好的风景照片如同是一枚印章，看过之后会在心里印下一个印记，虽然模糊却抹之不去。这组黑白风景照选自美国摄影师Noah Wilson的Ground Truthing系列。摄影师现在也正在为他的蒙大拿摄影计划筹集资金，如果有心的话不妨帮他实现这个愿望。

These images are selected from Noah Wilson’s Ground Truthing series. Please help Noah Wilson fund his trip to photograph in Montana. He made a Kickstarter page (here), and he’s asking for a pretty modest sum.

这些风景照选自美国摄影师Peter Hoffman的post-landfill landscapes系列。诗意的影像背后却是一个个关于现实的故事，照片中地点其实都是居民区倾倒掩埋生活垃圾的地方。

Peter Hoffman (1984) is based in nowheresville/everywheresville suburbia (Lisle/Naperville, Illinois) but working in Chicagoland and throughout the Midwest.

有着独特摄影语言的纽约摄影师William Mebane + Martin Hyers，在他们所有的作品中一个人也看不见，拍摄对象是人类生活中使用的物件，包括房子、吊灯、一盒肉、甚至任何一件杂物。大量照片看下来发现通过这些杂物的整合去描述某个主体反而更有力量。

New York photography duo William Mebane +Martin Hyers.

撰文：小鹏
Written by Xiaopeng

这些3D卡通雕塑出自美国艺术家 Luke O’Sullivan 之手。

“Luke O’Sullivan incorporates drawing, printmaking and 3D in constructing everything from a briefcase of cash to old school ghetto blasters.”- My Modern Met

这些作品选自旧金山现代艺术博物馆在2010年10月30日-2011年4月17日期间举办的展览——曝光：窥视、监视及1870年后的摄影。没准你已经认出不少，但如果需要，更多作品信息见此。

Works from the exhibition EXPOSED: VOYEURISM, SURVEILLANCE AND THE CAMERA SINCE 1870 at San Francisco Museum of Modern Art from October 30, 2010, through April 17, 2011. Please check out more information of these images here, if necessary.

All images courtesy of SFMOMA
假杂志新浪微博 / JiaZaZhi in twitter

彩色摄影的鼻祖之一 Richard Misrach 的风景照似乎在向我们诉说关于人类与自然之间一种美丽而又可怕的关系。

“ the world is as terrible as it is beautiful, but when you look more closely, it is as beautiful as it is terrible.” – Richard Misrach

Taca Sui的网站更新了新的系列AWE，还是和第一次看到他ODE系列时一样惊喜，他的照片让我感觉到时间的界限似乎开始模糊。

Taca Sui has updated his website with a new series “AWE“.

Dana Lee is a New York-based menswear designer.

Dana Lee 是一位居住在纽约的男装设计师。这是该品牌2011年秋冬季Lookbook。照片为摄影师Jody Rogac拍摄。

摄影师Lisa Lindvay用镜头记录在她母亲患上精神疾病后全家人的生活状态。

“These photographs depict the lives of my father, sister and two brothers, as they take on the burden of my mother’s deteriorating mental state.”

Larysa Sendich 和第四二期访谈的摄影师 Mae Ryan 都是假杂志的老朋友纽约摄影师白白的推荐。白白说，Larysa、Mae和她自己是纽约国际摄影中心学纪实摄影的同学中最不像纪实摄影的。在上周见面的时候，我对白白说，因为你们都有一些东方的味道。后来一想，这样的概括其实并不精准，她们作品中对人物内心情感的把握和表现被我草率地冠上“东方”这个标签，而这种对内心情感的注重其实并没有东西方的分别。有着乌克兰和波斯尼亚家庭背景的 Larysa Sendich，在美国生活有着不一样的成长经历，也造就了她现在的摄影风格。我们结合她的系列作品“波浪之间”来看看她是怎么说的。

Larysa Sendich and Mae Ryan in vol.42 interview were both recommended by our old friend New York based photographer Wenjie Yang. She said, among the students studying in IPC Photojournalism and Documentary Photography, they three were quite different from others, and their works were not so documentary. When I met Wenjie last week in Beijing, I told her that all of their works were full of Oriental sense, however, I didn’t think my conclusion was accurate. They should not simply be tagged with Eastern sense, because human beings share the same emotions. Born to Ukrainian and Bosnian parents, Larysa Sendich spent her childhood between the Ukrainian communities of the Midwest and East Coast of the United States. She had a different experience during her growth, which impacted her a lot. Let’s see what she said, combining with the Between Wave series.

Based on your biography, I guess your childhood is quite different from other American children. Could you share some unforgettable memories with us?
Although I did not realize it at the time, the early years were the most unique. My Ukrainian grandparents were very influential in my upbringing. They are extremely patriotic and did everything they could to ensure that the culture was passed down to us as the next generation. We were immersed in the Ukrainian communities surrounding the various places we lived, English was never spoken at home and holidays were celebrated according to the Ukrainian Orthodox calendar with, I suspect, more dedication than if we had actually been living in Ukraine.

When did you first get interested in photography? Do you still remember how you started?
When I was finishing my undergraduate studies I took a photography class and immediately fell in love with the medium.  I knew instantly that I had just spent the past three years pursuing the wrong degree.  After graduation I spent four months traveling alone in Japan and Southeast Asia.  Unable to communicate through language, I relied on my camera to act as my translator.

What does PHOTOGRAPHY mean to you?
I use photography as a way of seeing the world around me. The images I create allow me to develop my personal point of view of, and relationship with, the world.

What is a good picture in your mind?
For me, a good photograph is one that the viewer can get lost in and, as a result, has a lasting impact on them.  Our various life experiences cause us to see differently.  A good photograph should allow a level of personal connection but also leave a bit of mystery and space for the viewer to continue conversations in their own mind.

Does you family impact on your thinking and art style?
Yes and no. The way I think photographically is deeply personal and often solitary. However, right now the subject matter of my work is strongly influenced by my family. It is the direct result of what I was born into and the way I was raised. I would not be able to connect with the subjects of Between Waves in the same way if I did not share this commonality with them.

Your works are full of emotion. Do you think emotion is important in photography?
I ask a photograph to be emotional.  Emotion is what connects us as humans.

Which cameras do you use? Do you think it is important to you?
I work mainly with a Mamyia 7 II. I fell in love with this camera the first time I picked it up.  The camera I use must be an extension of my hand.  I have to crave to hear the sound of the shutter.  I have to be inspired to pick it up every day to keep working.

Could you talk about the background story of Between Waves series in details?
I began taking the train out to Brighton Beach. It is a colorful neighborhood, right on the water in Brooklyn, made up of mostly Ukrainian and Russian immigrants.  Stepping off the train, you are instantly immersed in the smells, sounds and overall sense of that part of the world.  I enjoyed making the trip simply to hear these languages spoken around me.

Early on in the project I wanted to compare the third and forth waves of immigrants living in the neighborhood. The more time I spent there, I realized the need to approach the project with an entirely open mind and simply aimed to document what I was feeling.  What emerged was a clear sense of commonality shared between both waves.  As these immigrants adapted to new social environments, they kept with them past traditions and exist somewhere in the space between both worlds.  This is what I focused on. The fact that I have also lived between two cultures, naturally, influenced my point of view.  As I created a sense of what I was seeing and feeling through photographs, I was also recreating my own inner landscape.

Speaking of “master”, who will you instantly think of? Please talk about him / her in your own words.
Nadav Kander is, by far, my biggest photo crush.  I never grow tired of looking at his images.  I was first exposed to him through his work on Chernobyl.  He created beautiful, desolate imagery showing the relationship between the stale remains of man and nature while magnifying nature’s power to keep organically growing despite destruction.  I see the presence of his personal mood towards the place he is photographing.  That is what keeps me interested.

What do you learn from International Center of Photography?
Attending the Documentary and Photojournalism program at the ICP was a fantastic experience on many levels.  The friendships that I developed during the course are what I value most; people I can exchange concepts and ideas with, critique photos with…take this obsessive path with.


看你的简历觉得你的童年与别人不大一样，能跟我们分享些童年难忘的记忆吗？
尽管当时自己并不觉得，不过我的童年的确与众不同。我的祖父母来自乌克兰，对我的成长影响颇大。他们爱国心十分强烈，尽一切所能将祖国的文化传给下一代。我们居住的社区都是乌克兰人，在家里我们从不说英语，假日也按照乌克兰传统历法来度过，那种对国家的虔诚，我怀疑真住在乌克兰都未必比得上。

什么时候开始对摄影产生兴趣？还记得是如何开始的吗？
本科最后一年我上了一节摄影课之后便很快喜爱上了这种表达方式。我马上意识到自己在过去三年里把精力浪费在了错误的专业上。毕业后我花了四个月的时间独自去日本及东南亚旅行，因为语言不通，我只能依靠相机来帮我翻译。

对你而言摄影是什么？
摄影是我观察周围世界的方式，而创造出来的影像则让我认识世界并与它产生联系。

什么是好的摄影？
对我来说，好的摄影就是，会让观看的人完全沉迷其中，并深受影响。不同的生活体验让我们看到不同的世界，而好的摄影会连接各自的体验，却又保留神秘的空间让观者以自己的思考方式去进行对话。

你的家庭对你的思考方式和摄影风格有影响吗？
可以说有，也可以说没有。我在摄影上的想法很私人化，而且经常是独立的。然而，我工作的主题却受到很多来自家庭的影响，我的成长环境直接造就了我的作品。假若不是生活在其中，我想“波浪之间”这个系列也很难创作出来了。

你的作品富含情感，你认为情感对摄影来说重要吗？
我要求摄影必须富有情感。情感是将我们作为人联系在一起的唯一途径。

你使用哪种相机？相机对你来说重要吗？
我主要用的是Mamyia 7 II，第一次用我就喜欢上了它。我用的相机必须作为我手掌的延伸，能让我听见清晰的快门声，而且让我每天都愿意拿起它来工作。

能详细谈谈创作“波浪之间”这个系列的背景吗？
我搭火车前往布赖顿海滩，那是个丰富多彩的住宅区，位于布鲁克林，就在海边，住户大多是乌克兰和俄罗斯移民。踏出火车你的嗅觉、听觉、乃至所有的感觉都被浸入那个小世界里。我的那趟旅行简单而快乐，只为了听听环绕在我耳边的语言。

项目的初衷是为了比较看看住宅区里第三代移民与第四代有什么不同，不过待的时间越长，我越觉得应该以完全开放的心态去记录我所感受到的一切。两代移民之间有着非常明显的共性，那就是，在适应新的社会环境的同时，他们还依旧保留着过去的传统，生活在两个世界之间。这是我想关注的点。而我自己本身也处于两个文化之中，这对我的观点影响颇大。当我通过摄影制造出我所看到和感觉到的东西时，我也在重塑自己内心的风景。

说到“大师”，你会马上想到谁？请谈谈你对他/她的看法。
Nadav Kander 是迄今为止我最迷恋的摄影师，看他的图片从不觉厌倦。第一次知道他是看到他关于切尔诺贝利的作品，那些美丽而荒芜的画面，展现了腐烂躯壳与自然之间的关系，并突出了破坏之后大自然仍然顽强生长的力量。我看到了他对那地方的私人情绪，这非常吸引我。

在国际摄影中心的学习有何收获？
国际摄影中心的纪录片及新闻摄影课程从很多方面来说都很难忘。学习过程中结交到了很珍贵的友谊，与他们一起交换想法与概念，一起评论照片……以及一起走过摄影这条魔幻道路。

撰文、访谈：言由 / 假杂志版权所有，转载请超链接本文网址
Written & Interviewed by Yuan Di / all images © Larysa Sendich; Please link Jia Za Zhi, if you want to use any part of this aritcle
查看更多假杂志访谈 / See more InterView
假杂志新浪微博 / JiaZaZhi in twitter

假杂志曾经做过访谈的纽约摄影师 Mae Ryan 最近登上了《时代》杂志的网络版，也是关于她的“玛丽女王”系列。恭喜她。

Our friend, New York based photographer Mae Ryan (Jia Za Zhi’s InterView) recently got published on Time.com with her Mary the Queen series. Congratulations to Mae!

很多人问，假杂志选择摄影师的标准是什么，今天借纽约摄影师 Mae Ryan 的访谈正好做个解答。在我看来，好的摄影始终是一种叙述，它和文字一样是人的情感的载体，可能有些偏诗性，有些则偏故事性。Mae的作品属于后者，她的作品基于情感，连起来，它们有些甚至可以是一个动人的故事。Mae Ryan最初学的不是摄影而是建筑，最近才刚刚从纽约国际摄影中心的“新闻摄影”课程毕业。虽然专攻新闻摄影，但是她的个人作品中的感情却压倒了理性。她的“玛丽女王”系列拍摄的是纽约扬科斯的玛丽女王修道院里的吉光片羽。Mae镜头里老人们的那些细节和动作，让人不由的赞叹起生命和信仰来。

Many people asked me, what is the standard for Jia Za Zhi? I think it’s opportunity to answer the question with the interview with New York photographer Mae Ryan. In my opinion, good photography is a kind of narrative, a carrier of emotion, just like words. The images could tell a story if your connect them in series. Mae Ryan received a B.S. from Stanford in Architectural Design and recently graduated from the photojournalism program at The International Center of Photography in New York, NY. Though majoring in photojournalism, she brings her works more emotion than reason. Her Mary the Queen series shot the moments in Mary the Queen Convent in Yonkers, NY. Mae captured the old people’s details and gestures, making viewers admire life and faith spontaneously.

Could you introduce yourself first?
Mae Ryan is a documentary photographer currently based in Brooklyn, NY.  She received a B.S. from Stanford in Architectural Design and recently graduated from the photojournalism program at The International Center of Photography in New York, NY.

When did you first get interested in photography? Do you still remember how you started?
My father was my first inspiration in photography.  In the 1970s he roamed Chicago, IL and made photos of the many characters he met there.  While I was taking an introduction to photography class in high school he gave me a retrospective of Henri Cartier Bresson’s work and I fell in love with the decisive moment.

What does PHOTOGRAPHY means to you?
I’m attracted to the bizarre, the banal and the beautiful hiding in the world around us.  Documentary photography allows me to catch glimpses into the intimate details and idiosyncrasies of other people’s lives.  It is these unseen inner worlds that simultaneously haunt me and push me to keep exploring the lives of others.

Speaking of “master”, who will you instantly think of? Please talk about him / her in your own words.
Last year I had the opportunity to intern with Susan Meiselas and she is truly an amazing documentarian.   I appreciate how her work takes on its historical context through the marriage of photos with words, interviews and found documents.  I first came across her book Carnival Strippers and loved the intimacy of both the images and the interviews transcribed in the book.  Her work from Nicaragua brings the viewer through the early stages of the insurrection, into the gore of the fighting and out to the other side of life after the insurrection in such stunning detail.  I hope that as I continue to evolve as a photographer I can push my work into that level of intellectual and concerned photography.

Your works are full of emotion, do you think emotion is important in photography?
Yes, I think that being able to connect with photography on an emotional level makes for stronger images.  I’m consistently drawn to images that push me into a different emotional state, whether it is beautiful, disturbing, uplifting or depressing.

Could you talk about the Mary the Queen series in details?
Mary the Queen Convent is a nursing home for nuns from the Sisters of Charity order in Yonkers, NY.  This particular order has historically been one of the largest in New York. In 1960 there were over 3,000 sisters, however today there are only about 300 and 80 of them live in Mary the Queen. The building is divided into individual rooms each equipped with a twin size bed, TV set, la-Z-boy chair, shared bathroom and closet for all of their possessions.  Many of the women can no longer take care of themselves and must rely on the full time staff for their daily needs. The sisters fill their days with group exercise, bingo, crafts and prayer as they linger in life before death.

Throughout my life I’ve been surrounded by a diversity of religions.  I was raised Buddhist, my mother’s side of the family is Jewish, my father’s side is Catholic and my uncle is Hindu.  I’ve always been fascinated by what people choose to believe and how that dictates the course of their lives.  I initially got interested in Mary the Queen Convent because my aunt is a Catholic nun and I wanted to pursue a project that focused on the intersection of religion and death.

Could you recommend a book you read or a movie you watch recently? and talk about your feelings.
I recently saw Uncle Boonmee Who Can Recall His Past Lives by Apichatpong Weerasethakul at The New York Film Festival.  The movie had a beautiful soundscape that made the jungle truly deafening and quiet all at once.  I was also struck by how many different cinematographic styles he invoked; over the course of the movie I was immersed in the world of a simple farmer, laser eyed monkeys, Thai princesses and Buddhist monks.  The movie moves between all of these Thai cinema genres that I didn’t even know existed.

What’s your nearest plan?
In January I will be interning at Magnum in Motion in New York for three months.  I’m excited to work on multimedia projects that push the medium beyond simple audio and photo slideshows.

做个自我介绍吧？
Mae Ryan是一个纪实摄影师，现居纽约布鲁克林。她在斯坦福大学建筑设计专业获得理学学士；最近刚从纽约国际摄影中心的“新闻摄影”课程毕业。

你第一次对摄影感兴趣是什么时候？还记得是怎么开始的吗？
我父亲是我在摄影上的启蒙老师。上世纪七十年代那会儿他游走于芝加哥的街头，为路上遇见的人拍照。我上高中时需要在一堂摄影课做介绍，于是他带我一起欣赏了Henri Cartier Bresson的作品，从此以后我就爱上了这些被定下来的时刻。

对你而言，摄影意味着什么？
我被隐藏于普通世界背后那些或怪异、或腐朽、或美丽的东西所吸引。
纪实摄影使我得以窥见他人生活里那些亲密私有的细节和特质。就是这些看不见的小世界在让我着迷的同时，推动着我不断地探索着他人的生活。

说到“大师”，你会马上想到谁？请谈谈你对他/她的看法。
去年我曾有机会作为实习生与 Susan Meiselas 一起工作。她真的是个很棒的纪实摄影师。我很欣赏她将文字、访谈以及现存资料和图片结合在一起时，她的作品呈现出来的历史性。我第一次看到她的书《Carnival Strippers》时，就喜欢上了图片和访谈所带给人的亲昵感。她摄于尼加拉瓜的作品以无比震撼的细节带领观众经历了那个国家最初的叛乱和中间的流血斗争，最后再呈现出叛乱后的另一种生活来。若我继续以摄影师的身份走下去，我希望自己也能拍出那样既自制又投入的作品来。

你的作品充满感情，你是否觉得感情在摄影中很重要？
确实如此。我认为具备充沛情感的摄影会更有力量，而那些能带给我不同的情感体验的作品总能吸引我，无论那图片是美丽的、令人不安的、让人振奋的、还是使人沮丧的。

能详细谈谈“玛丽女王”这个系列吗？
玛丽女王修道院是为纽约州扬科斯的慈善姐妹会的修女们准备的疗养院。这个姐妹会是纽约历史上最大的团体。1960年有逾3000名团员，而如今只有380位修女住在这个修道院。修道院里有独立的房间，房间里配有双人床、电视、la-Z-boy椅、公用卫生间和放置修女们所有物品的衣橱。多数住户在生活上都不能自理，只能依靠修道院的工作人员。修女们在去世前的日子里，以团体练习、宾戈游戏、手作、和祈祷度日。

我的生活被各种各样的宗教围绕着。我在佛教环境中长大，我母亲的家庭信奉犹太教，父亲的家庭信奉天主教，而叔叔则是印度教教徒。我想知道人们都是如何选择信仰，以及这种选择是如何引导他们的生活的。我当初对这个修道院产生兴趣是因为我的姨妈是一名天主教修女。我想继续做一个项目，关注宗教和死亡的交集。

请推荐一本你最近读的书或者看的电影，并谈谈你的感想。
最近我在纽约电影节上观看了Apichatpong Weerasethakul的影片《能召回前世的布米叔叔》。电影的音效很出色，让乱糟糟的环境一下就安静下来了；片中独特的摄影手法也让我很难忘；整个观片过程中我完全沉浸在那个有着一个质朴农夫、一只激光眼猴子、泰国公主和佛教僧侣的世界中。影片呈现了多种我以前完全不知道的泰国电影的风格。

请谈谈你最新的计划。
明年一月份我将会在纽约的“动态玛格南”实习三个月。一想到要在这样的多媒体项目中做事我就觉得很兴奋，因为这样的项目使媒介不再借助于简单的听觉效果和幻灯片上的照片展示。

撰文、访谈：言由 / 假杂志版权所有，转载请超链接本文网址 / 感谢白白推荐
Written & Interviewed by Yuan Di / all images © Mae Ryan; Please link Jia Za Zhi, if you want to use any part of this aritcle / Thanks to Wenjie Yang‘s recommendation
查看更多假杂志访谈 / See more InterView

William Eggleston的新书《William Eggleston For Now》即将在这个秋季由Twin Palms Press出版。这本书是由电影《William Eggleston in the Real World》的制作者Michael Almereyda翻阅William的存档底片最终挑选编辑完成的，都是些他以前从未公开发表过的照片，共144页。

“For Now is the result of film-maker Michael Almereyda’s year-long rummage through the Eggleston archives, a remarkable collection of heretofore unseen images spanning four decades of work by one of our seminal artists. Unusual in its concentration on family and friends, the book highlights an air of offhand intimacy, typical of Eggleston and typically surprising.”- Twin Palms Press

All images © Williams Eggleston

(via NOWNESS)

谢建鲲，生于1976年，祖籍广州。1999年毕业于华南理工大学自动控制专业。2007年毕业于雪城大学视觉与表演艺术学院跨媒体艺术摄影硕士专业。现为自由艺术工作者，居住在芝加哥。其作品形式涵盖了当代纪实摄影、实验影像和跨媒体装置，曾多次在美国展出。他在思考后工业化时期的美国文化的同时，更偏向于用主观的纪实方式去纪录所观察到的人，城市以及景观。2007年，他获得Joan Mitchell基金并被选入参加在美国佛罗里达大西洋艺术中心的驻艺术家交流活动，领队艺术家为德国摄影师Thomas Struth。这次假杂志主要请他谈他的留学经历、摄影创作和他自己做的杂志《X zine》。

Xie Jiankun was born in 1976 in Guangzhou. After graduating from Automatic Control department at South China University of Technology, he went to the United States. Then he graduated from MFA in Photography at Colleage of Visual & Performing Arts, Syracuse University. He now works as a freelance artist, living in Chicago. His works include comtemporary documentary photography, experimental pictures and multi-media installations, exhibited in the United States for many times. When he thinks about American culture in post- industrial period, he prefers to documenting people and landscape on a subjective way. He won the Joan Mitchell Foundation Grant in 2007, and was invited to Atlantic Center for the Arts in Florida as a resident artist. The leading artist is Thomas Struth. Jia Za Zhi invited him to talk about his experience of studying in USA, his photography and his new personal magazine X zine. Unfortunately, the interview is only in Chinese version.

你是何时对摄影产生兴趣的？还记得最早拿起相机拍摄的情景吗？
我是在广西出生的长大的。那个地方是一个小县城，叫八步，意思就是八步就可以走完的地方……也就是现在的梧州地区贺州市。当时我父亲是当地科学委员会计量研究所里的研究员。作为兴趣爱好，他在上大学的时候就自学了摄影。我大概四岁的时候，晚上会常跑到家的阁楼，在暗房看他放印照片，还帮他裁相纸，困了就自己回房间睡觉。后来，父亲给我买了台迪宝120相机，让我当玩具玩拍照片。我想那在1980年广州照相机厂生产的价值9圆人民币塑料的机器也就是今天很流行的Limo或Holga吧。我的第一幅照片就是父亲的肖像，今天看着当年的他很帅。我爸说我我五岁六岁的时候就帮当地文化馆的馆长拍照了，这个我一点印象都没有。也许，从小时候开始，摄影已经是我生活的一部分。

无论是生活周边还是专业领域，甚至其他领域，有哪些人对你产生过大的影响？谈谈你心目中的他们吧。
首先当然是父亲，启蒙了我。后来他工作调动回到广州，一直在大学里任教，从事的是摄影教育。我受他影响，从小学习绘画，书法，摄影。直至现在，他还常常是我摄影技术顾问。
然后在自己的生活圈和艺术圈里，影响我的常常不是哪些特定的人，而是在这些人身上，我汲取了他们有益的点点滴滴。例如与Thomas Struth在一次Artist Residency中，他看完我的作品对我说了很多严厉的话，我一句都没有记住，唯独一句”Life is too short, don’t waste your time……” 一直深深刻在我心头；还有我的导师，美国当代著名的女艺术家Carrie Mae Weems，在课上称赞完我是个极出色的”影像制造者”，接着反问我一句，”What do you want to do with it?” 让我沉默了很久。因为当时，我确实仍处于迷茫状态，通过影像的理解，她竟感受得到我内心的不确定因素；另外嘛……还有孙悟空，虽是虚构的神话人物，我却非常欣赏他的叛逆的性格和神通广大的本事。我想，做艺术也应该神通广大的。

为什么会选择前往美国学习摄影？
呵呵，我想没有谁真的喜欢高考制度。当年读书好分数高的人都去报名理工科，分数不好的才去搞艺术。我也不例外跟着大伙拼高考啊，结果就拼进了华南理工大学，成了我老爸的校友。四年读完大学出来，还是把本专业扔了。后来去了一报社，折腾了几年，从网络编辑转到摄影记者，蛮以为已经是很理想的职业了，却还不知足，便以一种要实现自由的梦想，奔到了这个能让人梦想成真的土地。现在流行半路出家，我有几个朋友都是从别的专业转来做艺术或者摄影的。不过我似乎觉得，我又不算半路出的家，因为很小的时候就已经”剃过头”了。
美国确实自由，有时候甚至让人觉得自由得没有什么人会在乎你在做什么。无论如何，我很喜欢这里的学术环境和社会对艺术的重视。说到艺术教育，我以前在某个采访中也谈过，研究生上课的时候我们都是带酒和小吃在课堂上边吃喝边讨论的。虽然很多我们私下说都是扯淡，可是确实，那种氛围和言论，真的叫做自由。开学或者学期结束，老师会约大伙去酒吧聚会。我不了解现在国内艺术教育氛围如何，在美国，老师从来都不会主观地判定你创作的好坏，而是客观地通过他们掌握的学识，艺术史，艺术家的信息来供你认知，比较和导向，让学生有自己真正的方向，通过思考，舍弃，坚持，再创作…… 因为到了研究生这个层次，老师其实传授并不是知识，是开放式的导向。
在美国，很多事情让你会由衷地去感恩。你能遇到很多热心的人，热爱艺术的人。这个也是多年来我的感受并且喜欢的。

摄影于你而言意味着什么？
大部分人会用摄影作为抒发个人情感的一种方式，或者展现其独特的观察这个世界的视觉方式。我也曾经不例外。现在，我慢慢地在做一些转变或者说是调整。我把观察世界作为一种个人评判和研究的方式，借用摄影作为工具来做影像的创作，不带任何个人感情，而这些影像又是非常主观的纪实，看上去是真实却其实是不真实的（类似曾翰有个名词叫“超真实”），却也不完全所以然。
我通过摄影来考虑和我们感知的观念世界的关系。同时，我非常赞同日本的“哲学摄影科学家”杉本博司说，好的摄影师几乎是个科学家，也就是，是在做研究，在用摄影的方式延伸了我们面对这个世界的进程。
不过，我也曾在自己的博客里反思道，已经不知道什么是摄影，不知道我们到底在追逐什么东西。就像我喜欢跑步反着跑一样，也挺有意思的。

谈谈你的“SKIN：NOWHERE IN SOMEWHERE”（皮肤：在某处无名之地）系列吧？
早在2004年的广州摄影三年展，就有学者提问，“在这样的影像生存的读图时代，谁为城市带来定义？”在当今迅息万变的全球化进程中，我们的城市格局似乎在不断地变换和被打破。以摄影的方式介入，把这种变化放在历史的长河中，放在与我们每天日常的密切生活中，城市的状态与发展，带给我们的是一种什么样的信息？
我借用“皮肤”来寓意全球城市化进程的表象。无论是飞速发展的亚洲国家，还是相对缓慢的例如美国的后工业时代，每一代人都在一层层地往上面添加新的内容。当我远距离来观察这个世界就会发现，其实无论在什么地方，（或者往往也根本不知道在什么地方），这种似乎迷失的状态和意识形态，这种人类累加所显现出来的格局是多么的有诗意和让人回味。
在这个系列中，我进行纯粹空间的表现——刻意地居中，对称的构图，无人的街道，分不清比例的城市装饰物，犹如复制出来的房子……对于我个人，这是一个不断完善的认知世界的思想进程。它让我放缓了脚步去思考城市的现状和未来。

再谈谈你的X zine吧，为什么想到做这个杂志？说说制作这本杂志的故事吧？
X Zine的想法来得其实很自然和直接。今年8月初的时候我有个学弟，Shimpei Shirafuji，日本人，街头摄影师，在作环美旅行时经过芝加哥。我们聊天的时候他说他自己在网上自己出书和出杂志，我觉得忽然来了灵感。
其实这个年头，出书出杂志并不是什么大不了的事情，尤其在美国，可以自由的出版途径有很多。在网络时代，各种各样的出版方式给人们提供了很大的创意空间。形象些说，有点像在做一台宴席。我可以做得很素，简单朴素的几道菜原汁原味，也可以色香具全的满汉全席，任由个人发挥。困难谈不上，就是希望多点人来看，交流。毕竟我做的事情跟很多人的都不一样，一定可以碰出些更有意思的东西。例如我的杂志是可以在iPad上免费下载的，我觉得还挺潮的。另外，我也联系了北京一家很好的小型印刷公司做限量的特种纸印刷，纯试验性质。
所以，驾轻就熟地就做起来了。我既当作是一个国际的平台来介绍年轻的艺术家，也同时介绍我自己，借这样的媒质来发布一些自己未成系列的作品的预览。


访谈：言由 / 假杂志版权所有，转载请超链接本文网址
Interviewed by Yuan Di / all images © 谢建鲲(Xie Jiankun); Please link Jia Za Zhi, if you want to use any part of this aritcle

Lucas Foglia 出生在长岛的一个小家庭，目前居住工作在纽约和旧金山。 这些照片选择自他的”Re-Wilding”系列，从2006年开始他在美国东南部旅行途中，采访、拍摄了那些从城市中逃离出来居住在大自然中的人们。他们因为环境问题，宗教信仰，和预测经济崩溃等各种原因而离开城市，在荒野中建造自己的居所，在附近的小溪中采集水源，狩猎，种植自己的食物。但是他们其实并没有彻底隔断自己与主流社会的联系，大部分人的家中还是有电脑和互联网的连接。

Lucas Foglia (b. 1983) was raised on a small family farm in Long Island and is currently based in New York and San Francisco.  These photos are selected from his “Re-Wilding” project.  “Since 2006 I have traveled throughout the southeastern United States, befriending, photographing, and interviewing a network of people who left cities and suburbs to live off the grid. Motivated by environmental concerns, religious beliefs, or predictions of economic collapse, my subjects build their homes from local materials, obtain their water from nearby springs, and hunt, gather, or grow their own food. ”

Lisa Dahl是一位“多”媒体艺术家，她涉及的领域包括绘画、摄影、装置、录像等。出生于明尼阿波利斯的她 ，随着家庭住遍了近半打的美国的州，现居纽约。关于她的作品，她说道：

“由于在成长过程中不断的搬家，于是我将这些郊区的房子——有点类似于我儿时的记忆——当作了理想中的美国梦的化身。我将房子的结构简易化，只留一个基本的样子，探索我们对家的传统意识，以及这些建筑给是如何唤起我们的个人理想、经济问题、城市规划以及对环境问题的考虑。我利用各种艺术媒介来探究我与这些房子及其营造的社区既爱又恨的关系。”

Lisa Dahl is a mixed-media artist who works in painting, photography, installation and video. Born in Minneapolis, Dahl has lived in half a dozen different States, and currently lives and works in New York City. According to her works, she said:

“Having moved around frequently growing up, I use the suburban home – like those reminiscent of my childhood – as an idealistic icon of the American Dream. By simplifying the structure of a house to a basic form, I explore the traditional ideas we attach to home ownership as well as what these buildings evoke for us: personal goals, economic issues, urban planning, and environmental concerns. I work in a variety of artistic media to investigate the love-hate relationship I have with these houses and the sprawling communities they create.”

All images © Lisa Dahl

今年6月，摄影师Peter Sutherland和Maia Ruth Lee前往印度加德满都与10位来自尼泊尔的孩子一起完成为期四天的摄影项目。这10个孩子中，有5个耳聋，另外5个是弃婴。在这四天时间里，他们用身体语言沟通，拍照，尽管遇到不少阻碍，但最终完成了一组美丽的与身体相关的作品。这组照片出版成书，名为《Signs and Voices》（手势和声音），将于10月13日在纽约的品牌零售店Creatures Of Comfort首发，每本售价100美元，所有收入将用于下一次摄影项目。

“Peter Sutherland, Maia Ruth Lee, and 10 kids from Nepal came together for a four days photography workshop in Kathmandu in June 2010. Amongst the 10 kids, 5 kids were deaf and 5 kids were former street children. For 4 days they communicated in sign language, took photos and collaborated for the very first time. Despite the challenges the kids were able to produce a beautiful body of work. The body of work has been published into a book, Signs and Voices, and it’s book launch is this Wednesday at Creatures for Comfort.” – Peter Sutherland & Maia Ruth Lee

October 13th 7 – 9PM,
Creatures Of Comfort, 205 Mulberry Street, NY NY 10012

Prints from the workshop will be sold at $100/each. Proceeds to benefit future workshops.

info via zero1blog.com

纽约MoMA的最新展览“新摄影2010”展出了四位艺术家的作品——Roe Ethridge、Elad Lassry、Alex Prager以及Amanda Ross-Ho。四个人的作品各具特色。题图为Alex Prager的作品，她的灵感来源于低俗小说和Guy Bourdin的时尚影像，用电影般的语言去勾勒出一个头戴假发，化装奇异，着装复古的女主角。更多作品请移步MoMA的在线展览。

MoMA’s current exhibition New Photography 2010 presents four artists—Roe Ethridge, Elad Lassry, Alex Prager, and Amanda Ross-Ho—whose photographs mine the inexhaustible reservoir of images found in print media and cinema. This work above is by Alex Prager. Prager takes her cues from pulp fiction and the fashion images of Guy Bourdin to construct filmic narratives starring women disguised under synthetic wigs, dramatic makeup, and retro polyester attire. You can view the exhibition online.

Organic by John Patrick 2011春装成衣。

Organic by John Patrick Spring 2011 Ready-to-Wear.

Photo by Marcio Madeira/firstView

Joel Sternfeld 出生于1944年，从1970年开始彩色摄影。他以他的大画幅彩色记录性质的照片而出名，并且对彩色摄影在艺术领域取得应有的地位作出了贡献。他目前在纽约 Sarah Lawrence College 教授摄影。

Joel Sternfeld was born in 1944. He began taking colour photographs in 1970.  He is well known for his large-format documentary pictures and helping to establish colour photography as a respected artistic medium.

All images © Joel Sternfeld