viral, viral, viral moment that was everywhere.”

Since then, he has been in the presence of international entertainment television and film royalty, cultural and political icons, including Dame Judy Dench, former US president Bill Clinton, former US Vice President Al Gore and director/producer Spike Lee.

The Philly native collaborates with his subjects like people, not stars, and even put NBC10’s own Keith Jones at the end of his lens.

He told NBC10 that the real craft is getting his subjects comfortable like he did with model Kendall Jenner. He traveled the country with her and went from admirer to peer.

“I approached Kendall and the team like I approach anyone in my life and we have a friendship and we developed that,” he said.

Near the top of Lipson’s list is human rights activist Malala Yousafzai who he says continues to be a source of inspiration for him and his work.

“The biggest thing I learned about myself is that you have to forget the noise. You put your head down, you go to work, and you just keep grinding,” he said.

Speaking from his new gallery space in Holland Park, Michael Hoppen talks about showcasing the extremes, eclecticism, and many nuances of Japanese aesthetics

April 11, 2024

We explore After the End of History: British Working Class Photography 1986-2024, a new touring exhibition curated by Johny Pitts and featuring the likes of Ewen Spencer, Eddie Ochtere and Richard Billingham

Growing up in a suburban town an hour outside of Buenos Aires, photographer Maximiliano Magnano was uninitiated with the humming streets of the Argentine capital. By now, he’s walked them all. When he first moved to the big city in his twenties, it was his camera that pulled him down main avenues and back alleys, and got him to grips with the intimidating metropolis. He’d spend whole days wandering around, finding his way by getting lost, and taking “way too many” photographs. “Photography was my access to this city,” Magnano says, “It’s a way of being in contact with the world. I know that wherever I go, I’m going to take my camera and I’m going to be interested in looking and paying attention to the place, to its shapes and colors.” 

About 10 years ago, when Magnano was just starting out, he took a photo of a gas station at night. It’s not an image he’s published or that he’s used in any significant way, and looking back on it, he even regards it as a bit cliché. But it was the photograph he took when everything clicked: “I understood that I wanted to make images that people can relate to from an emotional standpoint.”