Wednesday, September 26, 2007

Collect this: Katarina

I just bought my first original photograph: Karolina Karlic’s Katarina, part of Jen Bekman’s 20x200. Which means that, for twenty bucks, I got one of two hundred images in this edition. And it was made by one of my favorite photographers. Sounds like a good deal to me.

Now I can’t wait to get the photograph! (Patience and I are not good friends.)


Copyright © Karolina Karlic

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Amanda Marsalis rocks

I’m going to try to make it down to Costa Mesa this Friday for PhotoShelter Photography 2.0, mainly because I really want to hear Amanda Marsalis speak. I read about her a while ago in PDN—she was one of PDN’s 30 in 2003, and in 2005 she made it into the Photo Annual with her very cool Web site.

The odds of my being able to take a day off and get to the Orange County Fair & Expo Center aren’t looking good, but I found this short little video online and got a kick out of it.

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Save the date: October 19 @ The Julia Dean Gallery

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Wednesday, September 19, 2007

Save the date: October 6 @ Shotgun Space

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Saturday, September 15, 2007

Not the 323

It’s been one of those rare Friday-night-and-Saturday combinations that counts as an entire weekend on its own—screw Sunday. Had the best meal of my life, with the love of my life, in a town I want to go back to again and again, but only with him. Even got a few pictures in the process.

Here are two from last weekend and two from this weekend. (Hint: The 323 area code is not the place I want to go back to again and again.)

P.S. My work is featured in FILE magazine this weekend. (Not sure how long it'll be on the main page, but you should be able to find me here no matter what.)


Copyright © 2007 Liz Kuball


Copyright © 2007 Liz Kuball


Copyright © 2007 Liz Kuball


Copyright © 2007 Liz Kuball

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Saturday, September 08, 2007

Gold mine

It’s been a busy week, and next month will be full, too: I’ll have my first show—a two-person show in Los Angeles, featuring work from my In Store series—opening on October 6; my first group show, in Detroit on October 13; and another group show, in Venice Beach on October 19 (more details to come on all three).

But even though I’m happy about all of these shows, I’m thrilled that I had a great day shooting on Thursday. I pretty much struck gold when it comes to storage facilities, and I’m happy with the results—although I plan to go back this week, rent a locker at that place (so I don’t have to keep explaining why I’m there), and take more pictures. Here are a few that I like so far.


Copyright © 2007 Liz Kuball


Copyright © 2007 Liz Kuball


Copyright © 2007 Liz Kuball


Copyright © 2007 Liz Kuball


Copyright © 2007 Liz Kuball

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Monday, September 03, 2007

New deal

Every hour that I spend working at my day job is an hour invested in my photography. Time spent at my day job is not to be seen as time that I could have spent photographing; instead, it is to be seen as an investment: If I didn’t have a day job, I wouldn’t have the money to (slowly) pay off the credit card that I use to buy the camera and the lenses and the laptop and the monitor and the printer and the paper and the ink and the software and the magazines and the books and the sundry items necessary to keep the photography going, and then the whole operation, such as it is, would shut down. My day job, therefore, is to be seen as a gift, not an annoyance. As such, it is not to be wasted. That is, each hour I’m spending at my day job is to be spent working, not playing solitaire or surfing the Web or otherwise letting this gift slip away.

This increased productivity will have one primary benefit: It will allow me to spend more time photographing. Secondary benefits: Who needs them?

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Teachers

For reasons that I honestly can’t seem to recall, this morning I found myself thinking of Bloomington, Indiana, the small town where I went to college, a place I haven’t been back to since graduating in 1995. Indiana University is big—no bigger than many of its Big Ten counterparts, but still really big for a kid who grew up in a town of fifteen thousand and could walk into the local grocery store and say, “Charge it to my dad’s account,” without having to tell them who her dad was, because they just knew.

I’ve since lived in places much bigger, but when I got to Bloomington, full of expectations for what my college years would be, it felt huge and fell short. There are myriad reasons for this. I don’t think I really knew, as a senior in high school, what I wanted in a college. And I went into it passively: I assumed it would teach me, but I didn’t realize I would have to work so hard to learn, and I hadn’t yet learned how to work hard.

I.U. is a good school, and Bloomington is a great town, but I had trouble finding my place in both. Again, myriad reasons. If I knew then what I know now, it would be different, and I might even love it there. But I didn’t, and I couldn’t, and so much of my time was spent counting down the years, months, weeks, and days until graduation.

So would I choose a different school if I had it to do over again? No. Because I met three teachers there who changed the way I look at the world.

One was Barry Kroll, whose Vietnam literature course (with texts like Tim O’Brien’s The Things They Carried) formed the basis for the political beliefs I hold today. We knew, throughout the semester, that Professor Kroll had served in Vietnam, and we all speculated things like, “Hey, do you think he ever killed anyone?” (What else would a bunch of eighteen-year-olds wonder about?) But when he stood up on the last day of class and put on a green military jacket, we cried, and I have tears in my eyes just thinking of it today. I didn’t think much about war before I took that class, and I haven’t seen war the same way since.

Another was James Madison, who taught American history, and who made it come alive for me in ways it never had before. I still have a clipping in my file cabinet of a letter he wrote to the editor of the Indiana Daily Student, in response to an article about rewriting history, in which he said, in part, “The past is up for grabs—always. It’s not static, it’s not dead, it’s not even past, as one pretty smart American once said. Rather than one and only one way of seeing it, we are free to see it as we see, struggling through reading, thinking, observing and talking to understand in our own way. That we all will differ in what we see is what causes such confusion and what scares those who perhaps haven’t yet looked hard enough at the past.” Madison was it, you know?

The third was Scott Russell Sanders, who taught an English class called “A Sense of Place,” and who once, on a beautiful afternoon walked out of the classroom and asked us to join him, as he led us on a walk through Dunn’s Woods, silent all the way. Some of my classmates were whispering to each other, asking what the point was, whether this would be on a test, where we were going. I was first in line behind Sanders, and I was willing to follow him wherever he led me. And where he led me, where he led all of us, was to that sense of place that he cared so deeply about. I don’t think I fully grasped it when I was 18. But I think of him often, and I’ve come, over the years, to understand. (If you’re interested in reading an article by Sanders about Bloomington, and his devotion to and care for that place, click here.)

Can you imagine anyone who makes a greater impact on the world than a teacher?

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Sunday, September 02, 2007

Walk this way

Ben Huff wrote Wednesday about Terry Gross and Hard Rock and Heavy Metal Week on Fresh Air, and because I’m just now getting through my podcasts for last week, my most recent listen was to the episode featuring an interview with Steven Tyler and Joe Perry. (You can catch it here.) So many great moments in that conversation, but my favorite quote is from Steven Tyler: “When you love something, you don’t question why others do, too.”

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