Photographers Quarterly Issue no. 4


When you name your magazine Photographer’s Quarterly, there’s an implicit promise of 4 issues a year.

I get it.

But I’m famous for my honesty, so here comes a dose. When I first pitched Rob on the idea for PQ, I had a lot more time on my hands. Back then, hours might fly by, unaccounted for.

But my life changed.

I took on a new job, with more responsibility than I could reasonably handle. As a result, I’ve been constantly behind this school year.

I apologize. Mea culpa. Je regrette.

This issue was edited with Winter in mind, as I expected to have it ready in February. That’s the truth.

Now it’s May, and many of us are thinking of Summer. Will we squeeze in three more issues in 2016? Perhaps. I guess. (But it’s not bloody likely.)

That said, the last four weeks here in Taos have been a bombardment of snow. Winter, which took a hiatus in a beautiful run of March and February weather, came at us hard this Spring.

I write this not two days after our most recent snow storm, on May fucking first, when flakes fell from the sky like dollars raining down at an Atlanta strip joint. (Random reference, yes, but you get the point.)

Speaking of getting to the point, I’d like to introduce the artists we’re highlighting in this, the Spring issue of Photographer’s Quarterly. As usual, we’ve aggregated cool photo projects for your perusal. Though they were originally envisioned as being elegies to, or respites from, Winter’s icy gaze, now they’ll have to stand in for rebirth, renewal, and all the good juju Spring has to offer.

Not that we favor the famous here at PQ, but today, we’ll start off with a small sample of pictures from the legendary Emmet Gowin.

Though he’s super-well-known for his family pictures from the 60’s, and his environmental, aerial work later on, this particular group of photos, from early this millennium, has not been widely seen.

It includes butterflies, made in Central America, and images of his lovely wife Edith, who has aged along with Emmet. Though Nick Nixon is more renown for giving us proof of the ravages of time on flesh, by photographing Edith later in life, Emmet has produced a counterpoint to the vision of his sassy beloved, pissing on a barn-wood floor in Virginia.

I’ve seen Paula McCartney’s work around the web a lot in the last few years. Unfortunately, I still haven’t seen it on the wall. But her project “A Field Guide to Snow and Ice” is simply beautiful. Not much explication needed here, but I suspect you’ll dig the pictures.

I met Chris Kleighe at the Filter Festival in Chicago last Fall. Such a great guy. He showed me a book of his photographs taken at Caral, an ancient site in Peru that’s recently been proved the oldest in the Americas. Its 5000 year old society changes the historical narrative, as we now know that the Western Hemisphere had a major settlement as old as Egypt, China, and Mesopotamia.

The pictures are pretty excellent, as they document the ruins in various types of light, and mashup closeups of art objects with sky shots of geoglyphs made from a hot air balloon. Chris is passionate about spreading the word, as archaeological knowledge often takes a long time to codify, and Caral has only been understood in the last decade or so.

I also met Laura Husar Garcia at Filter, though not during the reviews. (We threw back a few drinks at a party.) Luckily, I got to see some of her work when I judged the Critical Mass competition last year. Her project about aging Nuns is obviously poignant. Rarely does the choice of black and white end up being this crucial, but it works perfectly here.

Niko J. Kallianiotis emailed me to check out his work late last year. We try to include viewer submissions here in PQ when possible, I really liked his pictures from his native Greece, though he’s currently based in the US. All year long, we’ve heard about the migrant crisis in Europe, and how it’s affecting Greece. (Unless the stories focus on Greece’s nightmare economy.)

Furthermore, when most people are jonesing for Summer, they dream of perfect Aegean beaches, cold beer, and salty spanakopita. (At least I do.) So I thought this group of pictures, which presents a more mundane reality, was a cool thing to show you guys.

We’ll thank Critical Mass again for introducing me to the work of Cheryl Medow. Her project photographing exotic birds is not something I’d normally show, as it lacks that edgy, weird vibe I like to highlight here at PQ. But man, are these pictures compelling.

I think it’s predominantly the hyperreal aesthetic, as the creatures look like they were birthed in Maya, or some other rendering software, rather than coming out of eggs kept warm by their mother’s bottoms. And thinking of Tropics might just get us through the last few cold snaps, before Summer is here in earnest.

Last, but of course not least, we have the work of Caleb Cain Marcus. I’ve reviewed two of his books in APE already, and am officially bringing the first project back here, as a long-form photo essay, because I like it so much.

These pictures depict real glaciers. Mountains of ice on which the artist actually walked. But his manipulation of scale, and savvy digital skills, have rendered the subjects as hyperreal as Ms. Medow’s birds.

We’re killing this planet because people are so disconnected from the natural world, and from the consequences of their actions. These photographs, which make real nature look so discomfiting and artificial, are the perfect way to honor the vulnerable victims of our collective appetite for consumption.

Photographers Quarterly Issue no. 3


I was never what you might call an “artsy” kid.
Not me.

I was a decent-enough jock in a suburban town, in the days before the Internet.

Sports were all we had.

I would have been fine, socially, if my younger brother hadn’t been better looking, more popular, and a better athlete than I was.

Rather than thinking myself well-adjusted, I spent much of my youth jealous of him. Brooding. The fact that we didn’t get along only exacerbated my sense of ennui. Eventually, my artistic soul outed itself.

Thank God.

Because the more I get to know myself, the more I realize something inside me craves to see new things, to make pictures that push boundaries, and to write from the heart, no matter the consequences.

As I’ve said in my regular writing gig at our parent blog, A Photo Editor, I like the edgy stuff. The things that aren’t for everyone. The visions that make you uncomfortable, so you can then ask why?

This is now our 3rd issue of Photographer’s Quarterly, the online magazine Rob and I dreamed up so we could show whatever we want. Long-form-visions that would otherwise be chopped. Pictures that may not need an explanation, but might well put you off as much as they engage you.

It’s fun to make up the rules as you go along.

Though there’s already snow on the ground here in Taos, it is still Autumn, technically. Fall is the time for change. The leaves drop, and so do our natural defenses. (Gotta get your flu shot.)

Now that you’re more vulnerable, we’re pushing this venture up to hyperdrive, to see if we can make a bigger impact on your psyche.

Consider yourself warned.

We’re always hearing about why there needs to be more diversity in the photo world. Some people blog about it, or Tweet about it, and others just take it as gospel. We need more opportunities for young artists, women, and people of color.


We’ll, we’re coming correct here in Issue 3. We’re showing 6 young, diverse, edgy female artists from around the world. Their work is dynamite, affecting, and bizarre.

I love it all, frankly, and hope you will too. But if you hate some of it…if it makes your blood boil and your eyes expand until they implode in your skull… that’s fine too.

We’ll begin with Courtney Crawford, a young African-American artist currently studying for her MFA at Columbia College in Chicago. She’s originally from the San Antonio, Texas area, so I do wonder how she handles those Windy City Winters. (We met at Filter.)

Courtney told me that she has a chronic gastrointestinal disorder. She’s not well, unfortunately. So she uses her art to explore her insides; to investigate what makes her ill. In this series, she’s used Deer guts as a stand-in for human innards, but does it really matter?

I met Katty Hoover at Review Santa Fe in June, alongside the rest of the ladies we’ll feature. She’s based in Reno, NV, where she tells me they’ve already had a boatload of snow. (Go, El Niño, Go!) Katty is originally from Florida, which most people know is the craziest place on Earth. (Though Nevada is not far behind. Guess Katty goes for the weirdos.) Katty photographed in a nudist colony in the FLA, and there are most certainly a lot of penises on display. Should it be penii, I wonder?

Hye-Ryoung Min is a Korean artist based in New York City, married to a Guatemalan Jew. (Yes, it is the 21st Century.) She travels back and forth between the two countries, which seem so different, on the surface. Her solution was to create a hybrid of her two worlds: Seoul and the NYC. These photos are composites, though you’d be hard pressed to find any seams. She’s made her own digital homeland, which represents neither, and both, of her selves.

Next we’ve got Jessica Martinez, who’s currently studying at Syracuse University. She’s originally from South Central LA, so I’m guessing like Courtney, she must be pretty sad once the gray skies roll into Upstate New York. (Cold. Gray. Monotonous. No thank you.) Jessica’s pictures, which she was uncomfortable showing here, depict a playful but twisted take on sexuality and identity.

Lots of people use those words, I know. They’re buzz terms in the art world, and always will be. But you show me another series with chicken feet on a naked back, and kittens in someone’s mesh under-pants, and then we’ll talk about whether she’s an original or not.

I’ve already written about Yvette Marie Dostatni for another publication which we shall not name. But from the moment I saw her project “The Conventioneers” in Santa Fe, I knew I had to have the jpegs for PQ.

They combine humor, pathos, irreverence, wit, and curiosity at humanity’s foibles, and I couldn’t get enough. That Yvette is an open-hearted Chicago girl that you can’t not love…had nothing to do with my ebullience. This work rocks.

Last, but of course not least, we’ve got Svetlana Bailey, who was born in Russia, raised in Germany, and then lived for years in Australia. Got that? Now, she’s studying at RISD in Providence, RI.

These pictures don’t make a lot of sense to me. I actually had trouble reading the first picture or two she showed me, and I rarely get fooled. I thought I was looking at digital composites, but Svetlana assured me they were all straight photographs.

These window displays and quick street scenes are so strange, but I can’t my finger on why. That’s the reason ambiguity never goes out of style in art photography. Always leaving them guessing…

Jonathan Blaustein, December 2015

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Photographers Quarterly Issue No. 2

Photographers Quarterly is a new online magazine edited by Jonathan Blaustein and designed by myself, that gives us an opportunity to to show portfolios and make something purely about the photography. And of course, being an online magazine, we can do whatever the hell we want with it, which I love.

Please enjoy the Summer issue of Photographers Quarterly featuring the work of David Gonzalez, Gay Block, Phillip Toledano, Maude Schuyler Clay, and Susan Worsham.


Introducing Photographers Quarterly

Photographers Quarterly is a new online magazine edited by Jonathan Blaustein and designed by myself, that gives us an opportunity to to show portfolios and make something purely about the photography. And of course, being an online magazine, we can do whatever the hell we want with it, which I love.

You’ll find the first issue to be a great mix of familiar and not-so-familiar names, but consistently high quality pictures. I’m excited to see what Jonathan comes up with each quarter, but please enjoy the inaugural spring issue of Photographers Quarterly featuring the work of Roger Ballen, Valery Rizzo, John Gossage, Maija Tammi, Tabitha Soren and Robbe Vandegehuchte De La Port: