A few weeks ago I finally received my copy of Mossless’ Issue 3: The United States (2003-2013). It’s an incredibly ambitious photo book of more than 200 pages and contains the work of 118 great photographers from the all across the US and elsewhere whose work focuses on documentary photography and the American social landscape during the last decade. In addition to Issue 3 being an invaluable addition to my modest but growing art book library I also have a little bit of personal pride in this book. Romke Hoogwaerts (who along with Grace Leigh runs Mossless) wrote this in his introduction to the book on page 6:
"…These photographs were all sourced from the internet, chosen intentionally, not submitted. Many of the photographers we found were made visible to us by a few dedicated bloggers…a prodigious Nate Burbeck even maintained a collection of blogs dedicated to providing exposure to young artists from every quarter of the county."…"Their contributions to the internet made this book possible and here I will proudly thank them! It is to people like them, and every photographer that decided to share their work, that we owe our gratitude of experiencing so much."
The blogs Romke is referring to are part of my regional art blog project here on tumblr that I ran for a little over a year (fly over art, beyond 9th ave, in the new frontier, and dim with beauty). Many of the photographers featured in Issue 3 were previously featured on one of those regional blogs and were thus found by Mossless. I was unaware of this at the time that I was maintaining those blogs (that is, until I discontinued them) but I am so thrilled that the work I put into them eventually helped in a small way to make such a beautiful book. Mossless has gotten a lot of great press in anticipation for the book, all of which is well deserved. I hope that recognition of their efforts only continues to grow, not only for Mossless but also for all of the incredibly talented photographers featured in the book, many of whom I consider to be influential on my own work in painting. It’s thrilling for me to say that I can associate myself with a great project like this (and great people) and to know that artists really can reach out and help their peers gain the recognition and exposure they and their work deserve. Best of luck to Romke, Grace, and all the photographers featured in Issue 3. You all have bright futures ahead of you and I can’t wait to see what comes next.
If you haven’t picked up your own copy of The United States (2003-2013) I highly recommend doing so. You will not be disappointed.
Not mentioning you would’ve been unethical! Thank you for your kindness, Nate. You rule.
As wildfires blaze throughout California, Washington state has endured a cataclysmic wildfire season of its own. A series of fires in central and eastern Washington have made 2014 one of the most destructive wildfire seasons on record. Most notable was the Carlton Complex fire, which began as four small fires ignited by lighting in mid-July. The fires spread quickly and combined. It went on to burn 256,108 acres, according to the U.S. Forest Service. Nearly 300 homes were destroyed in the fire’s path.
Witnessing the aftermath first-hand, Seattle-based photographer Ian C. Bates drove through the affected areas in July, surveying the destruction.
So many book releases this weekend at the NY Art Book Fair. One of many to keep in mind is Études, they’re coming out with a few new blue books. If you want one, you’ll need to be there as they sell out very fast.
An Objective Perspective – An Interview with VICE Photo Editor Matthew Leifheit Speaks
Kathleen Hefty recently sat down with founder and editor of MATTE Magazine, Matthew Leifheit to get a unique perspective on independent publishing and curating. Not only does Leifheit produce each issue of MATTE largely on his own, he is also the photo editor of Vice Magazine and has an active photography practice. Since 2010, MATTE has dedicated each issue to one photographer; the current one—the magazine’s 23rd and largest yet—features photographer Rachel Stern. The following is a conversation on MATTE’s beginnings, what it means to be an “emerging” artist, and Leifheit’s exciting upcoming collaborations.
Kathleen (Blonde Art Books): I think that the people that follow Blonde Art Books are really interested in gaining insight into the inner workings of small press publishers as well as individual artists’ and curators’ practices so thank you for taking the time. Can you tell me a little about MATTE magazine and how it began?
Matthew Leifheit: It started as a print publication; it was my college thesis. I went to the Rhode Island School of Design, and I worked with this agency one summer—a photo agency in New York— and it dealt with photography in a businesslike way, which is what they do. I feel like artists want to work with other artists, and I don’t think photography should exactly be sold as a product. I think there should always be something sacred aboutprogram was very hands on. And especially now looking at [how] MATTE deals with emerging photography and so does Vice, and I feel like that’s like my area. So I pay a lot of attention to the schools. I think if I had gone to SVA or Parsons or something like that I would have come out of it with a much glossier portfolio and a lot more connections and stuff. But at RISD I learned to make things, which is important to me.
photo by David Simonton