Thursday, December 16, 2010

In the footsteps of the magic lantern show:

15 December 2010

Figurative artist RA Friedman is once again bringing his unique craft directly to his audience with a series of old school 35mm slide shows planned for 2011 to be presented in Philadelphia and New York City. Friedman, who is often seen behind a lumbering, antique reflex camera, has been shooting vintage-style portraits at various events since 2005. The project became Tsirkus Fotografika in 2008 and currently shuttles between Philadelphia and New York city shooting at everything from animal shelter fundraisers to jazz-age events, to all-night warehouse parties.

The half-hour presentation, containing some of Tsirkus’s most memorable and intriguing images from an archive of nearly five-hundred portraits, will trace the evolution of the project and its vision from humble and accidental beginnings to its current position: that of maintaining a very busy shooting schedule, an archive website, plus planning a launch of a new public arts project in 2011 RA will also discuss his highly unorthodox photo methodology informed by his fine arts background, which involves creating mysterious, and often haunting images from the usually thrown-away instant film negatives.

RA Friedman's work was recently featured in New York Magazine. He is currently working on an artist's fellowship with The City of Philadelphia Mural Arts Project. He lives and works in his studio in the South Square neighborhood of Philadelphia.

Photo by Frank Siciliano of Steamed Punk Labs

Monday, December 13, 2010

2011 Plans

Tsirkus is now going into it's third year. The project first flew the banner as a sponsored non-profit project in October 2008 at The Brooklyn Indie Market. 2011 promises to be an exciting year with some big plans in the works.

I've been experimenting with pinhole imaging and painting with light to create complex multi-figure works in fairly large interior spaces.I haven't posted these in any official place as yet, mostly because I want to hold off until the project is really underway and possibly offer a "secret link."

I'm gratified that people have actually found this blog up to now without any prompting. My plan is to do a fundraiser on Kickstarter, an online resource for raising money for creative projects. Currently I have 162 "fans" on the Tsirkus Facebook page. When we reach the tentative goal of 500, I'll launch the fundraiser.

The Internet is not magic. Money does not just fall into one's lap, which is why I'm doing the homework--networking, talking to people, bringing them the test prints to look at (if you're in Philly or get to NYC, I'm happy to do so), but most of all working hard in the studio to make images that are unique and worth the viewer's time.

With that being said, tell your friends!

RA Friedman, Principal Photographer







Thursday, November 25, 2010

Richard Avedon


I believe in maniacs. I believe in type As. I believe that you’ve got to love your work so much that it is all you want to do. I believe you must betray your mistress for your work, you betray your wife for your work; I believe that she must betray you for her work. I believe that work is the one thing in the world that never betrays you, that lasts. If I were going to be a politician, if I were going to be a scientist, I would do it every day. I wouldn’t wait for Monday. I don’t believe in weekends. If you’re headed for a life that’s only involved with making money and that you hope for satisfaction somewhere else, you’re headed for a lot of trouble. And whatever replaces vodka when you’re 45 is what you’re going to be doing. - Richard Avedon - 1988

Friday, October 29, 2010

"Aha" Moments


(Painting: RA Friedman, 1994 "Little Girl Lost," acrylic on canvas paper, approx 14" x 11", whereabouts unknown.)

Recently, Brainard Carey, an artist who also does career development asked the question about peoples' "Aha" moments for a book on which he is working. I was thinking about this question and also a statement that I've seen at least from a few well-known artists: "When I first saw a work by "X," it was like coming home"--an immediate sense of visual recognition that seems to run through the history of modern painting.

I never had that. Instead, I perceived, or more likely, felt there was something about the lives of creative people that I yearned to have for myself. I believed they were on to and tuned into something. I wanted to belong to "the club." In large measure my conception was highly romanticized and in many ways untrue. I saw only the gemutlichkeit and not the struggles and pains. The greatest internal pull was exercised by my undergraduate drawing teacher, Charles Eldred, which almost anyone who studied with him will attest to. When I entered both his physical and psychological space, I knew "This is what I want to do."

The odd part is (and perhaps this is my "aha" moment for today) is I was not particularly skilled and though I looked at a lot of visual art, did not "get it" either visually or conceptually. Drawing was a kind of therapy for me. My ideas did not translate well into pencil and paint but rather came forth in small, fortuitous moments which were enough to muddle me through via sheer hard work. I never really figured out how to evolve a powerful overall statement that was hand-made. Ironically, within the last year or so, now that I'm working in another media (photography), I can approach a piece of paper as an overall visual field, rather than starting with atomized pieces or ideas that I then struggle (and fail to) unite. I might even make some paintings this year.







Tuesday, October 19, 2010

Upcoming Shoots!

Just a quick note to keep everyone updated!

Tsirkus will be at Brooklyn Indie Market's Steampunk III, Sunday, Oct 24 and at Masquerade Macabre from Gemini and Scorpio on Oct. 30/31 (all night party).

Monday, July 19, 2010

Jazz Age Lawn Party 07/17 and 07/18/10


It seems as if the weather rarely cooperates for outside shoots, so one must be ready for just about anything. In this case it was extreme heat. On the second day, I drank approximately five liters of fluid (mostly just plain water). Luckily the shoot was on Governors Island, an oasis out in the middle of NY harbor that is about a twenty minute ferry ride from lower Manhattan. Being away from all the cars and the buildings helped a lot. There is also a cool ocean-like breeze.

I decided this time I absolutely had to something to mediate between me and the elements. I bought a very light dining fly at I. Goldberg for this trip. I did at least open the thing up before I left, but I was not able to set it up. When I got to Governors Island, I realized the design of the thing was just wrong. There was nothing to keep the support poles vertically attached to the top. It really needed an extra set of supports. So, I cut the shock cords and made two long poles and created a kind of improvised curved shell with one end securely staked to the ground. This also obviated the need for a backdrop and holder.

The second day, I really got things down adding some breasting lines as well. I was quite pleased at how clean it looked and it also provided a fair amount of sun protection for most of the day.

Both days of shooting were quite good. The first day was brisk, picking up in the late afternoon. Evelyn Kriete styled and assisted. G.D. Falksen also tagged along and helped with the finishing of the images. Sunday, I was on my own and it was slow up until the very end when a flurry of shooting rounded out the day. I made the 6:00 ferry and hit lower Manhattan with all my gear and a bag full of wet instant film negatives by about 6:20.

I then proceeded up to my cousin's place near 60th and Broadway over land. The whole rig was too large to even think about putting on the subway alone and the taxi fare for a 6.35 mile (I checked this on Mapquest) would have killed any profit I might have made; but moreover, I hate adding to the burning of fossil fuels if there is an alternative. It was decent day for summer and the temperature had dropped to a cool 86F, so I hoofed it. Foolishly, I just followed Broadway, going through some very dense areas: Soho, Union Square, Herald Square, Times Square and Columbus Circle. The whole trip took about two hours, which is about average for human locomotion--three miles per hour.

So many people out! Many tourists and I did my best to be tolerant of them slow-poking along. I also needed to be sure I didn't nail anyone in the shins with my wide load. I did surprising well. As I traveled, especially in the Times Square area, I saw so many artists on the street just trying to scrape out a few pennies. I imagined their workday--sitting there in the hellish heat, uninvited, in a largely uncontrolled and indifferent environment and probably having to scrounge for a badly needed bathroom and having to wait undue time for relief in the waiting line.

A cool apartment with my own room and bath was awaiting me the end of the day. Sometimes we don't realize how lucky and privileged we are. My cousin, who has become a kind of "angel" to my undertakings insisted I take a cab to the bus station on the final return, which I did, but I again went over the streets on the Philadelphia end, about two miles.

Portrait pics to follow in the next few days on http://tsirkus.org






Tuesday, July 13, 2010

A Craig's Post and Reply



The Craig's Post:

"I am looking for a photographer (professional or not) that can teach me a thing or two. I have a nice DSLR camera and can work my way around it but there is much I still have to learn and I constantly have questions. I'm not looking to pay anyone for this but if you are someone that is eager to pass on some of your wisdom and come along side me to teach me a few things - I would greatly appreciate it. I have an eye for photography and I prefer outdoor photography but I really need to learn more about indoor photography so I don't shy away from opportunities to shoot indoors.

Hope to hear from you!"

___________________________________

The Reply:

Hi:

Here are my thoughts:

Create a list of your questions, then research them for a week or two or three and see how many you can knock off your list. Most tech. information is out there
either in books or online. I've spent time in Barnes and Nobles just perusing what they have lapping up free knowledge. Also, a lot of camera shops, like Calumet will answer tech. questions.

Once you have a kind of "hot list"--those quandaries that nobody seems to have the answers to, post it! You might try the artist's forum on Craig's since there are a lot
of photographers in that pool. Pro's are generally amenable to answering something specific.

My guess is, you'll find the tough questions, nobody really has the answers to, or the answer varies from job to job or photographer to photographer. There is no "right" answer only what works for your own work. This is the difficult and also the exciting part about photography--there is no "royal road" and each photographer really has to find their own path, do their own experiments, and find out what works. It may be that to really answer these issues it may take years of work and practice. That is, they are just a starting point.

Ultimately, photography is really about dealing with yourself and your subject matter and how you position yourself in that mix. The really successful photographers have a strong bond with what they photograph, they know it intimately, perhaps are even obsessed. The photography is just a tool and often a lonely road that can be one of the most fulfilling experiences as well. Enjoy!

Cheers,

RA