Now in its 7th year of publishing, Aint Bad, the magazine of new photographic art founded in Savannah, Georgia, is revisiting one of its core themes and values, collaboration. Each issue starts with an open call, from which a group of photographers decide on a selection. For Issue 13, the curators chose “a diverse group of artists who are making work in just about every way possible”; “each one of them expressing extremely personal and often universal experiences, each project emanating passion for people, place and planet”, according to a statement from the magazine.
Here, Taylor Curry, the designer at Aint Bad takes us through some of his picks from the latest issue.
Zora J Murff
“We’ve been following Zora and his work since 2014, when we first met him through our good friend and educator, Jeff Rich. We had the opportunity to publish his first monograph, Corrections, in 2015, which showcases the work he was making while attending school at the University of Iowa. Zora has become one of the strongest young contemporary photographers today, and we’re so honoured to continue to showcase his work as he continues to impress the photographic community.”
Of his project, At No Point In Between, Zora says: “[It] prompts inquiry into how racial violence has been recorded through images, and how these same images can be used to interrupt collective belief. I accomplish this by invoking the notion of the photographic archive; and reinterpreting complex narratives about race, power and violence… In this body of work, witnessing is intertwined with critical analysis, and I provide a deeper understanding of systemic white supremacy and the resulting violence therein.”
“We only became aware of Alexis when she submitted her work for this issue, she immediately stood out to us as a talented artist. Alexis’ work is focused on the American West, and she’s truly one to watch – we’re excited to announce that we’ll be publishing her first monograph, Color Me Lucky, in spring 2019!”
Of her work, Alexis says: “When I was 6, I wanted to be just like Evel Kneivel – the ultimate daredevil – and Color me Lucky is inspired by his swagger. It’s about the momentum that carries you forward, even when you know there’s a train-wreck ahead. It opens up a conversation about what attracts people to act on or witness risky behaviour for the sake of a thrill.”
“Nancy is one of our favourite photographers we’ve worked with in our many years of publishing. Her dedication to the medium and her long-term body of work is incredible – and we’re so happy to learn that she’s just been awarded the 2018 Aaron Siskind Foundation Grant.”
Of her project, Weathering Time Nancy says: “I’ve been photographing myself since 1982. The visual calendar consists of more than 2,500 photographs, which include my body from head-to-toe, as well as my environment. Most often I’m by myself, but sometimes I’m with family and friends. As time passes, births, deaths, celebrations and bad days happen. Pets come and go, fashion, hairstyles and technology evolve. Not only does Weathering Time chronicle my youth to the dawn of my old age; the images reflect the experience of my generation, and underscore the cultural, technological and physical changes that have occurred over the last 35 years”.
“We were first introduced to Maury when he submitted to issue 08 of Aint Bad, which was focused on the American South. We love Maury and his passion for the Southern regions of the US. His body of work, Do the Priest in Different Voices, has been on our radar since 2014, and we are beyond excited to announce that we’ll be publishing this work in his first monograph, which’ll be released in spring 2019!”
Of his work, Maury says: “My most profound childhood memory involves reading a family bible. The illustrations don’t function as mere visual embodiments of the text, but rather communicated a far more powerful language, evoking both comfort and trepidation. The words of the book provided little interest, but the imagery moved me to contemplate the unseen. While I’m ambivalent towards the old established narratives, the semblance of the mythical in the mundane enthrals me. I identify this conflict in the everyday: objects and situations that are alternately ineffable, laughable, and at times terrifying.”
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