Author initial: J

Image Archive Vienna

“Antique paper lover, photos, ephemera. Feeding the archive mostly with flea market finds.

Interested in contemporary art for a long time I started collecting photography some years ago with a stereoview, a technique unknown to me before. out of curiosity… and developed a interest in antique photography; buying most of the photos, prints, drawings, books i have on flea markets or local shops;

collecting without hierarchy; thinking about A.Warburg a lot;

Creating INTERMEDIATES: pattern images, tableau collages, collages and graphical works as intermediates to leave the dry archive space to maybe reach people that are not as fascinated by single images, details or collections or the research thereof as I am…

My takeover put me in the position to bring my collection in some kind of order for that project, what was new for me; which to choose and how to display? Exploring different variations; each one altering the original what is unwanted, as archivist, enjoying the pure existence of an object.”

Joel Rotenberg

I’ve been working with found photography since the early 1980s. Although the kind of thing I choose hasn’t changed radically in all that time, I have new thoughts about what to do with it once I’ve chosen it.

Within the larger realm of found photography, I’m most interested in snapshots: photos taken with snapshot cameras, originally for non-art purposes. In the past I’ve often proceeded on the assumption that I can use snapshots to be directly expressive (in a broad sense). But in this project I’m not primarily concerned with exercising my “eye,” my taste in snapshots. I’m not going to display my favorites or sort them into subject categories. Rather, I want to imagine some different ways in which my photos could be presented.

My first purpose in doing this is to demonstrate that, even if I feel my choices are already invested with meaning, I can still construct contexts for them in order to force that meaning into the open and put it to work. My second is to make it obvious that snapshots are complex enough to be harnessed in some very different ways.

Even a single example can look in many directions at once. To bring that point home, I’ve made some photos do double duty: my twelve sketches for meaning-bearing contexts are set up in such a way that the photo at the end of one sequence will begin the next.

Since every found photo is a repurposing, there is a kind of tension between what snapshots do for us, the finders, and how they originally worked as photographs. Some of my proposals here are “irresponsible”: they don’t always have much to do with the world of the snapshooters. But the way snapshots lend themselves to being reinterpreted so completely is itself entirely snapshotty.

Today: Call and response.

Jesse Langille

Jesse Langille is an artist, curator of images, maker of zines, and a photography collector. He studied art at the Rhode Island School of Design and resides In Philadelphia

Lora Webb Nichols Archive

This photography collection is housed at the American Heritage Center at the University of Wyoming in Laramie. Lora Webb Nichols (1883-1962) created and collected approximately 24,000 negatives over the course of her lifetime in the mining town of Encampment, Wyoming. The images chronicle the domestic, social, and economic aspects of the sparsely populated frontier of south-central Wyoming throughout the early 20th century.

Jon Feinstein

” I split my time between making photographs, writing about photographs, marketing photographs, curating photographs, and raising my daughters.

Since 2019, I’ve been directing content/marketing strategy for The Luupe, a new platform connecting women and non-binary photographers with big brands to create diverse, authentic content. .

In my spare time, I run Humble Arts Foundation, a non-profit dedicated to supporting up and coming art photography. I work with photographers on collaborative interviews to make their photos shine.

I’ve curated over 50 exhibitions online and IRL, collaborating with curatorial heroes like Lumi Tan, Charlotte Cotton, Natalia Sacasa, Roula Seikaly, and Mickalene Thomas, landing press in HyperAllergic, Aperture, FeatureShoot, The New York Times and The New Yorker. 

I recently won the 2019 Blue Sky curatorial prize with Roula Seikaly, and also recently, curated my first museum show at The Ogden Museum in New Orleans.

My writing on photography has appeared in VICE, Slate, Daylight, Aperture, Adobe, Hyperallergic, Photograph, and Time, and my weekly stories and interviews on Humble’s blog have helped get photographers press, representation, and sell their work. 

My own photographs have been featured in Vice, Booooooooom, Paper Journal, Business Insider, Bon Appetit, Lenscratch, and (strangely) Fox News (no regrets). 

I also mentor photographers and am available for a whole lot of projects – let’s connect! 

Sarah Jitjindar

Sarah is a visual artist and researcher based in London. Her work investigates the intrinsic nature of materials, their arrangement and the impact of process and time on their structure, as well as the reinterpretation of “non-art objects” as “art objects”. She holds a bachelor’s degree in Classical Studies and a master’s degree in Human Rights.