Alyssa Coppelman

Alyssa Coppelman wurde in Südkalifornien geboren und ist dort aufgewachsen. Ein Videokurs an der High School weckte ihr Interesse am Filmen, das sie dann als Film-Studentin an der UC Berkeley (Nordkalifornien) vertiefte. Nach ihrem Abschluss arbeitete sie 4 Jahre in Los Angeles in der Filmbranche, vornehmlich in den Bereichen Ausstattung und Kostüme, bevor sie 2000 nach New York ging. Dort begann sie 2001 als Praktikantin in der Grafikabteilung bei Harper’s Magazin und wurde später zur stellvertretenden Art Direktorin befördert. Sie war Mitherausgeberin von Fotoessays u.a. von Peter Turnley, Lynsey Addario, Aaron Huey und Simon Norfolk. Seit ihrem Umzug nach Austin/Texas 2011 arbeitet sie weiter für Harper’s. Überdies übernahm sie Fotorecherchen für Zeitschriften wie Oxford American und Foreign Affairs. Alyssa postet egelmäßig im Fotoblog „Behold“ des Magazins Slate und es bereitet ihr große Freude hierfür Fotografen zu interviewen, deren Arbeiten ein sehr vielfältiges Themenspektrum zeigen. 2012 gestaltete und redigierte sie „Herd In Iceland", ein Buch zur Tierhaltung von Pferden auf Island—eine Arbeit, die ihre Lust an der Buchgestaltung wachsen ließ. Unlängst hatte sie Gelegenheit, als Fotobuchexpertin beratend tätig zu sein und Vorschläge für die Neubearbeitung von bereits erschienenen Publikationen zu machen. Im vergangenen Jahr war Alyssa Jurymitglied und Screenerin für Photolucidas Critical Mass-Fotowettbewerb. In diesem Monat ist sie Co-Kuratorin von „Slideluck Austin VI“. Ab Februar schreibt sie regelmäßig für den „Feature-Shoot“ Fotoblog. Alyssa hat sich einer engen kooperativen Zusammenarbeit mit den Fotografen verschrieben – ob als Interviewerin oder beim Redigieren ihrer Werke zu prägnanten Fotoerzählungen.

Alyssa Coppelman was born and raised in Southern California. A high-school video production class sparked her interest in images, and she continued on to study film at UC Berkeley, in Northern California. After graduation, she worked in film production in Los Angeles, primarily in art department and wardrobe, before moving to New York in 2000. In 2001, Alyssa began working at Harper’s Magazine, first as an art department intern and eventually as Assistant Art Director. While there, she co-edited photo essays by Peter Turnley, Lynsey Addario, Aaron Huey, and Simon Norfolk, among others. Since moving to her current home of Austin, Texas, in early 2011, she continues to work regularly for Harper’s. She has also done picture research for Oxford American magazine and Foreign Affairs. Alyssa has been a regular contributor to Slate’s photography blog, Behold, where she has had the distinct pleasure of interviewing photographers who cover a wide range of subject matter. In 2012, she designed, edited, and sequenced Herd In Iceland, a photo book about Icelandic horse herding, a process which fueled her love for the creation of photo books. Recently, she has had the opportunity to advise on photo books, suggesting edits and restructuring of existing publications. Last year, Alyssa was a judge and pre-screener for Photolucida’s Critical Mass photo competition. This month, she will be co-curating Slideluck Austin VI. As of February, she will be writing regularly for Feature Shoot photo blog. Alyssa is committed to working with photographers directly, whether interviewing them or working with them to edit their work into tight photo stories.

Écal Photography (and thank you and farewell)

"Coco," 2012, Saada Priscillia

And this, my last post for fotoblog, a bittersweet farewell, and a highlight to another of their beautiful publications. I would like to give resounding thanks to Hatje Cantz for providing this unique forum to the wonderful array of bloggers they have invited to populate their site. It has been tremendously enjoyable to be able to post in this fashion, about whatever I wish in whatever way I like, over the course of the month. I am grateful to have had the opportunity to do so and will, truthfully, start missing it the moment I press “publish” on this last post. Thank you, Hatje Cantz!

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The Ice Plant: Adventures in Art Book Publishing

MelissaCatanese_DIVE_DARK_DREAM_SLOW_pair

The Ice Plant is a small art book publishing company in Los Angeles, California, that has a wonderful penchant for imagery in which there’s an aspect of the peculiar in the mundane. Mike Slack and Tricia Gabriel, the duo that runs The Ice Plant, leapt into publishing after many combined years of experience in the book business. And while they are both photographers, they estimate that this experience working in the business has more to do with how they publish books than their own creative practices in photography.

They published their first book, Jason Fulford’s Raising Frogs for $$$, in 2006. To date, they have published 19 titles, and, along with artist  Tamara Shopsin, co-publish the 5 Year Diary, which “lets you keep track of the next 60 months of your life in just a few lines a day.” Their next book will be a book of Seth Lower’s photographs, entitled The Sun Shone Glaringly. While they haven’t been able to make the press their one and only job, Gabriel and Slack have managed to continue publishing the books they both want to.

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The High and Lonesome Sound of Roscoe Holcomb

© The High and Lonesome Sound, by John Cohen. Published by Steidl www.steidl.de

“I hope things go good for you—for it sure has been a hard old time with me. But I hope some day this old Bad Luck will turn to good…” —Roscoe Holcomb, from a letter to John Cohen in January 1962

In 1959, photographer and musician John Cohen first traveled from his home in New York to eastern Kentucky on a quest to find, photograph, and record mountain music. After exhausting all known contacts and coming up empty-handed, he happened across Roscoe Holcomb playing banjo and singing on his front porch. Over the course of the next two decades, Cohen and Holcomb formed a friendship that lasted until Holcomb passed away in 1981.

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Walker Pickering’s Nearly West

Bank of Yazoo City © Walker Pickering

With his series Nearly West, Austin-based photographer Walker Pickering portrays Texas and the Southern United States in a way that evokes a time long past. Pickering, who is based in Austin, was “raised in the oil fields of West Texas and the swamps of far East Texas.” As a child, he and his family took summertime trips to Mississippi and Alabama for family reunions. Says Pickering, “When you get down to it, I’m really just trying to evoke memories from my own childhood.”

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