Photography publications have changed dramatically since spot was first released thirty-two years ago. The obvious reason, one, is because so much information that was previously printed can be found online. Online publications have visually struggled though – the information, in the past, was often jumbled and cluttered. The pristine printed page could not be rivaled in its clean lines and solidarity. The experience was drastically different. The printed page offered more control than an online version ever could. E-publications have become more and more creative, and within the photography magazine in particular, it is thrilling to see what peers at organizations such as Fraction and Daylight are creating. spot continues to be a print-only publication, primarily. There is an online presence where the PDF version of past issues are available, but all content is currently created for print and converted to a version that can be applied online. This is about to change, however. The true vision for spot is still evolving, yet there is agreement that an online format is essential – in HCP’s mission to stimulate dialogue on photography and related media, and an online presence can reach more and educate more and share more than the printed page can possibly reach. In the next year, a new website for spot will go live. Chuy Benitez, the Publications Chair, is leading the charge on interviewing website creators and working with me and the HCP staff to generate content. The past four issues of spot have been beautifully managed and designed, and I want to personally thank Susie Kalil, the Managing Editor, and Antonio Manega, the designer, for making spot happen. I am very fortunate to work with you both. And Caroline Docwra – you are a true rock star. Thank you for being on Team spot.
For those of you who love the printed page, HCP is still dedicated to printing publications. HCP will continue to print, but exciting changes are on the horizon.
I always have an open ear for any suggestions or comments on spot. Please drop me a line – I would love to hear from you.
Best regards,
Bevin Bering Dubrowski
bevin@hcponline.org
Those amber eyes stare out from the cover of spot magazine, an enormous fly absurdly balanced on the dog’s forehead. Who can resist? As we move into the 21st century, we find ourselves overwhelmed by a flood of images and the very meaning of photography. It has changed drastically over the years, becoming more and more ingrained in everyday life through the Internet and Photoshop, smartphones and devices like iPads. The artists and writers featured in the Spring issue assess photography’s role in contemporary art and in our lives. The reason for photography’s growing popularity? It’s accessible. Photography is the common language. It’s everywhere; and everyone understands it. Artists are breaking boundaries and making connections to hungry audiences who just can’t get enough of photography. William Wegman, who first established himself within the contexts of video and performance art in the early 1970s, speaks candidly about the collaborative process – and pratfalls – of working over the decades with his beloved Weimaraners. Houston-based photographers Amy Blakemore and Libbie Masterson engage in a humorous dialogue about process and practice. Blakemore’s images plumb the role of time and memory in fleeting moments of connections caught within larger dramas. Brian Finke’s photographs of high school cheerleaders and football players, flight attendants and construction workers, take an obsessive, unflinching look at these groups beyond stereotypical terms, thereby revealing something about our society, our culture. Finke’s striking documentary style will push viewers out of their comfort zones. Richard McCabe, curator of photography at the Ogden Museum of Southern Art, New Orleans, discusses the institution’s rapidly growing collection while aiming to define the inherent, captivating qualities of New Southern photography. Finally, Colombian artist Oscar Munoz speaks about his powerful video, Editor Solitario, a continuously looping piece that shows a hand laying out mugshots, images of mothers and children, post-mortem portraits of anonymous faces. Memories fade – but photographs invoke the ever-changing collection of humanity.
Susie Kalil
spot Managing Editor
