Candy #3, 2010 by Robert Grimm

Candy #14, 2010 by Robert Grimm

Candy #10, 2010 by Robert Grimm

Candy #2, 2010 by Robert Grimm

Candy #21, 2010 by Robert Grimm

Robert Grimm

Website: http://www.apparebit.com

Bio:
Robert Grimm was born in Germany in 1968 and moved to the United States in 1991. He lives and works in New York City. When not creating art, he conducts research in computer science.

Artist Statement:
The photographs in the series Candy are taken off a computer's screen showing video streams with male strippers. The video streams are transmitted live, in real time across the internet, and are accessible through several websites, without registration, for free. Payment is only necessary for private one-on-one time with a stripper. In addition to the video streams, the websites support mutual text messaging between strippers and viewers. Strippers are advertised as amateurs. However, repeated visits to the websites show the same strippers appearing in different rooms and different strippers appearing in the same rooms. This suggests a degree of organization inconsistent with strippers being amateurs. Judging by the language of text messages, many strippers are located in Latin America or Eastern Europe. Each image is filtered through two digital cameras. A stripper's webcam captures the original, continuous stream of images. It also tends towards coarse pixelation and color shifts. The artist's still camera then recaptures individual frames. It also reproduces the structure of the computer screen that is displaying the video stream. As a result, it underlays each image with a fine grid of light and shadow.

Is there a true memory? Childhood homes are often remembered as having been larger, more expansive. Certain sounds and smells can trigger emotionally-laden memories unique to the individual. And, as is usually the case, seminal events are often remembered distinctly and differently by each of the experiencers present.

In Contender Kristina Williamson's submission, the artist explores memory and the digital age, weaving a photographic journey that calls to mind both memory as a recollection and—through her use of pixelation—memory as a computational means of storing sequences of information or data.

Crystal Gait, 2011 by Kristina Williamson

Of the work, she says, "...The more you recall something, the more you forget it. Each time we revel in something from our past, it mixes with the present experience and becomes less of what it was and more of a mash-up with what currently is. My work addresses memory and the act of recalling."

Conjure, 2011 by Kristina Williamson

Survivor's Guilt, 2011 by Kristina Williamson

Williamson goes to explain:

[The work] explores the relationship between painting and photography, marrying the reproductive elements of photography with the physical act of drawing and mark making. This series of prints was created through a process of transferring layers of printer ink onto paper by hand. Each layer becomes a fragment mimicking a flash of memory. For me, it is a return to the physical process of photography that existed in the traditional B+W darkroom. Small sections of the image are laid down at a time as the digital photograph slowly begins to reveal itself on paper, like a print in a developing bath. At the same time, the fragmentation of the layering process nods to ideas of compression and pixelation of digital imagery. The rectilinear segments that make up these transfers reference the pixel as a unit and the building blocks of our memories. Today, our experiences are pixelated both literally through digitalization as well as figuratively through the process of remembering and forgetting. Almost nothing happens without being digitized in our camera phones and posted on Facebook. This act in itself is an anticipatory tool for recalling our memories in the future.

Chasm, 2011 by Kristina Williamson

Every move feels like a move, 2011 by Kristina Williamson

Kristina Williamson (b. 1980) was born and raised in Pen Argyl, PA. In 2003, Williamson graduated from Parson School of Design with a BFA in photography and, in 2004, was awarded a J. William Fulbright grant to pursue a project photographing life on the island of Kythera, Greece. She spent over a year and a half living and photographing on the remote island. Her work has been presented in solo exhibitions in Greece, New York and Washington D.C., as well as in various group exhibitions in the U.S. and abroad. Williamson currently lives in Brooklyn, NY, where she works as a freelance photographer and regularly posts her new creations on her blog.

Funeral homes bear the burden of being at once comforting (if only temporarily) and austere, a balance necessary to convey a sense of being able to mourn the deceased in a home-like environment. As a place of last respects and deep grief, the funeral home becomes an unwanted but ultimately unavoidable experience. In Contender Corey Hendrickson's submission, the photographer used his 35mm Canon EOS 1Ds Mark III to capture the thought-out, reverent and functional staging of funeral homes across Vermont.

Funeral home interior with matching yellow sofas and patterned wallpaper; Montpelier, Vermont, 2010 by Corey Hendrickson

Funeral home interior with silk flowers, life savers and princess phone; Rutland, Vermont, 2011 by Corey Hendrickson

Hendrickson succinctly explains:

Funeral homes are created as [a] sanctuary for grief and loss. I approached these somber environments as an archaeologist, carefully documenting the wallpaper, drawn curtains, antique couches and air fresheners. I am intrigued by the aesthetics of comfort and found beauty in the careful arrangement of everyday objects.

Casket showroom with men's suit, shirt and tie; Chelsea, Vermont, 2011 by Corey Hendrickson

Funeral home interior with Kleenex; Chelsea, Vermont, 2011 by Corey Hendrickson

Born in 1975 in Cambridge, MA, Corey Hendrickson worked for the U.S. Forest Service in Colorado and Alaska before moving to Jackson, Wyoming, and starting a career as a photographer. Corey then received his MFA in photography from the Academy of Art University in 2009. Corey is a 2011 Photolucida Critical Mass finalist for this same body of work, and one of the prints is now in the permanent collection at the Center for Fine Art Photography in Colorado. Corey photographs environmental portraits, architecture, food and travel. He currently lives in central Vermont with his dog, Jake, and works throughout New England.

Untitled, by Corey Hendrickson

Funeral home interior with organ, podium and Rembrandt; Rutland, Vermont, 2011 by Corey Hendrickson

Catching Fire I, 2011 by Maria Theresa Moerman Ib

In her submission, Contender Maria Theresa Moerman Ib captured the remnants of a fire in her pictures of soot-laden cobwebs. Looking similar to peeling skin, unraveling fabric or disintegrating leaves, the photos serve as a testament to the frailty, yet resilience, of ephemeral structures.

Catching Fire II, 2011 by Maria Theresa Moerman Ib

In her statement, the photographer explains:

My work explores borderlands: between the familiar and the unknown; between the poetic and the grotesque; things that are hidden; things we don't notice, or don't want to notice. My aim is always to recreate a mood or memory that urges us to rediscover the world and ourselves one fragment at a time. A recent fire in the basement of my building inspired me to document and subsequently recreate the atmosphere left after the blaze had been put out. Fire is ephemeral, so it is difficult to capture its essence. In nature, fire is both destructive and life-giving. It destroys the old and encourages new life to take form. The black cobwebs thick with soot, collected in situ, serve as a forensic investigation of unseen things lost and gained. Webs are often associated with fear of spiders, dark corners and time passing, but for the spider they are a temporary dwelling place and a means of survival. This time they have caught an element of fire, allowing a memory that is as fragile as themselves to survive.

Catching Fire III, 2011 by Maria Theresa Moerman Ib

Catching Fire IV, 2011 by Maria Theresa Moerman Ib

Born in The Netherlands, photographer Maria Theresa Moerman Ib currently lives and works in Glasgow, U.K. She is currently working towards obtaining a BA (Hons) in fine art photography from the Glasgow School of Art, and has had her work in exhibitions in Europe and the U.S. To view more of her work, visit her site.

Catching Fire V, 2011 by Maria Theresa Moerman Ib

B Side #6, by Rubi Lebovitch

+Congratulations to photographer Rubi Lebovitch, who joins Walker Pickering and David Welch in becoming the first photographers from the Hey, Hot Shot! First Edition 2011 round of competition to release a limited-edition print with 20x200.com

+We're currently finalizing all the details and will be announcing very soon who the first five Hot Shots from 2011 are. The Hot Shots will each win $500, will be invited to participate in a group show at Jen Bekman Gallery and will have the opportunity to work with 20x200, in addition to receiving countless opportunities for exposure.

+If you missed your chance to submit your photographs to the first round of the competition, don't worry—we will soon be announcing the Second Edition 2011 round of competition! At stake is the chance to win the $10k grand prize, in addition to the hallmark awards we offer. Sign up for our low-volume newsletter to be the first to find out!

Around NYC:

+Head to the Aperture Foundation's gallery from now until September 24th to catch the thought-provoking discussion/exhibition about the media and information overload What Matters Now? Proposals for a New Front Page.

+You can also catch Aperture at the New York Art Book Fair, beginning September 30th through October 2nd, at MoMA PS1.

+Photographer Bruce Davidson will be giving a talk and signing his seminal book Subway on Monday, September 26th, at 7:00 p.m. at the Strand Bookstore.

four corners, 2010 by Jennifer Mason

Two-time Contender Jennifer Mason explores uneasiness in her work, whether in the psychological tension of suburban existence, the near-wilting flowers in her still-lifes or in the empty, digitally altered domestic interiors that she submitted for this round of the competition.

In this series, the photographer "strives to put forth new ways of looking at the four walls that make up a structure... in turn disrupting the normal 'homely' sense associated with suburban homes."

Pink room, 2010 by Jennifer Mason

swinging doors 1, 2011 by Jennifer Mason

Mason explains:

The images I digitally create have one of two objectives: I am either trying to create spaces that help evoke feelings of unease, discomfort and anxiety to create a physical space that closer matches my internal experience of reality, or I want to propose and digitally construct new spaces that provide a hiding place, with an eerily, sleepy banality in which one could just disappear.

swinging doors 2, 2010 by Jennifer Mason

Jennifer Mason is an Auckland-born artist working in the medium of photography. She has studied photography in New York (2004); gained a BFA / BA from Elam School of Fine Arts, University of Auckland (2005); and has won numerous art awards for her work, which also features in prominent New Zealand collections.

swinging doors 3, 2010 by Jennifer Mason

Between 7,000 and 8,000 people die each year in Argentina due to traffic accidents, a number that is significantly larger than most other countries in the Americas. The country's notoriously lax laws (and lack thereof) regarding traffic violations—including driving under the influence, speeding, wearing seat belts, etc.—result in an estimated $10 billion in losses each year. Argentina-based Contender Diego Levy, armed with a Hasselblad, took to the streets of Buenos Aires to document various car wrecks.

Untitled from the series Crashes, by Diego Levy

Untitled from the series Crashes, by Diego Levy

Diego explains:

In Argentina, the number of traffic-related deaths is 3 times higher than most countries of Europe and the United States, which have obligatory road safety education at school, high fines for traffic offenders and rigorous exams to obtain a driver's license. The levels of traffic-related deaths in Argentina remain sky-high. Traffic-related accidents are responsible for 35.2% of all deaths, making the traffic-related death rate in Argentina one of the highest in the world. These accidents cause 21 deaths per day (more than 7,000 per year), more than 120,000 injuries per year, and enormous financial losses (estimated at $10 billion dollars per year), according to data from the Argentine NGO Luchemos por la vida. As a photographer, I am interested in working within urban landscapes, and car crashes have been part of this landscape for some time. Like many people, I find myself strangely drawn to the visuals of car accidents. With this in mind, some time ago I decided to photograph car accidents in the city of Buenos Aires. My intention is neither sensationalist nor morbid: I simply want to use these images to portray the violence and intensity of the accidents caused by negligence, lack of education and the lack of respect for one's own life and others. We Argentines take to the streets and highways with an almost suicidal attitude that is undoubtedly one of the most serious problems of recent years. This work aims to explore an issue that is common to many cities around the world. The project will present the harsh reality of the statistics on traffic accidents. These destroyed vehicles, abandoned like metallic sculptures in an inalterable city, are an urban metaphor for the widespread violence in which we are all immersed. The finiteness of life is exposed amidst twisted metal. And on a more personal level, working on my own fears may, in some way, help to exorcise them.

Untitled from the series Crashes, by Diego Levy

Untitled from the series Crashes, by Diego Levy

Diego Levy was born in Buenos Aires in 1973. Since 1991, he has been working as a professional photographer. In 2001, he received the first prize in the New Journalism Contest granted by the Foundation for the New Iberian-American Journalism presided by Gabriel García Márquez. In 2003, the organization FiftyCrows, based in San Francisco, California, selected Levy as a finalist in their annual International Fund for Documentary Photography. In 2005 and 2007 he received grants from the Buenos Aires Cultural Funds. In 2008, he was awarded the Grand Prix of National Chamber of Visual Arts of Argentina. In 2009, his project Crashes received the first prize in the Book Author Fair in the Fotoseptiembre festival 09, Mexico. He is the author of the books Sangre, published in 2006, and Choques, published in 2010. Since 2006, he has been represented by the VU Agency in France. He lives and works in Buenos Aires.

Untitled from the series Crashes, by Diego Levy

Untitled from the series Crashes, by Diego Levy

Prayers, 2010 by Patrick Hogan

One must avoid chance and outside stimuli as much as possible; a kind of walling oneself in belongs among the foremost instinctive precautions of spiritual pregnancy.—Friedrich Nietzsche

It will never be my view that solitude is disturbed by the presence of a friend, but that it is enriched. If I had the choice of doing without one or the other, I should prefer to be deprived of solitude rather than of my friend.—Francesco Petrarch

For his series Solitary, Half Mad, Contender Patrick Hogan created a photographic short story based around his experience of living in isolation, with a very low budget, in the rural countryside of Tipperary, Ireland. Exploring his surroundings, Hogan encountered abandoned homes in the woods and, using his Nikon DSLR and Bronica medium-format film camera, documented the environs largely as he found them. The resulting series borders fiction and reality, and presents a psychological story of poverty and reclusiveness often at odds with the literary and romanticized ideals regarding solitude.

Mustard, 2010 by Patrick Hogan

Hogan explains:

I was interested in people who lived alone. For six months, I took pictures around the area. I photographed the forest at night and I photographed rooms where people lived or died on their own. I became interested in the capacity we have as people for isolation, and how romantic ideals of solitude and escapism are usually more fantastical than reality will present. These images are about living alone and the relationship between reality and fantasy.

Animal In The Dark, 2010 by Patrick Hogan

Behind The Garden Wall, 2010 by Patrick Hogan

Patrick Hogan is an Irish photographic artist currently living and working in southeast Ireland. He won the Gallery Of Photography Artist Award 2011 for his series Solitary, Half Mad. In 2009, he completed two international artist in residence programs in Iceland. Prior to this, he worked as a commercial photographer with a leading Irish agency. He will be exhibiting nationally and internationally throughout 2011.

Spent, 2010 by Patrick Hogan

Table, 2010 by Patrick Hogan

Motel Bien Venido, 2010 by Walker Pickering

Congratulations to Walker Pickering, who is the second Contender from the First Edition 2011 round of competition to release a print with 20x200! Walker's Motel Bien Venido is available for purchase as a limited-edition print and starts at just $20 for an 8"x10".

Of special note is that Walker's submission was also the first Contender post of the season that we featured. Earlier this year, I wrote about the photographer:

Contender Walker Pickering's series Nearly West depicts the still, solitary moments that wanderlusters and Kerouacians long for, the instances of communion between the nomad and that which is encountered. Each setting hints at a narrative describing the deeply personal nature of experiencing a new point on a map, whether planned or not. The muted palette therein reflects the worn and weathered atmosphere endemic to the towns most travelers opt to overlook. These seemingly mundane destinations the Texas-based photographer comes upon are interspersed with beautiful, serene discoveries.

Keep an eye on your inbox and the blog in the coming days, as we will be making BIG announcements regarding the First Edition 2011 Hot Shots, as well as the Second Edition 2011 round of the competition. And sign up for the 20x200 newsletter to see which other Contenders release a limited-edition print!

Untitled, 2011 by Philip Welding

With an estimated 100,000 hours spent at work in one's lifetime, the office is an undeniable part of a person's everyday. In Contender Philip Welding's submission, the photographer examines it at night. Devoid of human figures and interaction, the remnants left behind—personal belongings left by staff; institutional mainstays dictated by management—present the office under a different light.

Untitled, 2011 by Philip Welding

In his artist statement, Welding explains:

The office workplace is a very controlled and restricted interior space. It exists for a function; to help drive forward a collective institutional goal. With the introduction of workers to the space, there is a blurring of boundaries between the workplace and the domestic, as remnants of the outside world are brought in. This domestication of space is one of many tactics employed to survive everyday life; the small resistances, (in)voluntary sculptures, time-wasting, social interaction, community. It is the by-products of these 'quiet' tussles between worker, employer, built environment and technology that become center stage of the work. These observations show physical evidence of the interactions, lives, loves, humor and character of working communities, in the context of a changing work environment where the virtual has quickly become the dominant platform of communication, eclipsing the tangibility of the real world. Where management has cared for the environment using plants, mass-produced prints or positive slogans, you get a sense of homogeneity; that this could be part of any office scene. There is an artifice to their placement, a 'tactic' to influence behavior. Nocturnal prowling in these environments can be thrilling; a sense of intrusion, where familiar scenes seem transformed. Is this how it would appear to an outsider, an alien?

Untitled, 2011 by Philip Welding

Untitled, 2011 by Philip Welding

Philip Welding is a U.K.-based photographer and educator working in Leeds. His photographic style borrows freely from both documentary and advertising photography. He is currently pursuing a postgraduate degree from Leeds Metropolitan University.

Untitled, 2011 by Philip Welding

14.10.2010 Bornstaße, 2010 by Ralph Schulz

The items that make a house a home—furniture, artwork, appliances, etc.—are frequently replaceable by newer, updated models or versions. Once replaced, these items that once provided comfort are discarded, likely left in piles on the street for garbage collection day. Contender Ralph Schulz found in such piles the remnants of interiors, and he hauled the thrown-out objects into his studio, where he created atmospheric sets from the materials.

30.11.2010 Bornstraße, Essen, 2010 by Ralph Schulz

Schulz explains:

In many German cities, bulk trash, such as old sofas, shelves or broken electronics, can be placed in the street to be picked up by the public garbage collection. Most often, one garbage pile contains only objects from one single household. Larger objects are often destroyed or taken apart, whereas small items are often aggregated in boxes or plastic bags. In their original place, the scrapped objects were able to fill an apartment and formed a specific private space and atmosphere. In contrast, heaped up objects in the street only occupy some meters of sidewalk. Space is compressed. For my [series] Reconstruction of unknown Interiors, I carried every single item of one garbage pile to my studio, where the items are stored. Items from one pile are not mixed up with items from other garbage piles. In a time consuming process, I try to reconstruct the destroyed interior represented by one garbage pile. Not knowing the original interior, this reconstruction remains an approximation to something that has vanished already.

24.09.2010 Steeler Straße, Essen, 2010 by Ralph Schulz

02.11.2010 Bornstraße, 2010 by Ralph Schulz

Ralph Schulz studied photography under Jörg Sasse at the Folkwang University of the Arts before attending the Central Academy of Fine Arts in Beijng, China. He returned to Germany and attained his master's from Folkwang with the series Reconstruction of unknown Interiors, which he continues to work on.

24.09.2010 Steeler Straße II, 2010 by Ralph Schulz

10.12.2010 Bornstraße, Essen, 2011 by Ralph Schulz

One of the Six Thousand, 2011 by Moya McAllister

Plenty of films and books have covered the questionable, if not downright deplorable, practices of the mass production of food. High on that totem pole are the pieces written about the livestock industry in America. In Contender Moya McAllister's series, reverse famine, the photographer documents the process in rural Ireland.

Abbatoir #1, 2011 by Moya McAllister

In her artist statement, McAllister explains:

This body of work, reverse famine, was created during an assignment for a farm-to-table cookbook, The Irish Butcher. During my four-week stay in the rural West Counties of Ireland, I lived on a dairy farm with a converted photo studio while visiting different kinds of farms around the area... My admiration for the Farm Security Administration's documentary photographers, especially the work of Dorothea Lange, influenced me greatly during the creation of these images, though my focus was more animal than human.

Queen for a Day, 2011 by Moya McAllister

Abbatoir #2, 2011 by Moya McAllister

She adds:

A city girl at heart, through this project I grew sensitive to the issues of abuse or mistreatment that surround farm animals in the United States; I believe all animals, especially those we are going to consume, deserve our respect and care. In Ireland, I saw firsthand a long held tradition of love intertwined with commerce. While images of meat can evoke death to many, to me they have become a primitive symbol of sustenance and the essence of life... My attention during shooting was naturally turned toward animals as living creatures of warmth and beauty; human beings often attribute human characteristics to animals in order to create an emotional tie. We don't like to be reminded that we eat animals but the reality is they are food, and there can be beauty in that alone.

Richard's Pig, 2011 by Moya McAllister

Moya McAllister's career has spanned multiple media outlets, most notably Time Inc., Harry N. Abrams, Roger Black Studios, Newsweek, Scholastic and Hemispheres. Her involvement in the photography industry includes serving as a panelist, judge and photo reviewer for a variety of reviews and events, most recently at PhotoPlus Expo/PSPF 2010. Moya is also co-founder and administrator of PictureEditors.Org with Rob Haggart of APhotoFolio and APhotoEditor. After more than 15 years as a photo editor, director and producer, McAllister is once again concentrating on full-time photography, shooting food, portrait and travel commissions.

2008.10.13-114, 2008 by Anton Young

The Merriam-Webster dictionary defines taxidermy as the art of preparing, stuffing and mounting the skins of animals and especially vertebrates, though the fact that "art" is included in its definition seems debatable to some groups.

In the First Edition 2011 round of the competition, we received quite a few submissions that, in one way or another, were related to the matter. In his series Menagerie, Contender Anton Young literally takes a close look at the deceased animals.

2008.08.28-075, 2008 by Anton Young

In his statement, Young writes:

This group is from the series Menagerie, which is a series of pictures of taxidermy. I'm a vegetarian and have been told (repeatedly) it's a strange subject to be obsessed with. I find taxidermy simultaneously beautiful, fascinating and a bit horrifying.

2008.07.03-447, 2008 by Anton Young

Young also submitted another, disparate body of work to us, titled Guest:

This group is from Guest, which is a series of pictures of places where I've spent the night. The series covers friends' houses, vacation rentals, hotel rooms, etc. Photographing the spaces is a little ritual; it's sort of a way of marking my territory before sleeping in a new place.

218-1869, by Anton Young

235-3562, by Anton Young

Anton Young grew up in Nashville, TN, but has been calling NYC home for over 20 years. He received his BFA in fine art photography from the School of Visual Arts in 1992, and is now a professional photo retoucher.

290-9002, by Anton Young

The Treasure Hunter, 2010 by Jenny Riffle

The idea of finding buried gold and silver has long been romanticized in literature and film, from Huckleberry Finn's run-ins with danger to Indiana Jones' daring savvy. The allure of finding something of great value seems to be as much about being connected to the past as it is about a larger quest—for riches, for status, for comfort, for security, for fame, for recognition, for love. For the past few years, Contender Jenny Riffle has been following her subject, Riley, on his treasure hunts. Armed with a steadfast resolve and a metal detector, her subject proves that one man's trash is indeed another man's treasure.

The Map, 2011 by Jenny Riffle

In her artist statement, Riffle writes:

Riley grew up in rural eastern Washington. As a child, he read Mark Twain's stories of Tom Sawyer and Huckleberry Finn and decided he wanted to be like those mythical boys. He wanted a life full of treasure and adventure. Riley started smoking a corncob pipe, wearing a straw hat and even [attending] school barefoot until he was told not to. He got his first metal detector when he was 11, and to this day he continues to seek treasure in the dirt, in sandy beaches or even looking through a handful of change for wheat pennies and real silver. In my project, Scavenger: Adventures in Treasure Hunting, I have been following Riley out on his hunts and photographing the objects he collects. I explore the line between documentary and fantasy as I look at the objects he finds, what drives him to continue and the mythology and history of the treasure hunting persona.

Tom Sawyer's Gang, 2011 by Jenny Riffle

Riffle adds:

In Scavenger, I don't try to reveal Riley's essence as a traditional portrait would, but build upon it to create a more complicated presence. I express my romantic view of his life and his treasure hunting obsession and choose not to show his daily activities outside of that. By only showing one side of his personality I create a larger than life character. I photograph him in Twain's spirit, as a mythical adventurer, like Huck Finn... Davy Crockett or Peter Pan.

Cowboys and Indians, 2011 by Jenny Riffle

Jenny Riffle received her BA in photography from Bard College in 2001 and her MFA at the School of Visual Arts in 2011. In the last 10 years, she has travelled between New York City and Seattle, photographing and exhibiting her work nationally. She was selected for inclusion in The Collector's Guide to Emerging Art Photography, was published by the Humble Arts Foundation in 2009 and has been featured in the Photo Center Northwest's annual photo book for 2007 through 2009 and numerous publications, including The Stranger and Visionaire.

Humpty Dumpty, 2010 by Jenny Riffle

Chairs, 2010, from the series Jesusita Summerland by Ali Richards

On May 5, 2009, a wildfire broke out in the hills of Santa Barbara, California. Dubbed the Jesusita Fire, it burned nearly 9,000 acres and destroyed 88 homes, causing some $20 million in property damages. Armed with a Wista 4x5 (and a recent Fellowship), Contender Ali Richards documented "the immediate aftermath and the continuing changes to the landscape," focusing on the frequently tenuous relationship between man and nature. On her website, Richards explains, "The fire destroyed the homes of some of America's wealthiest citizens; indifferent to class, the devastation triggered unexpected results. This scorched landscape provides little evidence of the good life of this once gated community..."

Stairs, 2010, from the series Jesusita Summerland by Ali Richards

Of her craft and focus, Richards writes:

My practice is primarily concerned with exploring anthropological shifts and topographical changes within the boundaries of modern life. Of particular interest are social and physical landscapes and the borders within them that are in flux. Often these borders are exposed through some form of [violence] that demonstrates the struggle between two elements. The Environment and Man's place within it is a reccurring theme within my work. I tend to make work with a participatory/performative approach, infiltrating "outsider" groups enough to be granted a privileged perspective. This process has enabled me to execute bodies of work that transcend the obvious voyeuristic possibilities, to explore personal spaces and landscapes, with attention being given to seeking sublime scenes with romantic Gothic colours and textures.

Silverware, 2010, from the series Jesusita Summerland by Ali Richards

Ali Richards has been granted several international and domestic residences and fellowships, many of which have been situated in isolated or vulnerable communities and landscapes. Richards' work has been recognized with several international prizes, including the Emerging Photographer Award from the Magenta Foundation.

No. 295, 2010, from the series Jesusita Summerland by Ali Richards

Shopping Totem, by David Welch

Congratulations to photographer David Welch, who is the first Contender from the First Edition 2011 round of competition to be selected to participate in 20x200.com. A limited-edition print of his photograph, Shopping Totem, is now available.

We first wrote about David back in June, and his series was subsequently picked up around the blogs. Of his series Material World, which includes Shopping Totem, Welch writes:

Material World is my response to our contemporary consumer milieu. By treating artifacts of consumer culture as Duchampian-inspired Assisted Readymades, I photograph assemblages, created by my own hand, that form monuments, or totems, serving as precarious externalizations of culture and social biography... The photographs speak of accumulation and materiality and aim to encourage debate about consumption and the ways in which we feel compelled to consume.

We will continue to release limited-edition prints from the First Edition 2011 round of competition. Be sure to sign up for the 20x200 newsletter to find out which entrants are selected, as well as to discover great art. 20x200 releases at least one drawing or work on paper and one photograph each week.

The panelist review of all the submissions will be happening next week! Sometime afterward, we will be announcing the First Edition 2011 Hot Shots. Will YOU be chosen? Be sure to check out the site and keep an eye on your inbox to find out when the five photographers are chosen.

Speaking of the panelists, Todd Hido recently joined photographer Jim Goldberg to chat about Larry Sultan for a PDN piece about heroes and mentors. You can read the full interview here.

Padre Danzinger, 2011 by Erin Riley

Photography has long been closely associated with wars and conflicts. From the late Robert Capa to Tim Hetherington, whom we recently lost, there is a whole breed of photographers who dedicate their lives to the manmade chaos that is war. Though not a war photographer, Contender Erin Riley's series Vocation focuses on the modern military, documenting the very human side of it.

Padre Demiray, 2011 by Erin Riley

In her statement, Riley writes:

My photographic roots lie in the documentary tradition. And in the last few years, I have become increasingly interested in how the portrait functions as a documentary device. Portraits are intriguing for what they tell us, for how they allow us to stare and to linger. But even more interesting is what they don't show us, and how they often raise more questions than they answer. Vocation is a series of portraits of chaplains in the Canadian Forces. I have asked the padres to allow me to photograph them engaging in the act of prayer. The posture of prayer, the pose—eyes closed, head bowed, hands clasped—is one of contemplation, of turning inward. Upon reflection, I have found many parallels between the act of prayer and the act/ritual of photographing—loading film, head bowed as I look through the viewfinder, looking, searching for light and moments, for answers. Hitting the shutter becomes an act of faith that the photo will materialize, resurrect itself in the developing process. My hope is that these photographs invite the viewer to contemplate, to reflect on the nature of war, on the role of faith and the rhetoric of religion.

Major Michelle Staples, 2011 by Erin Riley

Erin Riley is a photographer based in Toronto, where she has worked as an editorial photographer, with her work appearing in many national newspapers and magazines. In 2010, she completed her MFA in documentary media at Ryerson University. With her roots in the documentary tradition, it is the storytelling aspect of photography that is the driving force in her work. During the spring of 2009, she traveled to the High Arctic with the Canadian Forces as one of five civilian artists chosen to participate in the Canadian Forces Artists Program.

Bible, 2011 by Erin Riley

Untitled, 2011 by Zhenjie Dong (click on image to enlarge)

Ai Weiwei has been the center of attention in art circles (and beyond) in the past couple of months. The Chinese artist and activist was arrested (for no apparent reason at the time) in early Spring, sending shock waves throughout the world—largely because, for years, the Chinese government had left its world-renowned contemporary artists alone. A figure as central and influential as Ai, who was accused of tax evasion and was eventually released in June, was thought to be untouchable. The whole ordeal has now quieted down a bit, but the arrest reminded the world that, despite a booming contemporary art scene, the underlying problems in China are not to be ignored. Contender Zhenjie Dong's series reveals the tip of the iceberg through her carefully composed and constructed images.

Untitled, 2011 by Zhenjie Dong (click on image to enlarge)

In her statement, Dong explains:

China—known as a country with a long history and rich cultural heritages—is now facing lots of issues, including corruption, social injustice, wealth segregation, web censorship, etc. While the media is still [portraying] the happy life of Chinese people under the rule of the government, people ridicule the authority and reveal the reality they see through websites. This series of work intends to address the social issues that China is facing now, which are covered up by the Chinese government. I intend to seduce the viewers by beautiful images—applying traditional Chinese aesthetics—and then reveal the dark and corrupted side of the reality in China by the use of the QR code, which encodes website links and can be read by QR readers and camera phones. I photograph traditional Chinese flowers and plants, which refer to the pursuit of moral spirit in ancient China, and [juxtapose it] with the links that [reveal] corruptions, scholar plagiarism and a list of blocked websites. By doing this, I intend to point a finger at the existing issues that are filtered out by the government.

Untitled, 2011 by Zhenjie Dong (click on image to enlarge)

Dong is a Chinese artist and photographer who is exploring ways to express her social and political concerns through photography. A graduate from the Communication University of China with a BFA in English Language and Literature, she is currently pursuing her MFA in photography at Savannah College of Art and Design in the state of Georgia.

Note: If you are in New York City, be sure to check out Ai Weiwei's photography exhibition at the Asia Society, on view until August 14th.

Untitled, 2011 by Zhenjie Dong

Northern California, 2009 by Chris Bennett

To many photographers, the camera is nothing but a tool. It is simply the device that captures what the photographer wants. A lot of photographers would tell you it doesn't matter who makes the camera or how it looks, and yet, it is absolutely true that if you change your camera, you also change your photos. In Contender Chris Bennett's case, the role of his camera is deeply embedded in Between West and West, a series about landscapes and their associated personal memories.

New Mexico, 2002 by Chris Bennett

In his statement, Bennett explains:

In 2001, while living in Santa Fe, New Mexico, and working at the Santa Fe Photographic Workshops, I acquired an old Kodak No. 2 Brownie camera from a coworker that, to my surprise, accepted modern day 120 film. I began shooting with it almost exclusively and unknowingly started the project that is now Between West and West. Ten years later—lots of miles and now settled in Portland, Oregon—I have finally retired the old Brownie and, with it, this body of work. Growing up in Indiana, I was always fascinated by the history and images of the American West. Once able to venture out on my own, I slowly, over the years, made my way westward. These images document that journey, as many of these places I temporarily called home, and they became part of who I am today. They are now engrained in my past and memory, and the only physical visual evidence left of them is through my photographs. Each image is a poem created for the place it represents, ghosts of American mythology and geography. I remember them dark, mysterious, isolated and seemingly lost in time. They are my private internal response to my external experience, moving across lonely, unpopulated American landscapes, which reverberate melancholy.

Painted Hills, Oregon, 2009 by Chris Bennett

Chris Bennett is a photographer, filmmaker, curator and photo educator living in Portland, Oregon. He graduated with a BFA in photography and minor in art history from Indiana University in 1999. Bennett has worked at major photography organizations such as the George Eastman House, the Santa Fe Photographic Workshops and photo-eye bookstore and Gallery. He has shown his work primarily in the Northwest region, and is the founder and Executive Director of Newspace Center for Photography.

Clackamas River, Oregon, 2010 by Chris Bennett

41st, 2011 by Yojiro Imasaka

One of the words used a lot to describe photography is "texture." Literally speaking, the level of real texture a photograph can offer is quite limited to the type of paper and the finish of the print. And if you are viewing photos on a computer, the only texture you can get is off of your screen. So one might ask, what is texture in photography and does it really exsit? The answer to the latter, I suppose, would be the same to the question, "Does life have a texture?" Contender Yojiro Imasaka seems to be nodding his head with his recent series, Living in Velvet.

676 humboltd, 2011 by Yojiro Imasaka

In the statement for the series, Imasaka writes:

This series of work entitled Living in Velvet is inspired by an old lady who I met last year. It was a day before she turned one hundred and five years. She described her life as "living in velvet." I did not know what she really meant to say, but somehow it [sounded] so beautiful to me. Life and death is [a] common theme [in] art, and I believe photography is [a] medium that describes it well.

julie, 2011 by Yojiro Imasaka

Yojiro Imasaka was born in Hiroshima, Japan, but currently calls New York City home. He received a BFA in photography from Nihon University College of Art in Tokyo in 2007, the same year he won a scholarship from the Fine Arts department of Pratt Institute, where he's currently pursuing an MFA.

magnolia, 2011 by Yojiro Imasaka