Interview with Aaron Canipe

Forgot to post this when it first came out, but earlier this year I had the opportunity to interview photographer Aaron Canipe in The Other Journal – check it out here and read an excerpt below.


JL: You’ve written that “this series explores lives and landscapes in transition, like a plateau itself, neither in decline or progression, but a holy stasis that only photography can showcase.”1Why do you believe that only photography is the right medium for this project?

AC: I might not say it’s the right medium for the project, but it’s the right medium for me. Static visuals are ripe with metaphor, and what has symbolic meaning for me may mean something different for you. Since photography’s birth, it has aspired to record reality. My photography deals with slices of the real and what has or will transpire outside of the frame is left to a viewer’s imagination. All we have is a still image to go by—a single moment in time that is just a transition to another and then another. That’s also how it felt for me to grow up in a small town in the South—I felt stuck or in transition, as if I were looking for other opportunities outside of the frame. Because of this, I don’t think I could say how I feel about my part of the world in any other way than with photographs.

Full interview here.

Survived Arrival @ RISD

Survived Arrival
September 27 - October 25, 2018
Red Eye Gallery, Design Center, Rhode Island School of Design
Providence, RI

I’ve got a few pieces in this exhibit of first year graduate student work from the Photography Department at RISD – come see it!


I recently curated an exhibit at Cassilhaus, Ekphrasis: Eight Artists Respond to Images from the History of Photography, which draws on the long history of ekphrastic poetry – poems that in some way respond to a work of art, usually through description, interpretation, or critique. For the exhibit, eight contemporary artists responded in various mediums to images significant in the history of photography. Andrea Donnelly’s inverted positive/negative weavings create a visual poem responding to Anna Atkin’s botanical cyanotypes, and Max Adam’s finely detailed graphite drawings subtly alter one of Eadweard Muybridge’s Horse in Locomotion series. Featuring photography, weaving, drawing, painting, collage, poetry, sculpture, and music, Ekphrasis offers a broad sweep of photographic history through contemporary eyes.


I was especially happy to have so many of the artists present at the opening and a full house at Franny Choi’s poetry reading. Franny wrote a poem in response to a photograph by Gordon Parks, which you can read online here. The amazing Blackspace spoken word team opened for her reading.

The exhibit will be up through June 30th! More information here. Thanks to our sponsors: The Center for Documentary Studies at Duke University, the Nasher Museum of Art, the MFA in Experimental and Documentary Arts at Duke University, and Blackspace

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