Roxana Azar, in Bloom
 

Roxana Azar’s botanic photographs are extraterrestrial. Inside their hues and saturation they embrace a kind of supernatural. They are lush and thick with atmospheres that fuel imagination and desires. The cosmos is implicated in the microcosm of her adapted verdure. Such wonderful confusions drive the fusion that big and small can come together. It is ripe and glorious to see how the familiar becomes new or even different; it is embraced in its oddity because even though it may not be the same it is still deeply personal and recognizable. Existence and reality are funny things, what is perceived is responsible for a portion of its validity, but it is not responsible for all of it. A viewer looking at a Roxana Azar employs a creative mind. In the grips of her imagery sight becomes herbivorous, the dominion of plants is in their power to drive connections, adaptation, and communication.   — Efrem Zelony-Mindell

 

RFP It’s interesting that your work mixes nature and life with digital manipulation. What compels you to work within this juxtaposition?

RA It’s sort of difficult to escape digital manipulation. I feel like I’ve been using Photoshop for so long in such a wrong way that it feels natural to keep working like that. It does lend itself to the content of my work especially since I’m thinking about these places that could exist, but don’t actually exist yet.

RFP I’m a huge fan of how you use color and texture in your work. Everything seems to blend in and stand out in a way that feels both expansive and encapsulating. Can you talk a little about how you compose your images and your desired effect?

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RA What I wanted for my photographs was for the images to feel like when you are looking at an image from space, where it does feel expansive but it’s such a tiny fraction of the universe that just that idea alone is awesome. I always love the images from the Mars rover because it’s like, this could be a desert on Earth but it’s from a planet so distant and so dangerous to human life. There is a lot of layering and blending, I like my photographs to feel almost playful at first and then start to feel unsettling. There’s a contrast between the color palette and the atmosphere that helps me achieve that.

RFP You said “there’s this alienation through the uncanny,” which makes me think the way we interact with nature, how it borders the uncanny. I wonder if you could speak a bit more on how your work engages with the idea of being alienated from nature?

RA When I was making this work I moved to a different state, so I felt like there were these parts of this place that I was living in that could’ve felt like home in some way, but I didn’t feel connected to. I had this story when I was making some of these images that in the future there’s a greenhouse that doesn’t house any more plants, just images and projections of specimens that don’t exist anymore in the future. Maybe the image is deteriorating and that’s all that’s left of what existed. Or maybe photographs seem fake, but you can’t tell because they don’t exist anymore.

RFP How do even begin dreaming up these images? How long does it generally take you to compose an image?  What’s your process?

RA My process is sort of sporadic, sometimes things happen organically and other times there is a formula or set of rules that I give myself. At one point I was writing these short science fiction poems as prompts for images, or as reactions to images. People will never see the poems, but I don’t think that matters right now. 

RFP A sort of unease of the future, a looming sense of crisis, politically, ecologically and economically, seems in conversation in your work. Could you talk a bit about how your work channels this unease, this “realizing that something is strange?”

RA I think it’s difficult not to be influenced by the tension of this moment in time, but it’s a tension that has always been there. Growing up when W was president I remember how on edge I was even as a kid. You experience anxiety so much in the body, your heart beats faster, it's harder to breathe, and so on. The landscape references the body for me, and it’s sort of like this stand in. So when there’s this strangeness in the landscape, I’m thinking of an anxiety that doesn’t just speak to destruction and climate but also the loss of a solid mental state, where you’re questioning your reality and you’re aware of all possible outcomes.

RFP Do you find yourself going out into the country or into nature for your work, even if just to inspire new ideas? Are there certain places that you draw inspiration from?

RA Lately I’m more influenced by interesting plant functions and my houseplants. I recently checked out the corpse flower in the flesh and that was wild, it turns out the corpse flower heats up almost the temperature of a human body. I’ve been propagating my plants and pretty much cloning and multiplying my plants and watching the roots grow out like tiny feet that turn into more complex structures. Lately I’ve been working on images that depict futuristic plant-like beings as part of a sentient landscape so thinking about these tiny connections are useful, like how plants are able to communicate with each other. I always look at images from NASA and sincerely love terrible artist renditions of what views from other planets could look like. 

 

Carlos Jaramillo's Pigeons
 

RFP Who is Erislandy? How did you meet him?

CJ Erislandy lives in Old Havana, Cuba. I met him while I was exploring around Cuba at a time when I was frustrated from a failed project I had in mind. I went to Cuba with high expectations of executing a project I proposed only realizing that I went with a documentary crew and multiple photographers who where trying to expose the same thing. At the time I said screw it and wanted to just enjoy my time in Cuba and explore it the most authentic way possible and not to shoot the typical street photography we see all the time. During this time my friend and I went exploring inside abandoned buildings and others that were falling apart that people lived in. We ended up on roof that had an amazing view of Old Havana and from across the roof I saw a man playing with his pigeons. Somehow he was instructing them where to go. I was pretty amazed by it and yelled over to him if I could come over. He quickly waved his arm towards us inviting us to come over. Once we found where he lived he told us that he raises and races pigeons. He had 3 different shacks where a lot of pigeons were being raised. I then spent my last 3 days shooting with him and it was one of the most amazing things that could have happened to me there. Since then I've had multiple people I've never met contact me, wanting to meet Erislandy. They've gone over to his home with my photos and other gifts to give him all just to meet his pigeons.

He wraps them in newspaper and I guess they put them in their luggage.

RFP How big is pigeon racing in Cuba?

CJ It's hard for me to say how big pigeon racing is in Cuba. It felt very niche since I only met two pigeon racers. They both had trophies and they where extremely passionate about what they do. I think it might be similar to how it is here [in New York City], the majority of people don't even know about it. Erislandy gets guests from all over the world, primarily Europe, who come to him to buy his pigeons. He wraps them in newspaper and I guess they put them in their luggage. I'm not really sure how this works out but he told me they fly them back to their countries.

RFP What brought you to Cuba?

CJ I came to Cuba because my friend Eby went on a trip a couple times to help out the skate and art community in Havana. I went through a program and the idea was to help bring as much skate and art supply to help give away for the people in need. At the time I was working for some skate companies and they were awesome enough to donate a lot of products, and all the program needed us to do was carry duffel bags full of products and pay for it to get on a plane and set off to our destination. After that, I felt a bit useless and they didn't seem to care what we did when we got there. I was hoping it would be a bit more hands-on but it wasn't. I'm contemplating going back to shoot more with Erislandy. Shooting with him and his birds was an amazing experience and I feel like I could dig in deeper and meet more pigeons racers. I hope everyone there is okay after the hurricanes, I know they got hit pretty hard.

RFP Your latest project has taken you to prisons in Lima, Peru, and you'll be returning soon to keep shooting. How's that experience been?

CJ Shooting in the prisons of Lima was probably one of the most craziest experience I've been in. I don't really think there's any words to describe how insane it was. Maybe it's not as crazy as it seems, people were extremely nice and inviting but the idea is insane. I also experienced an insane amount of corruption with the cops inside these prisons and saw and learned a lot about the prison systems in Lima that people typically talk about but there's nothing anyone can do to fix it. My friend Willy, who did a collaboration with a guy from Lima who taught inmates how to make clothes, invited me to come out there and explore one of the prisons. It's extremely easy to go inside the prison to visit and explore all you want on your own but once a camera got involved, it got very complicated. It eventually led to me visiting another prison to shoot in and now working on a project based on these two prisons in Lima. The plan is to go back with a stronger plan and also have a writer from Lima join me to help execute the project at a larger scale.

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RFP You told me your liason there the first time you went, the head warden, was fired right before you got there. Can you tell me that story again?

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CJ So I went there with absolutely no plan. The fact that I eventually got inside a prison with a camera was luck. My first visit inside the prison without a camera was incredible. The inmates we met through our body guard, who is an ex-inmate at the same prison, introduced us to the head warden of the prison. He was extremely nice and I told him how I wanted to take pictures of the prison for a personal project. He invited me to come back the following week and gave me permission to take pictures. Two days later, my mom who lived in Florida sends me a text and asked me if I saw the news about how the warden got fired after he was accused of letting a prisoner escape. I then got another text from my cab driver saying the same thing and asking what the plan is, since that warden was my only access. I was bummed that the timing was so bad. It was all over the news and every news media was wanting to get inside this prison. I eventually was able to speak to some people who gave me access. It was a very stressful situation to be in especially being some random guy who's asking for a favor to a government official. Luckily, I knew someone who is connected, and they did everything they could to help me out.

RFP Hopefully that won't happen again! So what comes next with that work?

CJ Planning on going back with my friend, Anais, who's a really talented writer from Lima and plan to collaborate with her on this project. We have the right connections now and we're going in with a plan. We'll see how everything goes, I don't want to have high expectations because you never know how things can turn out with these kinds of situations. Anything can happen at the last minute but that's the risk we're willing to take. You'll be the first to hear and see how everything turns out!

RFP Are you working on anything else?

CJ I'm constantly working on commercial jobs that helps make money to continue my personal projects for traveling and other expenses. I'm about to purchase a car and I have some projects in mind to start up here in the states. The car will be a major game change for me to help carry around my equipment and explore areas that aren't accessible through public transportation.

behind the scenes photos by Cheney Orr

Eva O'Leary's Latest Work

Eva O’Leary photographed millennials at Beautycon for the September 25, 2017 issue of The New Yorker. The images reflect O’Leary’s keen ability to photograph young women (and, in this case, also young men) with an empathetic but critical eye. Through photographing individuals, she is able to create discourse around issues in our culture that are often overlooked and accepted as the norm. The glittery, colorful nature of these photographs deepen the sense that O’Leary has a keen understanding of the hypnotic spells of beauty product marketing.

She also has had a string of exhibits this year. The first was at Crush Curatorial in Chelsea, NYC, then a major solo exhibit in Switzerland after winning the Vontobel Prize. Most recently, she had a solo show at Meyohas Gallery in Long Island City, New York. Images from her show at Vontobel and Meyohas are below.

Eva O'Leary's poster was published earlier this year using an image from her personal work. Proceeds of her poster go to Planned Parenthood. Lindley Warren, who wrote the review of her New York piece at the top of this article, interviewed her for her poster. Here's what they discussed:

LW There was a photograph that you posted on your Instagram in mid-November of a young woman in bright red lipstick and profoundly blue eyes. For some reason, I assume that this portrait was taken while you took a trip across America. I love this image and I am curious if there are others that (if my assumption is correct) you took during that trip? If so, are incorporating them into your work or was that trip more of an experience of research?

EO I made hundreds of photographs on that trip, I’m only satisfied with (maybe) one of them. I’m honestly not sure if the rest will ever see the light of day.... Although this way of working is somewhat familiar, a lot of my past work required an insane amount of leg work but only resulted in a single image. I think this trip was important for a few reasons, aside from producing physical work.  I graduated from Yale a month before and was going through some major life changes. A lot of things were up in the air, my practice, my personal life, where I wanted the work to go. I wasn’t sure what to do next but I knew I wanted to start a new body of work. The hours I spent driving and observing middle america really let me think through my process and unpack a lot of what I had done in school. A lot of the ideas and issues I struggled with on that trip, internal conversations and arguments I had with myself, they led to what I’m making now.  I’m actually contemplating making that drive a yearly ritual because it was a hugely productive time, more in process and planning than actually making images.

LW You’ve been posting videos online of your editing process, which show the incredible detail you’re able to get with an 8x10 camera. When I watch the videos I think of the complexities of being inside a female body. It appears as if you are examining these young women so closely. Perhaps by being able to zoom in so microscopically you might be able to gain a deeper understanding about what it means for yourself to be in female skin. Are you consciously thinking about these concepts?

EO For a few aspects of the project I had a fully formed conceptual idea going in, but other parts (like the kind of camera and film), made sense logically in relation to the larger ideas behind the work. The importance of the extreme detail was initially a gut instinct. But I think you’re right, it’s the opposite of high gloss commercial images, and the heavily filtered ones we see on social media. I think it relates back to the intense scrutiny we give ourselves and our ‘flaws,’ perhaps how they often seem amplified. I also wanted to light the subjects in a way where the pictures are beautiful and seductive, including the things they may consider flaws as deemed by society. I didn’t want to contribute to a sea of images that validate our urges to try to cover up and hide these things.

In the Studio with Olivia Locher

Olivia Locher was born in 1990 in Johnstown, Pennsylvania. She has resided in Manhattan, NYC since 2009. Locher is known for her sarcastic approach to studio photography with a heavy focus on color and concept. Her photographs are grounded in dreamlands and consciousness, while Olivia herself is generally dreaming. She breathes carefully and dances very rarely. She is represented by Steven Kasher Gallery in NYC.

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RFP How long have you been in this space?

OL This space, I've been in here for two years and it's kind of a weird space. This neighborhood is so strange.

RFP Where did you move before this?

OL I was in the village forever. I had my own space for like, I guess, seven years. I love the village. My building got bought out so they kind of made everyone leave and I ended up here.

RFP Can you describe how you grew up? What was that like? Was it, you said rural?

OL I grew up in Pennsylvania, sort of near Pittsburgh. Brandon [her brother] was pretty influential because there was a strong punk scene where we grew up. Brandon is six years older and I was home schooled. So, I was a space cadet, basically. I really just hung out with Brandon's friends and would go to punk shows and kind of got wrapped up in that scene. But with that scene it was kind of like anything's possible. Do you know Ed Panar? He's from our home town. Which is a random story.

RFP Cool. I love that.

OL Yeah, and he shoots there all the time. He was doing a really cool show on public access. It's on YouTube. It was called Us Guys. It was, wow, like the local paper wrote about it because it was shocking. It was just him and his friends going around and doing crazy degenerate stuff. He was a little before Brandon’s generation. And then there was this punk scene. So, there were a lot of DIY art shows which inspired me to make photos and put them on the wall and, you know.

RH That's the perfect environment for that.

BL I think we were talking to someone recently about being from Johnstown, Pennsylvania. Johnstown's famous for the Johnstown Floods.

OL Yeah, that's why the Red Cross was developed. It was the biggest natural disaster in American history, our town. Our town got flooded three times. I think it was the Carnegies who had vacation homes in our town and like the Fricks. The dam broke and it flooded the whole town and all the money left the town and now it’s just a really depressed place. After the ‘70s flood it could never get back on its feet again. Growing up, you always kind of knew that there was this force greater than you because there's always a wave ready to wash you out completely.

BL It felt like it was so disconnected from everything else or the rest of the world. I think it kind of allowed you, just growing up there, to daydream and do your own thing. If you wanted to have fun, you had to create your own fun and generate your own happenings. As Olivia said about having this strong DIY scene and people making stuff happen because if they weren't making it happen, nothing was happening.

OL People have really strange creative habits there too. There were men in their sixties doing crazy stuff that's super creative and would fit in really well with that outsider art world but they - it's just their practice. Like one guy thinks he's predicting the weather. He builds these really intricate helmets that go up to the sky. They go up like 20 feet in the air. They're huge. And he thinks he's talking to extraterrestrials and it's really wild stuff. Nobody in the town would consider it art and everyone would just look at that person like, “oh, he's a little off the rails.” But the objects he makes are really beautiful. It's a town that caters to that.

RFP How often do you get to go back?

OL We go back a lot just because Amtrak's connected to the town. You can get on a train here and be in our town in like seven hours.

RFP That's really convenient. Do you make your work in here?

OL I do everything here. My east village space was about exactly the same size so when I was looking for an apartment, I was just looking for a bedroom. And then Brandon helped me move in and the plan was to live alone but I was like, let's just live together. Because he's my assistant for everything.

RH And in New York, sharing a room is always way more feasible financially, anyway. It changes everything.

OL It's great when when it's your sibling. You have this language developed.

RFP You have a wonderful collection of photography books. What are some of your favorites? Do you want to pull a few out?

OL Oh yeah. So I love Elad Lassry, and I love Matthew Barney. I have all the Matthew Barney's for the most part. I kind of went deep in trying to get all of them. We were extras in his movie.

RFP Really? Which movie?

OL River of Fundament. I think we ran into you at his recent opening. Brandon got this book signed. That's his very first book. I bought that book on eBay from the woman who did costuming for Cremaster. She, I guess, parted with her books. When I googled her name I was like, why are you selling this? And she sold it for 20 bucks. So I'm like, you are really breaking up with Matthew here.

Let me see what else I like. This Sonic Youth book is cool. Have you seen this book at all? It comes with records. I became friends with some of those guys in the band. That book's signed by Kim and Thurston. That was before their break up. That Sun Ra book's cool too.

RFP So where are your books? Are they in here?

OL They're not out yet. I haven't seen them yet. [They're out now!]

RFP Who is the publisher?

OL They're called Chronicle books. The book’s I Fought the Law.

RFP What was the work of yours that was perceived the warmest by the most amount of people? I remember when you started doing a certain kind of typological work. It just caught on.

OL Yeah it was weird. I Fought The Law went super viral right away. It's funny, because the images that went viral, I later cut from the series because they were like pre-thoughts. I was just kind of in Pennsylvania shooting whoever was around. I originally shot that pitching it for Vice. I was only going to do like a ten pages editorial type of thing but they didn't think it was sexy enough. It ended up turning into my long term project. So it was good that it wasn't very sexy at the time.

RFP Let's talk about your poster. What's the story behind it?

OL I shot that in 2012 and I was in astronomy class. The professor at SVA was talking about a way that you could look at the sun without burning out your retinas. You hold binoculars and shine the sun through and it projects on the paper. You could see the sun spots and, yeah. So I went home and found our old binoculars and I'm like, let's run out to the yard and see if we could see it.

RFP That's cool. I like that a lot.

OL Yeah. What you do is, you tape up the one end of the binoculars so it only shines through one lens. But that's one of the funny things I took from that class. How To was my thesis project and then I abandoned it and now I'm coming back to it. It's fun to come back to it with fresh eyes.

interview by Romke Hoogwaerts

Romke Hoogwaerts
Gazing into Death Valley with Jordan Sullivan
 
 
 

the divine nothing
mountains move slow as eternity
circling the borders of an age before language
drifting silence filling a heart as full as a universe
visions of lost time
wandering light
there and not there
a shadow memory of past lives
uncertain fragments
the beauty of nowhere and nothing
so close to real absence
and wind
lost in the mirage of a void
no ghosts of anything here
no death
only disappearance

- Jordan Sullivan

 

Jordan Sullivan is a photographer and writer based in Los Angeles, California. His photographs of the Mojave Desert's Death Valley capture the feeling of the desert, and his Death Valley Light Series conveys a sense of the sublime.

RFP You took these photos in the Mojave Desert’s Death Valley. What drew you to the Mojave and what was it like?

Jordan Sullivan I've always been drawn to open spaces, particularly the desert. The sea, the forest, the desert they are all indifferent to us, but the indifference of the desert is something else, specifically in the Mojave. It's almost comforting to feel so insignificant. I was at a fairly low and selfish point in my life when I first went there. Death Valley is actually the lowest point in North America, so maybe, at first, I wanted to find out what sort of pictures might come from that juxtaposition of place and emotion. I was definitely attempting to confront this void inside myself by reconnecting to the natural world, or at least to something larger than myself.

Are the colors of the sky in Death Valley as surreal as they appear in the photos?

JS These pictures are more about the surreal feeling time and space in the desert rather than what it what it actually looks like. The images sort of play with our sense of perception within landscapes. At the same time these colors sort of mimic those you see behind your eyes when you look at the sun or a flash of bright light. The Mojave is very bright. It's like the ocean in that way — vast stretches of are mostly white during the day.

Was the sense of absence you write about in the poem a feeling you encountered while in the Mojave? Did you write it while you were there?

JS Yes, absence is everywhere all the time, and I felt it so much in Death Valley, but the absence I felt was in me — the desert is full of life. Again, I wanted so badly to feel connected to the natural world, and the poem, which was written later, was an attempt to reconcile those feelings.  

What was your favorite time of day to photograph?

JS Magic hour.

Rubber Factory exhibited your work, The Sun At Night, earlier this year, which featured photographs printed on unique silks. What was the context of this body of work?

JS These photographs were shot at night in a small section of Death Valley. The installation was a recreation of the feeling of moving through a landscape at night. The images were printed on translucent silk so the viewer could see through them. The images were hung from the ceiling, so people could walk around them. They were sculptures in a sense, but they also had this ghostly presence. They moved as people passed by them. It was almost impossible not to touch at least some of the pieces. The installation, like the acre of desert it was shot in, had its own unique life. I think that's what I'm always trying to make - something that has the potential to take on a life of its own.

interview by Fernanda Penfold

Fernanda Penfold
Yael Malka, On Limbs
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When I visited Yael's apartment in Crown Heights it was a muggy August afternoon. We sat in her living room, drank coffee and looked at photos, talked about her work, her poster, where her ideas for it stemmed from, and about a fun editorial project involving fetishism. We also talked, for a while, about her recent trip she took to Israel, which inspired her upcoming book Kinneret, and her complicated history with the place. In fact, right as we started talking about it, she remarked, "other than my girlfriend and the printer, you’re the first person who's seeing this!" So now, I guess that list is going to get a little longer.

 
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Yael Malka This book, Kinneret, it’s like the total beginning. I did this trip in April and came back in May. I was in Israel for three weeks, and I hadn’t thought in book form in a really long time. But this felt very narrative to me, so it makes sense that I make it into a book, that felt like the right format for it.

RFP It very feels cohesive in the way that it illustrates a place and culture. Is that what took you to Israel, wanting to make a photo book?

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YM I lived in Israel when I was younger. My dad's from there and I have a very complicated history with this place. And I visited Israel a lot, and every time I went I brought my camera and took pictures, but it was never with a formed idea. This time I went knowing I want to make a project, and I want to make it into a book. I want it to be about the history and I want it to be about the land. It felt very different this time around.

Different from what?

YM It's not even just the book but the process, the way of taking photos, walking around and taking photos of what was in front of me. Taking photos of something that intrigued me, taking photos of something I knew fit into the idea of the book. I normally have ideas I want to execute and I make them. It's conceptualized.

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Like you have an image in your head, and then you make it happen and take a picture of it?

YM This is the most recent body of work I did before working on this book. And I guess this is what I mean by it's very different. These are set up shots, all of these are created.

You said that you live in a kibbutz when you were 6 to 8?

YM Yes, I lived there from 1996 to 1998.

And during that time, did you live in the community housing you described, where all the kids lived together?

YM It had already changed at that point. My grandma and grandpa, and my aunts, uncles, and cousins, they all live there still and they make different salaries, and they have jobs they're actually interested in. My uncle is the head of the mechanic shop. My aunt, she's a manager of the a laundromat there. But you can see the remnants of labor lying around, you can see what it once was. I think it's really interesting to take a look at the decline or — I mean, you can look at it either way — the positive changes that happened.

When you were there, was it sort of an ideal place to be a kid, because there's so much space and you got to be free?

YM It's a utopia. Really it was, and that was kind of the idea. It was really pleasant, you walked around without shoes, there was grass, and trees everywhere, you'd just hang out. You just walk to your friend's house and knock on the door, everything is extremely informal. It was definitely a very ideal place to have part of my childhood.

Then we talked her most recent body of work, which she described as being "very much about intimacy and getting to know another person. It's veiled intimacy in a way, because we don't really find out about people through what they say all the time. Like, things can be found in the margins, from actions. I've always been interested in working with materials too. So in a lot of these images... there's a lot of dismembered limbs. I like disconnecting the body and showing parts of it. I like the anonymity of it."

Can we talk about this one, your poster?

YM Oh yeah, my poster! When I made this I was thinking a lot about intimacy, tension, violence, and how those two things could be put together. Like tenderness and violence in one image and one feeling. That's a lot of where my ideas stemmed from. And then I started thinking a lot about what knowing another person means, and if you know what you think you know about someone. And that's what I call veiled intimacy. Thinking you know something about someone but it not being truthful.

I totally get that from this picture, in the way that the hand pulling the shirt, it can mean come here I want to hug you, or it can mean I'm trying to hurt you. It's forceful and ambivalent, it could mean something positive or something negative.

YM Yeah, and I like playing with contrasting ideas in one image. I also think when you decontextualize it — there's no facial expression to show what's going on, the arm is cut off, you only see the shirt — it leaves that interpretation totally open.

It’s fascinating. And it really matches the words on the back of your poster, Grab Them Back.

YM Oh, this was just mailed to me [Yael reaches for a magazine from a pile of books], this is an editorial, but it definitely fits in with my work. Phile is a new magazine about sex and I got hired to shoot a Zentai fetishist, which is someone who dresses head to toe in spandex. And it was just really fun because it has to do with intimacy and sex which is something I talk about and think about a lot in my work. And this person is completely anonymous. It's a portrait of someone but at the same time it's not.

The other thing that's interesting about this is that usually when you are looking at or taking erotic images a lot of it is about flesh, the skin. And in this work, the figures are obviously erotic because of their stance and the setting but you actually don't see their skin, you don't really see any trace of them being actual humans, they're almost like robots.

YM Yeah, it really fit in with my aesthetic and my ideas. And I got to art direct and pick the location. And so we went to this place I've been wanting to shot at for a really long time called Cove Haven, it's a love hotel in the Poconos and there's like a fucking pool.

 
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interview by Fernanda Penfold
photos by Cait Oppermann

 
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Fernanda Penfold
Poster Show at 29 Ludlow

If you weren't at the opening night of our 2-week Poster Show at Rubber Factory, you missed out on a beautiful musical performance by Nathan Bajar, a photographer we featured in our first batch. Thankfully we have a clip of it at the bottom of this page!

The installation shows the fronts and backs of our whole line-up so far, as well as our latest batch, all of which were framed. The show is up for two weeks and closes on Wednesday, the 16th of August.

Nathan Bajar performed six songs at the opening. Here's a clip of him singing a duet with James Tillman, which he dedicated to his mom. 

 
 
Romke Hoogwaerts
Printing & Price Drops

We recently moved our poster printing to a local facility in Queens, NYC. They had acquired the same machine we'd been using to produce these posters. Because this meant we saved time and money on proofing, shipping and handling, the cost to produce the posters has gone down.

From now on, the shelf price all of our posters will be $29, including the ones we've already released. Don't worry — everyone who has purchased a poster when our price was still $35 is receiving a coupon for $6.

Last Monday, we went to Prestone to produce our latest batch and Maggie Shannon came along to take pictures while we filmed. Juan, the operator for the machine we use, walked us through how it all worked. Here's a few snippets from our day at Prestone.

We didn't bring our audio recorder because we weren't expecting dialogue. Our apologies for the awful sound quality in these videos! Lesson learned.

 

Then, Juan opened up the machine to show us the inside.

 

We printed five posters. Four of them were introduced at our latest pop-up exhibit at Rubber Factory, and the last was a redesign of Jordan Sullivan. Speaking of redesigns, we reduced the scale of the logo and adjusted the credit to reduce them from three to two lines. We've also added some color to those elements on a few posters. Here they are running out of the machine:

 
 

Our latest posters will be online this week. We'll update this page with the links to them once they're online!

Romke Hoogwaerts