by Steven Rosen
35 days ago
Posted In: Visual Art
at 10:56 AM | Permalink
I wish the
“sunroom installation” that is part of Michael Keating’s current Shadow & Light exhibition at Kennedy
Heights Arts Center (through Saturday) could move straight into a museum
serve to anchor a fuller, larger look at the noble project this veteran
Cincinnati photojournalist (formerly with Cincinnati
Enquirer) undertook to chronicle the final year in the life of an elderly
neighbor, Clyde N. Day. Day, of Lakeside Park, Ky., died in 2011 at age 104. It
deserves the widest possible audience.
long known Day, and the project was both a way to honor Day’s life and also
show just how difficult life can be for the elderly. After Day’s first wife
died, he remarried. His second wife preceded him in death by several
installation, which is in the former sunroom of the building at 6546 Montgomery
Road that houses the arts center, Keating has placed Day’s dresser with
memorabilia from his long life. And on the walls are photographs from the
black-and-white images really capture Day’s final months, in their quiet way.
One, reproduced as a wall-sized, mural-like adhesive print (in two sections),
shows Day painstakingly making his bed. Light seeps through the windows’
curtains, spotlighting the stand-up crutch he has left in the room to have
hands free for this task.
mundane task, but the photograph conveys the sense of heroism, a sense of
determination, with which he does it. And our perspective — we seem to be in
the distance, looking slightly downward — makes us feel we’re watching
photographs are on another wall, ink-jet prints mounted on thick gator board.
In one, a companion to the mural, we see Day in this same bedroom, sleeping on
a small hospital bed with railings. The headboard of his other bed is propped
against a wall — the mattress gone.
a melancholy image when compared with the other, since you can see how one’s
choices shrink as old age moves to its inevitable conclusion. Still, the room
itself is comforting with its floral-print wallpaper. It’s a touch of the
familiar and the secure.
Day’s death, Keating has helped start the Clyde N. Day Foundation to contribute
to causes related to child safety, education and the arts. You can learn more
about it, and also find more of his photos, at clydendayfoundation.org. This work is
by Steven Rosen
42 days ago
Posted In: Visual Art
at 03:07 PM | Permalink
FotoFocus-related shows overlap and then close in October that it’s hard to get
to them all or even write about in a timely fashion those that I do get to see.
But I didn’t want to let Manifest Gallery’s Neither
Here Nor There juried group show of photography and video work and its separate
but related Leigh Merrill video installation, both of which closed Oct. 24, to
go unrecognized. For Neither Here Nor
There, the quality was overall quite high and some of the work has stayed
with me now for several weeks long after I’ve forgotten other shows.
York-based artist Gloria Houng won the $1,000 Best of Show prize for her
“Standard Double (Feet),” one of a series of eerie shots made in a bedroom that
in some way incorporate images of an apparently absent person’s presence into
the scene. The results cause a double-take among viewers, but the work is too
elegant to be jokey or gimmicky. She infuses the commonplace with mystery.
London-based Emma Charles, whose short films explore “the dialogue between time
and the city,” contributed the mesmerizing, 17-minute Fragments on Machines. Short sequences, some with poetic narration,
take us out on the streets and sidewalks of the city and up close to the
exteriors and (most ominously) interior infrastructure of buildings. There is
beauty and alienation, especially as we look closely at the rows of servers
that power modern office buildings. You can watch it here.
Merrill’s video installation Drive Thru
is a deadpan looping look at the flat barren architecture of suburban sprawl, except
the places were created by her digitally assembly of parts from individual
photographs and images. The result highlights the strangeness — and questions
what draws us as people to seek or support such development in the first place.
by Steven Rosen
48 days ago
Posted In: Visual Art
at 11:26 AM | Permalink
Powers, the Cincinnati librarian who has done exhaustive work researching King
Records history, thought he had found a “Holy Grail” photo — of the West End
record store that Syd Nathan owned before starting King.
He knew it
had been on Central Avenue, but didn’t know what it looked like.
It was in
the Hebrew Union College/Skirball Museum FotoFocus-connected exhibit Documenting Cincinnati’s Neighborhoods,
which features George Rosenthal’s photographs, taken in the late 1950s, of the
West End before I-75 construction would dramatically alter it. Rosenthal’s
photographs, owned by Cincinnati Museum Center, hadn’t been shown at least in
50 years, if ever.
the exhibit’s opening day, Oct. 22, Powers saw one Rosenthal photo of a Central
Avenue record store at 1567 Central Ave. Just a small storefront with a homey
screen-door, it had what looked like neon signs that announced “Records All
Speeds” and then listed the choices: Spirituals, Classics, Pops, Rhythm-Blues,
Bop, Hillbilly & Western.
also partially see some letters and the initials “CO” at the top of the signs. Some
additional written information was on a window, and another sign offered television
sets for $29. Nathan wouldn’t have still owned such a store in this time period
— he started King in 1943 — but might it have carried on the same location,
more or less unchanged, with someone else in charge?
Henry Rosenthal, the late George’s son, about his hunch. And in his opening
remarks, Henry mentioned it. Henry was particularly proud because he owns the
desk that James Brown kept at King Records’ headquarters in Evanston. “It’s my
prize possession,” he said.
Among the Rosenthal family members at the opening, besides
Henry, were Jean Rosenthal Bloch, George’s wife; daughter Julie Baker; George S. Rosenthal and Roger Baker,
George’s grandsons; great-grandson Clay Baker, and cousin Ed Rosenthal. With
several hundred in attendance, it was an important moment in recognizing
Alas, when Powers (who didn’t attend the reception) later started
researching, he saw the record store in this photo wasn’t where Nathan’s was
“Syd’s shop was at 1351 Central Ave.,” he said via E-mail.
“The shop in the photo is at 1567 Central. It was called Mo-F-A Co. It’s listed
as a TV repair shop. It was owned by a guy named Ted Savage, who seemed to have
lived there with his wife.
“It looks like Syd handed over his store to Ike Klayman around
1945 to 1946. I don’t see 1351 Central listed after 1949. It may have been torn
down by then. It’s where Taft football field is now.”
Powers added that he has seen a photo of a record store
owned by Klayman, but believes it is at a different location
So the search for a photo of Nathan’s record store goes
on, but meanwhile this very evocative one is now — finally — available to be
The exhibit, which looks at what life in Cincinnati was
like in the West End and Downtown before much was torn down for controversial
“urban renewal” from the 1960s to 1980s, both in terms of their architecture
and the conditions of the poor, also features powerful photos by Daniel
Ransohoff and Ben Rosen.
It is up through Dec. 21 at the Skirball and Jacob Rader
Marcus Center on the HUC campus, 3010 Clifton Ave. Go here for details.
by Steven Rosen
54 days ago
Posted In: Visual Art
at 11:08 AM | Permalink
British photographer Paul Graham presented his FotoFocus-sponsored lecture at
Cincinnati Art Museum. Graham’s work is in two of FotoFocus’ featured
exhibitions — the museum’s Eyes on the
Street and the Stills show at
Downtown’s Michael Lowe Gallery. Eyes on
the Street is up until Jan. 4; Stills
closes Nov. 1.
work is related to but updates classic street photography in that, based on
what he said last night, he seeks out subtle shots rather than what he calls
“clichéd” or obviously dramatic images. He tries to build haiku-like, enigmatic
visual sequences that in their small details cumulatively provide insight. (That
said, he did show slides from a recent series that features rainbows.)
difficult task not always easily evident to the viewer, but he expressed his
purpose eloquently last night and repeatedly mentioned those whose work
inspired him — Robert Frank, Diane Arbus, Garry Winogrand. For those moved by
his work, there’s a Where’s Waldo quality to “reading” the smallest details —
the color of a tie or T-shirt, the positioning of a pedestrian on a street, the
relationship of the camera angle to a storefront sign, the choices in focus.
particularly noticeable in his recent The
Present series of New York street life, from which the Cincinnati-displayed
photos come. “It’s the theater of the street, the theater of life coming at you,”
he said. He also prefers that his framed prints be mounted on a gallery wall
close to the floor, to approximate sidewalk level. But he acknowledged last
night that the Stills show did not do
that, and he enjoyed being able to see his photos at more normal eye level.
His The Present photos in Eyes on the Street capture the results of bold action or drama,
a rarity for him, in that a woman has fallen on the sidewalk while others move
last night, the museum’s associate curator of photography, Brian Sholis, distributed
announcements of two additional events connected to the current Eyes on the Street show: a Nov. 5
panel discussion at 7 p.m. about Eyes on
the Street at Niehoff Urban Studio, University of Cincinnati, 2728 (Short)
Vine St.; and a Nov.
19 conversation at 7 p.m. on “Art and Privacy” featuring Cincinnati Police
Chief Jeffrey Blackwell and civil-rights lawyer Alphonse Gerhardstein. It’s at the
museum’s Fath Auditorium.
Go here for more
by Richard Lovell
55 days ago
Posted In: Visual Art
at 09:58 AM | Permalink
'Provocateur' opens tonight
American photographer and firebrand Tyler Shields makes his return to Cincinnati
for a Miller Gallery exhibition as part of the ongoing
This is Shields’ second appearance at the Miller Gallery in conjunction with
FotoFocus, first appearing in 2012 with Controlled Chaos. This
year's exhibit – Provocateur — opens tonight and he’s been shooting
in various locations locally throughout the week.
Of all the superlatives to describe Shields and his work, “provocateur” might
be most suitable of all. He’s gained a level of notoriety for his past exhibits
and photo shoots, including a 2011 exhibit that substituted paint for the fresh
blood of 25 rich and famous celebrities.
Shields has successfully merged the world of art with celebrity, similar to
fellow rebel-rouser Andy Warhol. He’s taken racy and playful photos of Lindsay
Lohan, Kathy Griffin, Abigail Breslin and the entire cast of Revenge.
His work can also be seen as a companion to Jay Z and Kanye Wests’s Watch the
Throne, using the medium of photography to exhibit grandeur, fame
and the excesses of materialism. His works have seen the destruction of a
$100,000 Hermès Birkin bag and the detonation of a vintage Rolls Royce — all in
the name of art, of course.
His latest Cincinnati exhibit yet again pushes his subjects and the limits of
what photography can be. His exhibit takes risks, but also presents the
germination for pensive and reflective thought.
But of all the superlatives and excessive descriptors for his work, nothing
beats seeing the real thing. Make sure Provocateur is a part of your
2014 FotoFocus experience.
The opening party takes place from 7 to 10 p.m. at Miller Gallery (2715
Erie Ave., Hyde Park) and continues through Nov. 8. Go here for more
by Steven Rosen
56 days ago
Posted In: Visual Art
at 12:20 PM | Permalink
assault of Mitch McConnell ads has you thinking Kentucky must be the most
hopelessly unprogressive state ever, a FotoFocus Biennial-related lecture last Sunday
provided another take on the Bluegrass State.
speaker, who also presented slides, was the veteran Lexington photographer Guy
Mendes, who with Carey Gough has the exhibition Blue Roots and Uncommon Wealth: The Kentucky Photographs at
Over-the-Rhine’s Iris BookCafe, 1331 Main St., through Jan. 25. His
presentation, organized by Iris’ photography curator William Messer, was at Mr.
Pitiful’s bar, close to Iris.
active in Kentucky arts, public television production and higher education
since the late 1960s, has been collected by Ashley Judd, Willie Nelson, Maker’s
Mark (he’s very proud of that) and the New Orleans and Cincinnati art museums,
among others. At Mr. Pitiful’s, he made a compelling case for Lexington as a
center for progressive creative thought — in photography, especially — that has
had a broad influence on our times.
college town (University of Kentucky), Lexington maybe has been better known
for its basketball than its radicalism, but Mendes made it seem like it could
hold its own with Berkeley, Calif., Ann Arbor, Mich., or Madison, Wis., in any history of
presentation focused on a group he became part of in the late 1960s, the Lexington
Camera Club, active from the 1950s to the early 1970s (and recently revived).
While, like other camera clubs it attracted its share of hobbyists, it also had
stalwart support from open-minded professionals with an experimentalist bent.
and showed slides of work from the Camera Club’s first golden era. The
accomplishments of these now-deceased members was impressive — Van Deren Coke
(who went on to become director of the George Eastman House); Robert May, who
specialized in multiple exposures; James Baker Hall, a poet (and former state
Poet Laureate) and photographer whose haunting series of images featuring
collaged family photos may have been a way to deal with his mother’s suicide
when he was a child.
Club photographer, Ralph Eugene Meatyard, has become recognized since his 1972
death as one of America’s most memorable — and spookiest. His black-and-white
shots of children and adults wearing masks in strange settings are still
was restive in the anti-Vietnam War days, and Mendes published an underground newspaper
called Blue-Tail Fly and was involved
in protests. And as he became friends with local writers Wendell Berry and Ed
McClanahan, his literary and photographic worlds began to merge. (Both still
are active today.)
In Mendes’ show
at Iris, those two figures are in probably the two most striking photographs. One is
a 2012 portrait of Berry, on a farm in Henry County, with his horses Nip and
Jed grazing behind him. It’s sheer happenstance, but the horses’ placement is
such as to create the illusion is that their heads extend from his shoulders. Messer
refers to them as “horse angel wings,” and it’s a great tribute to Berry, an
environmentalist as well as a writer. The photo gives the elderly man a
is involved in the weirdest photograph in the show — 1972’s “The Fabulous
Little Enis & Go Go Girls of Boots Bar.” This photo (in a tarted-up version)
accompanied McClanahan’s article about this colorful musician in Playboy. It depicts the left-handed,
backwards-holding guitarist Little Enis and a chorus line of scantily clad
women outside the bar.
The late Carlos
Toadvine’s stage name “Enis,” Mendes told his audience, was a play on the
nickname given to Elvis Presley as “Elvis the Pelvis” — you get the point.
Mendes said Enis was a fabulous guitarist but the working-class Boots Bar was a
tough place for scruffy, hippy-looking artists like McClanahan and himself in
1972. On their first visit there, McClanahan and Mendes, were greeted by a
flying beer bottle. (On the Internet,
there is a photo of long-haired college-age young men admiring Little Enis’ act,
so maybe the bar got a little safer with time.)
show also features color photographs of Kentucky music-related sites by Gough,
who considers Mendes a mentor.
impact on the arts is fascinating in other ways, too. The writer Bobbie Ann
Mason attended UK, as did the great character actor Harry Dean Stanton. (There
is now a film festival there in his honor.) Walter Tevis based his novel The Hustler on a pool hall there. Punk
icon Richard Hell was born and raised there, as was Cincinnati artist/composer
be something in the bluegrass. It’s captured in Mendes’ photographs.
by Steven Rosen
62 days ago
at 10:24 AM | Permalink
Hard to believe, but we’re
halfway through October, the main month of the FotoFocus Biennial. (Some
FotoFocus-related shows run longer.)
So this weekend is really a
great time to get out and see some of the shows — fotofocusbiennial.org has a full list. Find CityBeat's full FotoFocus preview here.
Two that I highly recommend,
and that I’m afraid might be overlooked because of bigger museum shows, are
Emily Hanako Momohara’s Heirloom — at
Downtown’s Weston Art Gallery — and David Benjamin Sherry’s Western Romance at
a temporary space at 1500 Elm St. in Over-the-Rhine. Momohara’s show is up
through Nov. 30 but Sherry’s ends Nov. 1.
Both use color wonderfully to
make you focus on objects and/or landscapes close-up — so close-up they have a transporting,
transcendent effect if you can spend enough time with them.
Sherry, an L.A. artist
recently featured on The New York Times
Magazine’s cover, uses color in a psychedelic way, achieving the effect he
wants during processing. It gives his Western mountain and desert landscapes a
glaze — a “purple haze,” in the case of “Putting Grapes Back on the Vine” —
that turns physical geography into a state of mind. There are also in the show black-and-white
prints by masters of Western photography — Ansel Adams, Carleton Watkins — to
acknowledge Sherry’s debt and also proclaim a change.
Momohara, who taught
photography at the Art Academy of Cincinnati but now is relocating to China, is
using Heirloom to explore ideas about
her Okinawan and Japanese ancestry. These distinctive still photographs and
photograph-like videos isolate and deeply contemplate objects related to or
inspired by that.
The vertically formatted
pieces — like the fantastic “Gathering” video, which looks at luminescent,
open-mouthed koi as they crowd around the water’s surface — seem to be moving
forward a grand narrative, like scrollwork. And the more horizontal pieces,
like “Mask #1,” revel in mystery through the way illuminated objects occupy
space in an otherwise dark ground.
To me, these two shows are
among FotoFocus’ very best — and I especially hope Momohara returns at some
point with something much more extensive.
by Steven Rosen
63 days ago
Posted In: Visual Art
at 11:58 AM | Permalink
centerpiece of the FotoFocus Biennial’s programming was its five days of events
at Memorial Hall — films, panel discussions, lectures and a Saturday-night
performance of This Filthy World by
Wednesday-Sunday events coincided with other key FotoFocus events — the excellent
Screenings exhibit of short art films
curated by the biennial’s artistic director, Kevin Moore, was at Lightborne
Studios during the same period — it was hard to attend everything.
But what I
did attend was really rewarding — thought-provoking discussions about
photography that centered on ideas and thus were of interest to everyone. In
fact, that’s a point I think needs to be made about FotoFocus as it seeks to
grow its following: It isn’t a narrow-focused event for photography
professionals; it’s for anyone who likes the visual arts. That should be
some of the highlights of what I was able to attend:
discussion on FotoFocus’ Vivian Maier:
A Quiet Pursuit exhibition, about the secretive Chicago street photographer
whose work has only recently been discovered since her death. One guest was
Howard Greenberg, the New York fine-art photography dealer who represents John
Maloof, the Chicago owner of much of Maier’s archives of unpublished work.
Regarding a current dispute with another party over who has the right to print
and sell her work, Greenberg said he and Maloof were close to an agreement with
the city of Chicago-appointed attorney for the Maier estate to let sales of
prints resume while the dispute proceeds, since the income would benefit the
conversation with photographer Elena Dorfman, whose recent Empire Falling project documented old Rust Belt quarries but then
manipulated the images into something slightly ethereal, offered stimulating
ideas about how post-industrial ruins have become melancholy pilgrimage sites —
accidental earthworks to rival “Spiral Jetty” or “Lightning Field.”
keynote lecture on “Shadow and Substance: Photography and the Civil War,” by
Jeff L. Rosenheim of the Metropolitan Museum of Art, was fantastically
involving. He was an engaged and engaging speaker. For instance, he explained
why there are so few actual photographs of battles – with both sides blasting
away, sometimes imprecisely, at each other on battlefields, few photographers
wanted to set up their cumbersome equipment along the dangerous sides to
capture the action. But once a battle was over, it wasn’t so difficult to
document the bodies on the ground.
discussion on the growth of Instagram, tied to a FotoFocus-sponsored “Fotogram”
project for which Instagram photos were fed into a screen at the temporary
ArtHub structure in Washington Park, had food for thought. Jose Garcia, the
ArtHub’s architect, somewhat jokingly characterized Instagram selfies as “a cry
for help.” And Nion McEvoy, chairman and CEO of San Francisco’s Chronicle
Books, observed that new technology — with its emphasis on swiftly delivered
virtual transmissions rather than carefully crafted physical objects — has been
met with a healthy, growing counter-movement encompassing vinyl records,
locavore-oriented slow foods, letterpress printing and more. And, he said,
Chronicle Books’ main business is still print.
drew a big crowd to Memorial Hall — FotoFocus
had sold 200 more passes than seats (a pass was good for all Memorial Hall
events, not just Waters) and was worried. Fortunately, not every passholder
came to his Saturday night show — there were some empty seats on the sides. His
show lived up to its This Filthy World
title, as he joked about seemingly every sex act known to the human race (and
maybe some known only to aliens).
But he also
made humorous references to artists — he’s an art connoisseur — and some of his
political observations had the kind of shocking in-your-face bite reminiscent
of Lenny Bruce. For instance, on abortion, he said (and I paraphrase a little,
since I didn’t take notes), “If you’re not going to love your child, don’t have
him. I don’t want him to grow up to kill me."
he signed objects for fans and then joined a small group of FotoFocus
organizers, supporters and guests for a late dinner on the Memorial Hall stage.
As fate would have it, he sat next to me. Charming man.
by Steven Rosen
71 days ago
at 08:09 AM | Permalink
Today starts the key stretch of FotoFocus Biennial activities at Memorial Hall, which begin at 8 p.m. with Triumph of the Wild,
a show of animated firms by Martha Colburn accompanied by music from
Thollem McDonas, Tatiana Berman and the four-person Constella Ensemble.On Thursday, programming at Memorial Hall turns to the theme of Photography in Dialogue. At 1 p.m., the film Gerhard Richter Painting will be screened followed by a response from Anne Lindberg. At 3:30 p.m.,
FotoFocus Artistic Director Kevin Moore and Contemporary Arts Center
Director Raphaela Platow will discuss the FotoFocus show at CAC, The One-Eyed Thief: Taiyo Onorato & Nico Krebs. And at 5 p.m., there will be a forum on another FotoFocus-sponsored show, Vivian Maier: A Quiet Pursuit.On Friday, Memorial Hall activities center on Landscapes. At 1 p.m., the film Somewhere to Disappear, With Alec Soth screens, followed by a response from Matthew Porter. At 3 p.m. is a conversation with photographer Elena Dorfman and 21c Museum Hotel curator Alice Gray Stites. At 4:30, photographer David Benjamin Sherry — the subject of a FotoFocus show — will be in conversation with Elizabeth Siegel. And at 6 p.m.,
Jeff L. Rosenheim, photography curator at Metropolitan Museum, lectures
on "Shadow and Substance: Photography and the American Civil War."On Saturday, the subject is Urbanscapes and events get underway at 1 p.m. with the film Bill Cunningham New York, followed by a response from Ivan Shaw. At 3:30 is a forum on street photography with three curators — Moore, CAC's Steven Matijcio and Cincinnati Art Museum's Brian Sholis. At 5 p.m.
comes a discussion on the Fotogram project at the ArtHub, which opens
today in Washington Park. Participants include its architect, Jose
Garcia. And the big event gets underway at 8 p.m., when John Waters presents This Filthy World.
Sunday offers three forums, starting at 1 p.m. when Jordan Tate and Aaron Cowan discuss the FotoFocus show Inpout/Output with artist Rachel de Joode. At 2:30 p.m. is a conversation with Fred and Ruth Bidwell on Bidwell Projects and Tate's Transformer Station, Cleveland art project. At 3:30 p.m., there is talk about film with Moore, Colburn and Kristen Erwin Schlotman.Attendance
at Memorial Hall events requires a passport ticket, which cost either
$25 or $75, depending on benefits ($15 for students), and are available
by Steven Rosen
119 days ago
Posted In: Visual Art
at 09:16 AM | Permalink
Filmmaker/provocateur, humorist, art collector and all-around pop-cultural icon John Waters is coming to Cincinnati on Oct. 11 as part of the opening-week programming of the FotoFocus Biennial 2014. He will be at Memorial Hall, performing This Filthy World about his long, rewarding career. Additionally, Waters' photograph "Inga #3 (1994)" is part of a FotoFocus exhibition, Stills. The theme of FotoFocus is "Photography in Dialogue."FotoFocus has released this (edited) list of other Memorial Hall events for its first week of programming:Wednesday, October 8Performance by Berlin-based filmmaker Martha Colburn, with a Cincinnati ensemble led by Tatiana Berman and the Constella Ensemble Thursday, October 9: Photography in DialogueFilm: Gerhard Richter Painting (2011)Featured speakers: Gallerist Deborah Bell, New York; Gallerist Howard Greenberg, New York; Director and Chief Curator Raphaela Platow, Contemporary Arts Center, Cincinnati; Art Critic Richard B. Woodward, New York; and FotoFocus Artistic Director and Curator Kevin Moore.Friday, October 10: LandscapesFilm: Somewhere to Disappear, with Alec Soth (2010)Featured speakers: Curator and Art Dealer Damon Brandt, New York; Artist Elena Dorfman, Los Angeles; Artist Matthew Porter, New York; Artist David Benjamin Sherry, Los Angeles; Associate Curator Elizabeth Siegel, Art Institute of Chicago; Museum Director Alice Stites, 21c Museum Hotel; and FotoFocus Artistic Director and Curator Kevin Moore. Keynote Speaker: Jeff L. Rosenheim, Curator in Charge, Department of Photographs, The Metropolitan Museum of Art, New York, on photography and the Civil War.Saturday, October 11: UrbanscapesFilm: Bill Cunningham Featured speakers: Architect José Garcia, Cincinnati; Curator Steven Matijcio, Contemporary Arts Center, Cincinnati; Photography Director Ivan Shaw, Vogue, New York; Associate Curator of Photography Brian Sholis, Cincinnati Art Museum; and FotoFocus Artistic Director and Curator Kevin Moore.Sunday, October 12: ForumFeaturing presentations and panel discussions by local participants, such as Artists Jordan Tate and Aaron Cowan.For complete details about the FotoFocus 2014 Biennial visit here.