Group Show at the Southeastern Railway Museum in GA Opening Tonight Jan 11th 2012
I am happy to be part of a group show titled Drove (s) curated by Michael Ross opening tomorrow night In Duluth, GA. It is an honor to be part of the show with this great group of artists Drove(s) January 12-February 12, 2012 Opening Reception January 11, 6-9p.m. The Southeastern Railway Museum, Duluth, GA
The Southeastern Railway Museum is pleased to present Drove(s), an art exhibition that takes a look at the culture of automobiles, our dependence on them, and their environmental impact.
The culture of automobiles starts with America’s early love affair and the freedom that was promised. The ever-changing design and demands for improved technology in cars led to a relationship of disposability and a desire for the new. These desires and demands throughout the 20th century led to an over abundance of automobiles and a serious impact on the environment.
The automobile and the freedom it promised led to the construction and expansion of our urban centers. Unchecked suburban sprawl now stretches for many miles around every American city with the car being the only possible means of navigating these mazes. Public transportation has become meaningless in an environment designed and built with the automobile in mind. What was once freedom has now become massive traffic jams and a daily drudgery of commuting along parking-lot-highways.
Can this dependence on the automobile and fossil fuels be sustained? How do we change our environments to become more pedestrian and mass-transit friendly while maintaining the freedom of mobility to which we have grown accustomed?
This restored train depot that once sheltered passengers waiting for their train, now functions as an exhibition space, a space that we have driven in our cars to be here to see art. In this sense, the depot itself is as much a part of the exhibit as the art hanging on its walls. Artists in the exhibition: Tim Barnwell Andrew Bush Bill Daniel Veronica de Jesus Brian Dettmer John Duckworth Peter Essick Walker Evans John Gutman Brian Holcombe Lauren Hughes Michael Koehler Joey Kotting Christopher McNulty's Rondal Partridge Ben Roosevelt Brian St. Cyr Chip Simone Mark Steinmetz Christian Tedeschi Bruce Wrighton
Mt. Pleasant, Mt. Airy Mt. Pleasant, Mt. Airy Mt. Pleasant, Mt. Airy Wissahickon from Kitchens lane Bridge, Mt. Airy Midvale, East Falls Lincoln Drive, Under Walnut lane bridge, Mt. Airy Lincoln Drive, Mt. Airy Lincoln Drive, Mt. Airy Lincoln Drive, Mt. Airy Chris at the edge of the Wissahickon. Lincoln Drive, Mt. Airy Lincoln Drive, Mt. Airy Midvale, East falls Midvale, East falls Midvale, East falls Falls Bridge, East falls From falls bridge, East falls Midvale, East falls wises mill, The Wissahickon wises mill, The Wissahickon River Road, Roxbourgh River Road, Roxbourgh River Road, Roxbourgh River Road, Roxbourgh Red Coverd Bridge, Philadelphia PA River Road, Roxbourgh Midvale, East falls River Road, Roxbourgh River Road, Roxbourgh Lincoln Drive, Mt. Airy From Falls bridge, East falls Lincoln Dive from walnut lane bridge, East falls River Road, Roxbourgh Midvale, East falls
Opening This Thursday July 14th 6 to 9pm, Mallick Williams Gallery: Nature/Human
Opening Reception Michael M. Koehler / Filippo Chia Nature Human Thursday July 14th 2011 Mallick Williams Gallery 150 11th ave between 21st and 22nd 6 to 9pm
8 January 2011 Last updated at 10:51 ET Help For his latest project the acclaimed photographer Joseph Rodriguez turned his lens on a group of young Muslims growing up in the city of Malmo, Sweden.
It's a city increasingly divided on racial, religious and cultural grounds, and one in which Joseph discovers many young Muslims feel they are treated as second class citizens.
The audio from this photofilm is taken from the documentary series Open Eye.
Listen to Open Eye on the BBC World Service
Photography Joseph Rodriguez, production Benjamin Chesterton and David White. A duckrabbit production for the BBC.
Gallery Hop: Odes to Richard Duardo and Songs BY MONICA LOCASCIO PHOTOGRAPHS BY MONICA LOCASCIO
Photographer Michael M Koehler in front of one of his pieces
This past weekend saw the opening of two great shows, "Ink on Paper" at the newly inaugurated gallery Mallick Williams & Co (directed by Jeremy Kaplan, formerly of Shepard Fairey's Subliminal Projects gallery in L.A.), and "Songs" at Fuse Gallery curated by Erik Foss.
"Ink on Paper" is a small retrospective of work by artists who have collaborated with master printmaker and art advocate Richard Duardo at some point in their careers. Named "The Artist of the Year" in 1988 by the California Arts Commission and elected as chairman of The Graphic Arts Council at LACMA in 2004, Duardo has worked with Keith Haring, David Hockney and Banksy and continues to inspire a new generation through his L.A. workshop "Modern Mulitples" where he teaches young artists the trade. From the more than 700 artists Duardo's worked with over the last 35 years, Mallick Williams & Co showed work from 13 prints by artists including Dennis Hopper, Retna, Saber, Shepard Fairey and Chaz Bojorquez. The show is open through the 25th of this month. While you're there make sure to check out the back room where "INNER CIRCLE" is hanging. Featuring some of the artists closest to the gallery, the show includes Michael M. Koehler's gorgeous large-scale black and white photographs, and artist Keith Van Pelt's large-scale stained-glass windows featuring the likes of Jam Master Jay. It runs until February 15th.
The Erik Foss-curated "Songs" at Fuse Gallery is based around the definition of a song and the musicians and artists included in the show -- Tim Barber, Lizzi Bougatsos, Cheryl Dunn, Daze, Leo Fitzpatrick, Aurel Schmidt, Ivory and Shelter Serra and Spencer Sweeny among them-- took their inspiration from the lyrics of their favorites musical pieces. Foss, an artist himself (with an upcoming solo show at Mallick Williams & Co which opens Sept. 11 and deals exclusively with the themes of that day), didn't contribute to the show, but his influence over the show's dialogue was clear in the way which pieces were hung. Prints were grouped in cloud-like clusters that were hung at various heights and which felt melodic themselves -- one or two pieces were hung in a sparse entrance hall which built into a crescendo of jumbled works in the main gallery. Foss told us it took him four tries to get the placements right. Head over to Fuse before the show closes on the 26 of February and listen to the music.
IN THE GALLERY: Michael M. Koehler, October 22 - November 5, 2010
Closing Reception Friday, November 5 6-8:30 at UC Arts League
Philadelphia and New York photographer Michael M. Koehler will be featured at a show October 22 to November 5 at University City Arts League Gallery, 4226 Spruce St, Philadelphia. A closing reception on November 5 from 5:30 to 8:30 is free to all.
Koehler's show consists of 17 photographs and moments of Philadelphia and abroad. "I am interested in human nature and the relationships people share with each other and their landscape," said the artist. “When we are authentically, naturally engaged with another human, we are at our most vulnerable state and mutual trust evolves. The experience is the true gift. For this exchange to occur we both must become open, a gentle process that sometimes is questioned and denied.”
"The photograph is the evidence, the data of this exchange. When the shutter snaps, there is a unity created between the outside world and me. We are nothing without each other," said Koehler.
Koehler, who was raised in Philadelphia, received his BFA from New York University's Tisch School of the Arts. He has worked as a staff photographer for the Philadelphia Tribune and the Philadelphia City Paper, and his work has been published in numerous magazines including, American Photo and Complex.
He has exhibited at Leica Gallery, New York; the Woodmere Art Museum, Philadelphia; Subliminal Projects Gallery, Los Angeles; and the Sandro Chia Studio, Rome. Koehler was recently awarded the Purchase Award by the Perkins Center for the Arts, in association with the Philadelphia Museum of Art.
Duckrabbit Speaks: Commentary on Black and White Photography
Featured on blog.duckrabbitdigital.com/
Artist Discussion
For something new this week, we have a panel discussion with three accomplished black-and-white photographers. Each displays a documentary style, yet is able to imbue their images with a personality.
Michael Koehler is a New York-based photographer whose images document candid moments that seem to unfold as narratives in the eyes of the viewer. His photos manage to be both sincere and subtly ironic at times, and offer us subjects that have genuine depth.
Melanie McWhorter’s black-and-white portraits often deal with children, and use the angle of a childs-eye view to draw the viewer in. They capture uninhibited, intimate moments, giving them a spontaneous feel that challenge the strictures of portraiture.
Blake Andrews‘ photographs record the quotidian details of life with the calculated eye of documentary. Oddities and in-between moments create interesting in-roads for the viewer, whether the subject be day-to-day family life or ranging views of personal environs.
Alright, so I’ll give the first question to Melanie. Your photographs seem very much like an intrinsic part of daily life. How do you decide what to photograph, or where do you find the inspiration for your shots?
Melanie: I do not walk around with the camera. The story that NM has great light is really true. I usually see the light during daily activities and hope that I have film in the camera and whatever the subject is, usually my children, are in the same spot or willing to work with me a little. I started photographing myself some in Dealing with 35 largely for aging issues and because the kids starting running from the camera. I love dramatic lighting and of course photographers like Debbie Caffery, Andrea Modica, and recently Asger Carlsen and rediscovering New Topographics.
Melanie McWhorter
Blake: One of the first things that jumped out at me in your Fraction work was the New Mexico light and the dry surroundings. For me in a wet climate those things really jump out of the picture.
Melanie: True. I love to shoot around noon as well for the outdoor landscape work. It makes it all seem so dry.
Michael: I keep my camera with me where ever I go, everything is part of the story.
Blake: I’m the same. I’m photographing with one hand as I type this.
That’s interesting, Michael. I notice that your photos have perhaps a more detached feeling, almost as if you’re seeking out narratives rather than just presenting what you find. Does that seem to fit?
Michael: Well I think it’s more intertwined narratives. People have said to me this word before, ‘detached’: it’s more that I learn from the narratives around. They inform my life and my journey. Usually I miss the moment with the camera, meaning I don’t get the picture. But most of the time I do witness the moment and that is the gift and teaches me what to then look for in order to tell the story. The narratives evoke compassion in me and this is the driving force of my photography. I think the ‘detachedness’ is more a comfortable viewing distance, from where I know I won’t interrupt. I like to think that I am subjective and do present what I find, but understand both personally and for the subject that it is all part of the on-going story.
That makes sense. Blake, how does this compare to some of your day-to-day shots? I’m thinking particularly of the pictures of your family, which definitely seem to have a lot of feeling infused in them.
Blake: I think one of the tensions in photographing your own family is the balance between being detached as an observer and being involved as a human and parent. There is always that tension, which is part of what makes it fun and challenging.
That’s very interesting, because your photos seem to be very effective in capturing the sort of in-between moments. One gets the impression that your camera must always be at-the-ready.
Blake: For me that issue really gets at the heart of photography in general, the balance between observing and being involved. I’m curious, Melanie, if you feel that photographing your kids. Do they react much to the camera or just ignore it? Do you feel it gets in the way of parenting at all?
Melanie: I watched a documentary on Tearney Gearon where she documents her mother and her children and I have heard other mothers (and likely fathers) discuss this line between documenting and being a parent. There is a scene in the documentary on Gearon where she first photographs and then consoles. I am not judging because there have been many occassions where I am sure every photographer is detached because of the relationship of looking through the cube (associations with TV, movies, etc.). I photographed my son crying once and decided not to do it again. I can not remain totally detached from the scene and maybe I have lost some emotionally strong photos in the past.
Blake: Makes you wonder how someone like Nachtwey or Salgago can function. How do they remain calm and removed enough to photograph those scenes?
Michael: I think observation is being involved very deeply. Some of my deepest felt moments within my family, like my grandfather dying or my son being born, I have had the camera and made pictures. I try to focus on the love and make pictures, and be present and open.
Melanie: For Michael, I guess this relates to this question about relationship to your surroundings. It seems that many of Michael’s images are regionally specific projects. Would you mind me asking how long you usually visit a location? I have found that the relationship of a photographer and a place can often define what visual response is in the photos.
Blake: Most of my photography is local, so in one sense it is familiar before I photograph it. On the other hand, I always try to locate new areas around town. I have explored just about every street in Portland and about half of Eugene. I usually don’t wait at any scene more than a few minutes. If there isn’t a photo there it wasn’t meant to happen and no amount of waiting will change that. For my way of working anyway.
Blake Andrews
Michael:It depends on which region, but I usually make multiple vists ranging from five to ten days to a place. In the instance of my Philadelphia work, that is where I grew up, so I go back for one to two day spans all the time. Sometimes I find my relationship to the place is also influenced by where I was coming from. For example, in Philly, I really liked spending time with nature so I would go find the horses. After I was in Belize for two weeks I became really interested in fishing, and still am, so now instead of going into the woods to find the horses, I spend must of the time walking the coast line of Philadelphia and currently New York, being drawn to fishermen and the water. If photographing is going well I feel like I am always working. So, the different regions become the only defining lines because it is the same train of thought brought there. Then, it evolves, and I go somewhere else.
Melanie: So in a way you are seeking out narratives, but they often find you and lead you down a different path.
Blake, are you familiar with Cartier-Bresson’s notion of the ‘decisive moment’?
Blake: Decisive what? Just kidding.
Melanie: You know, where you select a great photo from your contact sheet. Just kidding too. Blake certainly knows Winogrand and Friedlander’s work.
Blake: It’s actually taken some effort for me to get beyond the Decisive Moment. I’m not sure there is always one “Moment” that crystalizes a scene, as HCB says. I know on my contacts I usually see more of a cyclical rhythm. The frames come in waves, not individual hits.
That’s interesting because I think the sort of universal element that binds you all together, why we asked you all to be a part of this, has to do with the idea that you all seem to use photography as a way of making sense of your surroundings. I guess, as a question thrown out to all of you, I’m wondering if you might elaborate on if and how you see photography as a way of ordering your reality, of shaping how you perceive? Not talking about documenting, but more in a broader sense of perception.
Blake: The camera is my daily therapist. I carry it with me and it constantly shapes my worldview. Then later the images help me trace my past. They’re a way to make some order of life’s chaos. Or maybe I’m pulling chaos out of life’s order.
Melanie: Well, yes. I do not photograph for a living, but for expression–artistic and personal. It was a way for me to deal with having a family, children and the new world in which I live. It also helps with dealing with new life, death, aging…
Melanie, does it let you feel like you have a more objective view on these things?
Melanie: No, emotions get in the way if it is when taking the photo or when choosing.
Michael: My photographs are my teaching moments. They are pictures of something that is informing me about life, something I want to remember because, after it happened, life is not the same. It’s an organization of thoughts that then alters or fuels my perception, and pushes me where I want and need to be pushed. Melanie, that is right: I love getting lost because I know that I can have a perception or of an idea of a place and be after a picture but will miss then what is happening right in front of me. After getting lost I become open to the moment and all pre ideas of the place fade away into the now. This can be a true gift and sometimes a very hard and frustrating way to work (a lot of car time or walking time). My photographs bring me closer to reality and my pictures allow me to hold onto the world outside.
Michael Koehler
Blake: I think getting truly lost is a valuable experience, but also very difficult in today’s society. Have any of you been really lost recently? Like totally disoriented with no sense of path back?
Melanie: Do you mean that the photo world, the larger world or personal experience?
Michael: Yes, in Howard beach New York during one of the snow storms this past winter.
Blake: I meant just personal experience but could also be applied to the photo world.
Michael: I have been lost a lot.
That sort of finished off my planned questions. As a last question, I usually ask you to take a look at our Duckrabbit logo and tell me which you see first, a duck or a rabbit?
Blake: Duck.
Melanie: I see a duck. Is this a personality test?
Just an interesting pseudo-study of sorts.
Melanie:Maybe because the beak points in a right leading direction and that is the way we are used to reading. Maybe we read images and logos that way too.
That could be.
Blake: Michael, how did you find your way back? Was it stressful being lost?
Melanie: I am excited to see what Michael says too. I love quizzes and board games. There is some personality for you.
Michael: I just kept walking away from the water.
Melanie: Michael, duck or rabbit? The suspense is killing me.
Blake: The water comment should be a giveaway.
Michael: I was near freak out, but had a cigar a friend gave me in my camera bag. It was really old and I only had one match but I was able to light it, which calmed my nerves. And yeah I just walked, smoking on that cigar until I found street.
Melanie: That sounds like a great story.
Blake: I’m guessing rabbit…
Michael:Definitely a duck.
Melanie: YES!!!
Three ducks this time around, eh?
Blake: Eugene would be proud.
Alright, well that does it from my end. Anybody have anything they’d like to add?
Melanie:Thanks, Alex. It was fun. And thanks to Blake and Michael.
Blake: Thanks, everyone. I wish we could go a little longer. Felt like we were just getting started.
Michael: Thank you Alex. And great talking with Blake and Melanie. Truly a pleasure.
Local photographer Michael M. Koehler journeys into the twilight of the Gulf Coast shrimp industry (Philadelphia City Paper) CLICK ON PHOTOGRAPH FOR FULL STORY
What's yr name? Michael M. Koehler Where are you from? Philadelphia, Pennsylvania Where do you live? New York City What are your day job? Photographer Does photography pay your bills? Yes How old are you? 27 How old do you feel? Ancient. When did you start taking pictures, and why? I first started making pictures when I was very little with a camera my parents gave me. I was 12 when I met a teacher that made me proud of what I could see. I wanted to capture the beauty of my neighborhood and show it to people. When I began making pictures the experience was so rewarding that it become an ongoing cycle being inspired by the outside - looking out to see in. Your photography depicts different moments of life, whether they be good or bad, in what seem like various locations. How would you describe your method/research? Living life, wandering and following leads. I photograph my life and carry my camera with me at all times, honoring moments along the way. This practice usually informs what my next project will be. When I edit my photographs a theme emerges - I research what’s behind the theme and make many trips to develop the theme into a project. During those trips I get most of my information from what people have to say and the texture of the environment. I let the vison and the work drive the story. I notice a touch of melancholy in several of your pictures, why? The dying Moment. I am always a little sad when the moment is over; I find myself looking for something to hold on to, to keep me engaged. I make a lot of my pictures to find the love in sadness, giving the moment life, before it passes away forever. Making pictures is my therapy and how I stay connected. What's the big picture? The accumulation of all the little pictures. Growing and getting better one picture at a time. Who are your favorite subjects to photograph, why? Natural life, because it is so true. I am interested in human nature and the relationship people share with each other and their landscape. When we are authentically, naturally engaged with another human, we are at our most vulnerable state and mutual trust evolves. The experience is the true gift. For this exchange to occur we both must become open, a gentle process that sometimes is questioned and denied. The photograph is the evidence, the data of this exchange. When the shutter snaps there is a unity created between the outside world and me - we are nothing without each other. What alterates your perceptions? Stories, walks in nature, and sacrifice. I try to stay open and without judgment when I photograph; when I am in this state and something special happens there is no looking back. It is a continuous change of perception that calls for me to keep photographing and discovering. Who's your favorite photographer? Robert Frank What cameras do you use? M6 Leica What camera would you want to use? M7 would be nice. What do you dislike about photography? Running out of film Aren't there too many photographers these days? Yes. But at the same time, I think it is a unique opportunity for everyone to learn something from using their cameras. It has made me have to look at what is truly important and unique in my own vision and to pursue it. Who should be our next phtgrphr of the month? Filippo Chia, Tim Barber, Pete Capano What's your next shot? Won’t know until I see it. Right now I am spending a lot of time with my family and exploring the wilderness of New York City for an upcoming show in May. It will probably be something I run into along the trail or of my son, Charles.
I am honored to announce that my photograph "Lamani" has been selected for the Philadelphia Museum of Art Purchase Award from the juried show "Photography 29" at Perkins Center for the Arts. The piece will now be part of the museum's permanent collection. The Perkins show will be up until the end of the month. Special thanks to the Perkins Center of the arts and my Mom, Dad, Lauren and Charles. More Pictures to come "Lamani" is part of a juried show "Photography 29" at Perkins which will be up till the end of the month. Perkins Center for the Arts - www.perkinscenter.org 395 Kings Highway, Moorestown - (856) 235-6488
"Lamani" , Belize
The Philadelphia Museum of Art (Lamani's new home)
I am Honored to have my work be a part of the tinyvices.com The edit is one of the best yet, Thank you Tim Barber. WILDLIFE 4 LIFE Check it out! click on photo below TINYVICES.COM
Chief told me once, when he got out of the seminary, his first paycheck was 200 dollars, He needed to buy two things, “ a hunting rifle and a camera”.
These are a series of Photographs made by my Family of my Family. The pictures are important snap shoots of the history. They live in a shoebox with my Father’s cousin Alice. I looked at these pictures while sitting with Alice at a picnic table under a tree in the yard. Family photographs from my Grandfathers is what got me interested initially, and continue to explain and inform my life.
The Last Photograph is of my Son Charles Koehler it is a gift and honor to add to the Family Album.
So much has happened in the past three months that I have not had to much time to reflect. Partly because I have been afraid of what I might have to face I need to start somewhere so I have decided its time to share the work to help me unravel a bit. Most of the time I work on a few projects at the same time which all relate in a way, I feel a strong need to share them this way to help explore the connection.
Detroit is a real place filled with love and hardship, it reminded me of my home. I spent the days roaming, eating apples from trees and sweet corn and produce from push carts. Michigan has a rich clay soil that sits about 20 feet below the regular topsoil, from what I understand this clay gives Michigan and Detroit its growing power, causing greenery to grow at an unbelievable rate. Urban farms have started to harness this power and are providing food, education and hope in some of the roughest neighborhoods. I felt scared at points in Detroit, not as much from the words of precaution that were givin to me as I wondered but mostly from the horror stories of crimes and murders that people told me along the way as well as the vast empty space that exists with in the city which provided little shelter for a quick get away if trouble popped up. Like New Orleans I felt that this story sharing was therapeutic . But behind it all we are all people with the capability to love and communicate, here is the first look at my film, peace and love to Dye and Brother nature for giving me a home away from home and are true soldiers of hope that guided and protected me on my path. More to come.....
I was introduced to Danny Barker's music in New Orleans, a guitar player I made a picture of during Gustav in 2008 introduced me to his music. Esquizito was playing his guitar the sunday morning before Gustav hit on St. Bernard ave as people left town, a year later I ran into him again on the first day of Mardi gra in 2009 and told him I had a picture for him, he told me to stop by the next day, I did and gave him the picture, that night we listened to Danny Baker, possibly one of the best story tellers I have ever heard. It is hard to find his music and must of his archive had bin destroyed by Katrina except for a collection of taped lectures that he gave at Xavier College that Esquizito was givin by Danny Bakers daughter before the storm. Esquizito's house is higher ground and was speared along with the cassette tapes, more of this story to come. Esquizito
I want to welcome my Son into the world, Charles Koehler. He was born October 21st 2009 at 4:52pm in New York City at Lenox Hill Hospital. My life is forever changed, and I have never been happier. Here is a photograph of my Son Charles, the day after he was born and my hero, my love, my best friend, my wife Lauren. You two are my everything.
When I arrived in New Orleans it was raining. The plane ride was rough yet only some noticed. Ricky Robbins, the shrimp boat captain of the Lil Rick, was out on Lake Bourne as the season was closing but I was unsure if I was going to be able to meet up with him to get out on a boat. Driving up South Claiborne a man stood on the back of his truck dangling shrimp from a string to attract passing cars. The prices at the docks are less than a dollar a pound, a record low because of greed and cheap, imported and farmed shrimp. They called him "New Orleans" because he drove his shrimp from Venice, in the gulf two hours South, to Claiborne Ave in New Orleans where he could get 5 to 6 dollars a pound for American wild shrimp. Adding on the additional travel to sell the shrimp - fisherman are having a harder time trying to make ends meet slowly forcing the local fishing industry and tradition into extinction. And all because of imported shrimp that is grown in uncertain conditions and with chemicals - as Carol Bikin, shrimp boat captain in Venice said to me that next morning, "That imported shit will kill yea."
"New Orleans" selling American wild shrimp on Claiborne Ave. New Orleans LA
Fishing for Red fish off of Shell beach. St. Bernard LA
Ricky Robbins Droppin his nets on the Lil' Rick. Lake Bourne LA
Ricky playing with his cat in his drive way. Violet LA
Birds eating from Malone's boat. Gulf of Mexico
Shrimp dumped on the boat from the nets along with numerous small fish. Gulf of Mexico
Docked in the Bayou waiting for storms to pass in the gulf. Gulf of Mexico
Hitching a ride back through the Bayou to Venice. "Damned Canal killed their migration" Venice LA
On the way in for repair. Venice LA
Malone's lucky Charm. Gulf Of Mexico
Malone shoveling shrimp into salt water to separate them from the fish. Gulf of Mexico
Ricky speaking with his wife and cousin in law about the damed MR-GO and how everything in the lake is dying. Violet, LA
In memory. Shell beach LA
Ricky navigating the channel. Shell Beach LA
Pulling up the nets in the Bayou. Venice LA
Stepping out of the Ice box of the Lil Rick. Shell Beach LA
Grandma Robins and Grandson Robins. Violet, LA
Seaking shelter from approaching storms, Gulf of Mexico
I have been focusing on Family and getting ready while I make my pictures and develope my film. My days have been filled. Philly, New York, New Orleans same focus - the wonderful struggle to provide.
Walking Back from Doctors, "Bubble Man" NYC May 2009
Lauren, Mothers day John Heinz Wildlife Refuge. Philadelphia PA 20099
Family under a tree, Oradell New Jersey After New Years 2009
Dad putting up sign, Elk County PA August 2008
The Trinity, Ricky Robbins Looking at Family Photos St Bernard LA Feb 2009
Door frame, Ave D Project NYC April 2009
Rubin's Fish, east River NYC May 2009
Zak sleeping in Germantown, Philadelphia PA April 2009
Elan Sleeping in his Bed, He has no Idea what the day is going to bring, PA April 2009
"As they Sleep I Dig", Digging for worms. Philadelphia PA 2009
Foam on River, while Fishing Philadelphia PA April 2009
Getting Hair cut from Danny, double exposed with Bubble Man. NYC May 2009
Bike under Cover, Elk County August 2008
Happy to be, Elk county August 2008
Getting the Word out, Broadway and 8th street NYC July 2008
Rubin tying up his fish, East River NYC May 2009
Rubin's Fish, 31 inches 26 pound strip bass, East River NYC May 2009
Thank you to all who attended the Salon at First Person Arts last week, it was so good to be back in my home town. PHILLY BABY!! Special Thanks to Andrew Schwalm for the Photos
June 11, 2009 - New York Gallery Nine5 - prints995 Evening Launch June 11, 7-9pm, Gallery Nine5, 24 Spring Street, New York, NY
prints995 is an online photography gallery and retail site powered by gallery nine5.
prints995 is designed to offer a new population of art buyers collectible limited edition prints at irresistible prices. It also creates an appealing opportunity for collectors to purchase an entire suite of related images.
prints995 is committed to supporting causes that help make the world a better place. With so many amazing charity organizations around the world, we have selected a global cause doing great work and serving one of the most basic human needs: clean water.
prints 995 will donate a portion of the sale of each print to charity: water, an organization building wells and sanitation systems all over the world.
First Person Arts Salon, June 10th 2009 7pm 601 South Broad street
Featured artists for June 10th:
Sarah McEneaney shares a series of thoughtfully rendered personal narrative paintings covering the flux of human experience ranging from the mundane to the acutely traumatic. (Salon Preview) Tibor de Nagy Gallery
Stephanie Yuhas reads from “American Goulash,” a collection of stories about growing up a first-born American daughter to an all-Transylvanian family. (Salon Preview) American Goulash
Michael M. Koehler shares PARADE, a photo essay exploring his relationship to Philadelphia, mediated through images of this city’s iconic Mummers. (Salon Preview) Michaelmkoehler.com
Nathan Manske will present selections of “true stories by gay people from all over” collected on his website Imfromdriftwood.com (Salon Preview)
This is the start of my new project documenting "The Struggle to Provide," and is part of a larger look at the modern day family. I am still making sense of all this and the project will grow during the processes. This photograph was made on mothers day 2009 at 58th and woodland, in West Philadelphia.
One of my Journalist Friends Andrea wrote a wonderful profile Michael M. Koehler Finds Focus Through a Lens Photograph by Michael M. Koehler "Eternal Fire"
By: Andrea F. Pagliai
At age 26, Michael M. Koehler is starting a new chapter in his life. His photography show �€œParade�€� just opened in Philadelphia, his wife Lauren is three months pregnant, he is moving into a new apartment in the East Village, and he just shaved his six-inch-long beard for the first time in a year.
Koehler is a presence with his 6-foot, roughly 200-pound frame. His red hair does its own thing and he has three days worth of red stubble spread out along his strong features�¿½A departure from his former mountain man�€™s red beard.
Because of photography, �€œI knew it was a good scene,�€� Koehler reminisces. With the garage door open, Koehler sat facing the wilderness of his father�€™s picturesque rural Philadelphia home. �€œI sat in a chair, with the dog in a chair next to me, and my father just started trimming my beard. He cut it all off into a drywall bucket. Meaningful, wise�¿½Boom, the beard was gone.�€� He photographed the entire process.
It�€™s a beautiful day, one of this spring�€™s first. Koehler gets into a cab. The destination: Grand Central Station. The 11 a.m. light streams through the window onto Koehler. It has been a year since one could actually see his strong jaw line, let alone the rest of his face. The beard, �€œphysically and emotionally, was another layer of distance between me and the world,�€� muses Koehler. It made sense at the time, but now it�€™s a new time. A new show. A new face.
He meets Peter Quillin, aka Kid Chocolate, a boxer Koehler has photographed for the past year. They plan to go to a Reptile Expo in White Plains, NY, where Quillin hopes to buy an African tarantula. Koehler goes along to make a moment into memory, a memory into art.
After graduating in 2005 with a B.F.A. from NYU�€™s Tisch School of the Performance Arts, Koehler remained in New York to pursue his dream as a photographer. His new gallery show, �€œParade,�€� which opened April 3, 2009 in Philadelphia, is a point of departure for both Koehler�€™s art and his personal life.
�€œThe only way to be a different photographer, is to see differently,�€� says photojournalist Michael T. Regan.
Instead of seeing snakes and lizards, Koehler sees Quillin�€™s gentle interaction with nature. He looks through the tough boxer facade and sees the boy, lost in childlike curiosity.
The images he takes today, juxtapose those of Quillin stripped down, shadow boxing, muscles bulging, exuding power. �€œHe is the finest physical specimen I have ever seen,�€� says Koehler. But, �€œI love capturing him with nature. It�€™s that contradiction between his powerful hands, which are like tools, and nature that is interesting,�€� says Koehler.
Koehler refers to a photograph of Quillin currently in �€œParade.�€� The photograph shows Quillin, shirtless. His hand holds a small bird. The white bird cast against Quillin�€™s dark skin; the didactic contradiction of surrender and power; small and large, makes the image so powerful.
�€œHis personality behind the camera separates him from the other photographers,�€� Quillin says. �€œMike has got a lot of swagger, a lot of character, and a lot positivity.�€�
In an age when the digital color photo takes over, Koehler, continues to work in a format that compliments the way he sees the world. Capturing a moment at standstill, he immortalizes the mundane, highlighting what would normally go unnoticed.
�€œI get a student like Mike, once every 10 years,�€� notes Koehler�€™s high school photography teacher, Pete Capano. Since the beginning, �€œMike had the guts to take photos of strangers in situations that most high school students wouldn�€™t get themselves into. It�€™s impossible to learn or improvise, you�€™ve either got it, or you don�€™t. Its an inherent quality that he has,�€� says Capano.
This is the case with �€œParade.�€� A tribute to the Mummers Parade of Philadelphia, according to Capano, �€œit captures South Philly like nothing else.�€�
Every year thousands of mummers �¿½masqueraded performers�¿½ storm the streets of South Philly in a tradition that is to Philadelphia like Mardi Gras is to New Orleans. It�€™s Venetian carnivale, meets Viking wedding. Mummers start singing, dancing, and drinking at 4 a.m. on Jan. 1. Koehler�€™s photographs document the past 15 years of the tradition. He has become a mummer in the process.
His life, his experiences, and his people make up his images. As his passion and his livelihood, Koehler depends on his photography.
�€œThe camera is a home for him. He understands it; they have this relationship with each other,�€� McGuire explains. The images are so much a part of him because, �€œhe photographs so true to his nature.�€� She laughs, adding, �€œprobably because he is a horrible liar�¿½there is no fake for him. His vision has not changed, he is just getting better at showing it to the world.�€�
PARADE by Michael M. Koehler April 3rd to May 2nd 2009 GALLERY TALK WITH THE ARTIST TUESDAY APRIL 21st 5-6pm 211 S. Broad St Philadelphia Pa, Special Gifts Gallery 10th Floor
First bloom, down on RoadsTown Road. The Trees are strapped to Bambo Shoots until the saplings can stand on there own. Each piece of Bambo is placed and tied to the tree by hand. When the wind blows, the Bambo howls. April 2009 Roadstown, NJ
Jeremy and The Happy People. From the Sunny Side LA
Words from Relax.......
"The Happy People represent dignity. As a symbol of most general principal, an interaction with a person of special needs can be a reminder of the decency that as fellow individuals we must share for one another."