Suzi Grossman

Fine Art Photographer. Art Blogger. Artist. I write about art at: www.suzilooksatart.com   My website:www.SuziGrossman.com

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Frisbee Star.

Taken with Mamiya 7ii, Tri-X. Ohio, May, 2014.

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Magical Corgi. 

Taken with Mamiya 7ii, Tri-X. Ohio, May, 2014.

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Wooden Shoe Tulip Farm Tulip Festival in Oregon.

Taken with Mamiya 7ii, Portra 400.

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We found a David White Stereo Realist camera in a long forgotten drawer at work and ran a roll of super expired film we had lying around through it. The film advance mechanism wasn't working very well, so we only actually got 2 pairs of images: one of the store, and one of a curious coworker who didn't realize there was film in the camera...

Enjoy!

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Suzi Grossman

as seen at ALL VISUAL BOSTON III

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Yay All Visual Slideshow!

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Current reading.

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“The moon is the shutter of the universe and creates a photo every 28 days. As the moon waxes the shutter opens slowly and as the moon wanes it closes slowly. The photo made by the universe through the moon does not record the light of things and it is not sectioned into fractions of time, but rather records energy in a constant and uninterrupted fashion. The sea, for example, poses for the moon when the shutter is completely open and exposed there is a more intense tide and with the waning moon when the shutter is closing there is a softer tide; one accompanies the other. All that has energy on planet earth, from stones, to people and to the world, poses for the moon's photograph, and thereby joins the movement of the universe. Photography is not only an image, it is also a relationship.”

Whew. Give me a minute to catch my breath from all that beauty! I bought "Floraissance Art" by André Feliciano at Photoville this summer for $5, but only just plucked it off my bookshelf to read last night. It is a lovely photo/ art theory manifesto formulated around the idea of "art-nature." A small book, it almost fits in the palm of your hand and is double-sided, in English from one direction and in Portuguese from the other (Feliciano is from Brazil)  The manifesto is 34 pages long and a truly enjoyable read. I met Feliciano briefly at Photoville and he is a wonderfully humble and sincere person and I look forward to seeing where his art career goes. Check out his blog here. You can send him an email to order his books. 

Also, check out my earlier blog post on his awesome greenhouse that was at Photoville.

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The Tobolowsky Files

Guys. I discovered a new podcast today that may be a new all time fav. The Tobolowsky Files. Tobolowsky is an actor and writer who has had countless roles but is perhaps most recognizable as Ned from Groundhog Day. He is also a positively brilliant storyteller. I found his podcast when he was featured on The Bullseye, part of the Maximum Fun podcast alliance. The Tobowlosky Files is beautifully engaging. Each hour long episode centers around a theme and consists of stories drawn from Tobolowsky's everyday experience. It just so happens that his everyday tends to be much more strange and beautiful than yours or mine. His brushes with stars, musicians, grocery store gunmen, and hotel ducks are honest, surprising, and disarming. Check it out.

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can Lucy Liu be James Bond once Idris Elba is done?

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The reason for art is to give people another camera to cut to in the film that is their experience of being alive.

Chris Thile on APM The Story

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Title Unknown, Pedro Luis Raota

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Taking self-portraits with a large format camera is hard. Why didn't I think of training a dog to operate my camera instead of trying to rig a self timer?

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I picked up, "Visible Light," by Michael Lesy, on a whim in a used book shop because it had a lot of words. I bought it because the author sounded vaguely familiar (better known for "Wisconsin Death Trip") and because the photos were well printed. Turns out this was a fabulous purchase!

Similar to Errol Morris, Lesy is a researcher of photographs, but even more so, he is a researcher of photographers. He combines formal analysis with the artist's personal history and the result is a finely crafted tale. I started reading this book at work, kept reading it on the subway, and didn't even put it down for my whole walk home (I did look up when crossing the street, I admit)!

The book is made up of four essays, each on a different photographer. The point of the book is that the artists aren't famous, just weird and special, with life and craft irrevocably entwined. The real surprise of this book came when I was about a third of the way into the second essay and realized that it was about Bill Burke, one of my professors at the Museum School! And not just Bill, but Bill before he was famous. So strange was his tale, I wasn't truly convinced it was the same person until I found a photo on his website that matched one in the book! I had discovered Bill's secret past. Then I got into the third essay and Jim Dow, one of my mentors at the Museum School, shows up for a page or two! I had no idea I was buying a book about my professors.

Even if this isn't about your professors' secret lives, you will still be drawn into the stories of these photographers as Lesy draws out his tales and finds transcendence in their strange and beautiful lives.

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Sarah, Somerville, MA, Fall 2011 by Suzi Grossman

Suzi Grossman’s images create tableaus that explicate the relationships between young adults and their living spaces. These places are transient: white box apartments designed as neutral to house many different kinds of people along the way. As such, the physical space is of little interest: the people who inhabit it and the objects they have curated into it are far more fascinating. Through the content of the room and how it is constructed, viewers can begin to unravel the meaning of the space: freedom, independence, loneliness and isolation.

The way the images are composed further complicates the spaces they depict. While photography is often thought of as a scientific instrument, Suzi’s images use the camera to disjoint what we think we know about architecture: walls bend in places where they shouldn’t, ceiling panels refuse to line up correctly, the perspective of the lens tilts objects towards the viewers at uncomfortable angles. It is difficult to tell if the architecture is opening up to reveal Sarah, sitting in the center, or if it is closing in on her and holding her back. But either way, there is strength in her gaze as she confronts the camera (and everyone on the other side of the lens).

Suzi Grossman holds a BFA from The School of the Museum of Fine Arts, Boston and a BA in English Literature from Tufts University. Her work has been shown throughout Massachusetts, where she currently lives and works in Boston.

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My work is featured on 3200K today! Check out this awesome magazine! =)

http://www.thirtytwohundredk.com/

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My new baby. ^.^

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Sometimes I can hear my bones straining under the weight of all the lives I’m not living.

Jonathan Safran Foer (via kari-shma)