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Photo by Brea Souders.
Excerpt from the One if by Wanderlust exhibition, opening in collaboration with the launch of the Mapping Issue of Conveyor Magazine. 
To See More of Her Work Visit: { }
Books: Another Water, The River Thames for Example by Roni Horn

Steidl has just released Roni Horn’s new edition of Another Water, originally published in 2000. In the new edition, Steidl prints the photographs on the somehow luminously matte paper that Horn had originally envisioned using for the book.

The forty-seven full bleed, double-page spread images of the opaque surface of the Thames River call to mind raised relief maps. Along the bottom edge of these images are footnotes that reference poems (frequently by Emily Dickenson), novels, films, events that took place in or along the river and the artist’s own reflections.

Interspersed among these spreads are “Dead Body Reports” from the logs of Scotland Yard that recount some of the many suicides that have taken place in the river. One describes a young actor who drowned himself. He had been chosen for the starring role of a play about Edgar Allan Poe.  Just before his suicide, he had spoken to the author of the play about dropping the part of Poe and replacing it with a role in which he would play himself.  This “Dead Body Reports” is quintessential Roni Horn; it hints that any one of us could be anyone else. Like the river, we have no fixed position.

I saw an earlier iteration of Horn’s work with the Thames, entitled Still Water, in “Roni Horn AKA Roni Horn” at the Whitney last year. The footnotes running along the bottom edges of those photographs corresponded to tiny white numbers scattered across the image, as if Horn were mapping the surface of the Thames with her thoughts. In Another Water, Horn’s footnotes remain numbered, but those numbers no longer correspond to any single place in the image.  There are no longer white numerals scattered across the waves of the river, and their absence makes for an even more fluid cartography.  

Roni Horn is not the cartographer of Borges’ On Exactitude in Science, the man who, in a vain attempt to fix his empire in time, drew a map so precise that it covered the territory it depicted exactly. Horn maps water, paradoxically showing us the tension between the arrested time in maps, photographs or the written word and the flow of experienced time, the time we live (and die) in. 

For More Information Visit { }

Andrew Frost

Conveyor Arts is very happy to announce that Andrew Frost is the recipient of the Conveyor Photo Grant! His project Caledonia, chosen by our panel of jurors, will be printed and produced in-house at Conveyor and on view in our exhibition space in the coming months. We’ll keep you posted with more information! For now, we hope you enjoy some excerpts from Caledonia.


Since the late 1700s, my family has lived in Caledonia County in the Northeast Kingdom of Vermont. In the late 70s, my dad left and joined the Navy. Growing up we moved constantly, but we never went back to Vermont. I always imagined this magical place, something like a “Never-Never Land”—a place with mountains and rivers and lakes, and a land of tree houses and caves— the kind of place where kids were free to ride their bikes to the village store. In 2010, I visited for the first time and began photographing the world I had so often imagined but never experienced.

Andrew Frost was born in Yokosuka, Japan. He completed his undergraduate work at Milligan College in Johnson City, Tennessee, and is currently pursuing his MFA program at Syracuse University. More of his work can be found { }

Bethany A. Spiers and Monika Sziladi {Part 1}
Road Notes
There’s nothing poetic about Florida really.
Everywhere we drive, we try to outrun the rain
that assaults our green jeep in fistfuls.
D falls in love with the delta today.  We keep the 
steering wheel close, cigarettes closer.  I sit up 
waiting to hear you made it home.
Try to find my reflection in industrial towns.
Everywhere the ground shakes with your absence
but everywhere it’s perfectly summertime.
Southern sand between my toes now
not the persistent black sand of Oregon and May.
The beaches are steep and full of bad tattoos.
The grayness of the sea reminds me of our city winter,
remnants tangled in our leg hair for hours.
“Thank God there are smart people that 
built these bridges for us,” he says 
And on the highway
the tires curled like caterpillars on their sides.
But this one lay there, thrashed open like 
a dead falcon or some other great black bird,
wings upturned at their tips, reaching for the sun.
Mónika Sziládi is from Budapest, Hungary and lives in New York. She is a 2010 Yale MFA graduate in Photography. In 2008 she attended the Skowhegan School of Painting and Sculpture. She holds a Maitrise in Art History and Archaeology, Sorbonne, Paris, France (1997). She is the recipient of the Alice Kimball English Traveling Fellowship (2010); a winner of the Philadelphia Museum of Art Photography Portfolio Competition (2010); juror’s pick by Julie Saul and Alec Soth, Work-in-Progress Prize, Daylight/CDS Photo Awards (2010). She is an adjunct lecturer of art at Drew University, Madison, NJ.  { }
Bethany A. Spiers holds a BFA in Writing for Publication, Performance and Media from Pratt Institute and is currently pursuing an MSS from Bryn Mawr College.  Previously published work includes Pretty Lou (Black Lodge Press, 2006) and the self-published chapbook series Oratoria (2003), as well as poems in various literary magazines.  Spiers lives in Philadelphia and performs under the moniker The Feverfew. 
Words with Pictures is a weekly two-part post that pairs photographers and writers. This week, a photographer was given a piece of writing to inspire the creation of a new piece of photograph. The following week a writer will be given a photograph and will respond with writing. This series is curated by Conveyor Editor Dominica Paige.
 Excerpt from Project Series statement in the upcoming Mapping Issue:
Joy Drury Cox delicately weaves the fabric of her line through each page as she traces over her copy of the quintessential American novel, The Old Man and the Sea.  Honoring the original form, each tracing measures four inches by seven inches, the exact dimensions of her small paperback edition of the book.  Page numbers and periods are lifted from yellowed pages, transferred, and recontextualized on clean and crisp sheets of mylar.  
Using only Hemingway’s periods as a guide, Cox creates new patterns and possibilities for understanding language as she cuts through his passages of text with the line of her hand.  Extracted from their original context, elegant points are connected by neat lines that forge new relationships and challenge our grasp on the novel and the meaning of language itself.  Unforeseen visual patterns arise as the frequency in punctuation fluctuates; what was once prose gives way to long lines, and now-muted conversations produce an energetic zig-zag.
One of our favorite things about Conveyor Magazine is that, by accepting free submissions from artists working in photography and print based media, we are exposed to a ton of new projects by very talented artists! We love the excitement of discovering new projects and using the magazine and exhibition as a way to circulate them to a larger public! 
For the upcoming Mapping Issue, we were so smitten with Joy Drury Cox’s ‘Old Man and the Sea” project that we decided to not only publish it as a Project Series in Conveyor Magazine, but also to turn it into an artist book and offer it as a reward for donating to our Kickstarter Project.
To Learn More Visit: { }
Film Screening at 25CPW

In collaboration with the launch of Red Roots Gallery and the Macabre & Mysticism exhibition, Conveyor will be screening a handful of films in the 25CPW Gallery this Saturday Night Only! 

AND, OF THE OTHER, a film by Leif Huron

My parameters are simple… To place one subject on liminal terrain in which the demarcation between wild and domesticated space is not entirely fixed. This film is my provisional framing of an observation of this phenomenon moving through time.

My interest is to explore a narrative strategy that values condition over plotting; to initiate a zone of indeterminacy, images not entirely crystallized, a potentiality of outcomes and sensory [inter] relations not resolved, but strange, mutable and alive.

Saturday will mark the first screening of AND, OF THE OTHER in it’s final state!


Video Projection

Camera+Scenario+Edit: Leif Huron

Main Theme: Jason Millard

Sound Design: toiletooth


aphasiaticisms (x study) by Jeremy Haik

Recently I have been dissecting the physical form of language in the printed word. Using various material and digital means, I remove and alter textual forms from the covers and pages of books. The resulting works take the form of either still or moving images. This process involves a conscious effort to remove the fundamental purpose of textual signs which is to explicitly name the text, author, and ideas contained within. Yet when this fundamental element is removed or obscured there still remains the matter of the book itself. The colors, shapes, images etc. that surround the place where the text resides are not invisible and carry a significant phenomenological and conceptual weight. The work is a move towards understanding exactly where those visual elements are situated within my field of vision as it moves between the physical forms of the book, and as my frame of mind moves between the ideas the text contains. Among my concerns within the work are questions of authorship, archival impulses, the metaphysics of presence, and the misplaced desire for immediate access to absolute meaning.  

Jeremy Haik is an artist and film-maker living in Brooklyn. He is currently pursuing Masters of Fine Art in Photography, Video and Related Media at the School of Visual Arts. His work looks at the slippages and inconsistencies of language through the combination of material and digital practices. His website is { }


Systems, a film by Molly Surno & Colin Sonner

Molly Surno is artist and curator based in Harlem.  Currently she is enrolled in the Visual Arts MFA program at Columbia. She has exhibited her multimedia installations in galleries throughout the country, and is represented by Gasser Grunert Gallery in Chelsea.  Three years ago she founded an avant garde film and live music performance series Cinema 16, which has showcased spaces such as the Metropolitan Museum of Art, PS1, and the Kitchen.  Her work has been featured in the New Yorker, New York Times, LA Times, Wall Street Journal, NYLON, Filmmaker Magazine, Vice, among others. { }

Colin Sonner is a Brooklyn based director and cinematographer. He has directed short films and music videos and shot for, inter alia, the BBC, PBS, and A&E.  He also holds an MA in Philosophy from Boston University.

Macabre & Mysticism

Exhibition Opening
Saturday, October 29th from 6 – 10pm.

Red Roots Gallery
25 Central Park West
New York, NY 10023

For more information visit: { }

Halloween Prelude, 4th Edition.

Halloween creeps closer, and with it, the opening of Macabre & Mysticism at Red Roots Gallery on Saturday, October 29th.  Conveyor Editor Dominica Paige continues her foray into the the unnerving (and sometimes terrifying) realms of photography.

Memento Mori & Victorian Portraiture of the Deceased.

Postmortem photography, which seems rather morose and morbid in modern life, was quite widespread in Europe and the United States during the 19th century.

With the invention of the daguerreotype, portraiture became widespread amongst the middle class who could afford a session with a photographer but were unable to  commission a painted portrait.  This less expensive and more convenient form of portraiture was also used as a means for memorializing dead loved ones.

Unlike traditional memento mori, these photos served less as a admonition of mortality and function rather as a keepsake to remember the deceased.  Memorializing the dead was particularly common with children and infants, as childhood mortality was common during the Victorian era, and in many cases, a postmortem photograph might be the only image ever made of a child.  Children were often depicted with family members or a favorite plaything, or in recline in a crib.

The living appearance was so desirable that, later in history, the photograph would depict the subject with their eyes propped open, pupils often painted onto the photo; the image, especially tintypes and ambrotypes, was commonly manipulated to make the deceased’s face rosy.

This is terrifying.

Later efforts were less concerned with a lifelike quality and the deceased were shown in coffin, and some very late examples show the dead accompanied by a large group of funeral attendees.


Macabre & Mysticism at Red Roots Gallery

Motifs of macabre and mysticism have been visible in art since it’s inception. The curiosity of both the tragic and the transcendent dates back to pre-historic cultures, and remain a common theme in contemporary art.

In many early cultures artisans communicated with otherworldly beings though funerary statues carved for loved ones who were making their way from the earthly world to the afterlife. Later the Danse Macabre, an allegory of death, surfaced as an artistic genre throughout Medieval Europe. The Memento mori and vanitas traditions of painting, which reminds us that our earthly life is fleeting, flourished in the Renaissance and Golden Age of Dutch painting, and remain a popular genre that many contemporary works continue to reference.

Nicholas Alan Cope

Since the advent of the photography, people have been compelled to capture on film what is unseen by the naked eye; from the crime scenes of Weegee or the Disaster Series of Warhol, to the ever-popular genre of spirit photography, we are compelled to document that which questions and transcends our earthly existence.

Andy Warhol

Through dioramas of true crime scenes and the invisible nuances of historically haunted houses, our guest curator Corinne May Botz captures this hint of the supernatural in her photographic series “The Nutshell Studies of Unexplained Death” and “Haunted Houses.”

When curating the Macabre & Mysticiscm exhibition, Botz encountered a delicate balance between a sense of dread and a feeling of wonder in the submitted work. She identified historical motifs and used them to weave the show together. The exhibition is rooted in dark narratives that lie just beneath the surface of everyday life, evoking dark romanticism, summoning foreign bodies and creating a displaced experience.

Corinne May Botz

Laura Bell

Corinne May Botz on Curating Macabre & Mysticism at Red Roots Gallery: 

“Through carefully composed still-lives that recall vanitas paintings, Laura Bell and Eran Gilat create and represent the vanity of life and encroachment of death through symbolic objects. In Caitlin Parkers film Regression, we see an uncanny splitting of the conscious and unconscious self as a hypnotist guides us into fragmented slippages of time and place.

Phoenix Lindsey-Hall’s reflections of LGBT hate crimes throughout America explore notions of self and other. Her installations reveal the transgressive nature of everyday objects and put the viewer in the uncomfortable position of determining who is the perpetrator and who is the victim.

Darin Mickey

Emile Askey’s subtle diptychs target the subliminal stimuli of the viewer to summon both confusion and fear. Brea Souder’s surrealistic photographs icily dissect and recreate the dreams journals of well-known scientists and philosophers, while Darin Mickey’s photographs of everyday objects retain a matter of fact existence infused with a sense of mysticism.”

Brea Souders.

Macabre & Mysticism opens this Saturday, October 29th from 6 - 10pm at Red Roots Gallery and will remain on view until December 16th, 2011.

Red Roots Gallery
25 Central Park West
New York, NY 10023 

For more information visit: { }

Halloween Prelude, Episode Three.

In which our faithful narrator, Conveyor Editor Dominica Paige continues her week-long spooktacular of unnerving photography.  Read on…if you dare! (mwah-hahahahaaa!)

What’s spookier than a fire creeping underground that burns for decades, causing human-swallowing sink holes and the abandonment of an entire town?  Perhaps the most infamous instance of a ghost town is Centralia, PA, where a mine fire began in 1962 and continues to burn; in fact, it is estimated that there is enough coal in the mine to sustain the fire for the next 250 years.

Matt McDonough

In 1981, there were over 1,000 residents in Centralia; in 2010, there were 10.  In 2002, the town’s zip code was revoked by USPS.  Matt McDonough’s series-in-progress entitled Centralia examines the nearly-deserted town.

Matt McDonough

Matt McDonough

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Sneak Peek of the Mapping Issue!

Thank you to the backers of Conveyor Magazine’s Kickstarter project! We are so appreciative of the support that we thought we ought to give you , we thought we’d share a small sampling of the images and text included in the upcoming Mapping Issue.

Project Series takes a look at Sarah Anne Johnson’s “Arctic Wonderland” … 

Today, the Arctic is a combination of shifting icescapes and a cartography of International laws, which parcel out limited economic zones to five surrounding countries, leaving the middle as an open territory. Johnson explores how these zones define progress, possession, and preservation in a geopolitical world.  - CM

Black Box, 2010.

… and the comprehensive “Mason-Dixon Survey” project by Colin Stearns. 

The Mason-Dixon Line has held a near mythical place in the American psyche since its charting in the 1760s. While it has grown into an intangible cultural division between North and South, it began as a pragmatic solution to a land dispute and was marked by highly physical traces.   - CM


A few from the Group Show - curated from a free & open call for submission: 

John Mann

Dierdre Donohue

Mary Mattingly

The Artist Feature looks at the images and writings of Peter Happel Christian…

Many cartographers and photographers aim to produce consumable images that add to our understanding of the world. What exists beyond the borders of a map or the frame of a photograph is absent from the slipstream of pictures and lost to history and recollection.  

And a little Lori Nix… 

Ok. No more spoilers! The Mapping Issue goes to press in just one week!

We couldn’t be more excited! However, we still have a a ways to go to reach our goal! Help us keep the momentum going, by spreading the word through conversation, blogs, facebook, email and more! 

Just 20 Days Left to Back our Kickstarter project! Help us reach our goal :) 

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Anne-E. Wood and Tyler Wriston { Part 2 }
When our journey through the forest comes to its dark and silent end, we lay down our swords and wings and make a bed of leaves beneath an oak.  You wouldn’t know how tired we are.  You never had to stare at the Cyclops’ eye or walk among the restless souls of un-baptized children.  You never had to fly out your window across a starry night in a Spanish Galleon or watch a city ignite in dragon flames.  The moon never showed you his teeth.  The trees are lousy with witches tonight; you can hear them howling for miles.  But our work is done for today.  Time to slip away, to dream of car keys, a glass of orange juice, grocery aisles, homework, skate ponds, the hum of the traffic jam on our way to school.  I brush back her hair, kiss the bridge of her nose, and take hold of her tiny hand.  So there’s this kingdom, I whisper (the wind shakes the branches), where a father sits on the edge of the tub and reads a letter from his daughter, dipping his toes into the warm bath.
Anne-E. Wood’s work has appeared in the magazines Tin House, New Letters, and Gargoyle, among others. She holds an MFA from San Francisco State University and teaches writing at Rutgers University and Gotham Writers’ Workshop.  She lives in Brooklyn and is working on a novel.
Tyler Wriston has a BFA in Photography from Pratt Institute.  He is presently completing his MS in Art Direction BrandCenter for Art Direction in Richmond, Virginia.  His work can be found at: { }
Words with Pictures is a weekly two-part post that pairs photographers and writers. The first week, a writer is given a photograph to inspire the creation of a new piece of writing. The following week the photographer is given a piece of writing and responds with a new photographic piece. This series is curated by Conveyor Editor Dominica Paige.
Halloween Prelude, Part Deux.

The countdown continues: six days until Halloween, and four days until the opening of Macabre & Mysticism at Red Roots GalleryIn the spirit of the season, Conveyor Editor Dominica Paige is posting daily featuring the creepier side of photography.

The Spirit Photography of William Hope

William Hope, Woman with Two Boys and a Female Spirit, Collection of National Media Museum

William Hope’s aptitude for capturing spirits in photographs allegedly came about in 1905 when he and a friend were photographing one another.  In one of the photos taken by Hope, another entity appeared in the image, an “extra,” the image of a person who was not physically present when the photo was taken.  The extra in question was the deceased sister of Hope’s friend.

William Hope, Will Thomas with an Unidentified Spirit, Collection of the National Media Museum

Typically in the photographs, ghostly faces appear, floating above or behind the living subjects.  In some images, fully formed ghosts would appear, usually draped in sheets.  Superimposed images and double exposures were the usual methods for “capturing” the ghosts, though the photographer’s assistant could also drift behind the sitter, dressed in appropriate “spirit” attire, and remain in place a few moments while the shutter was open before ducking out of site.

William Hope, Couple with a Female Spirit, Collection of the National Media Museum

Hope became a prominent spirit photographer and formed the Crewe Spiritualists Circle with six other photographers.   During their early work, the circle destroyed the negatives of the photos they created as they feared being suspected of witchcraft. They began to make their work public, however, when Archbishop Thomas Colley, a lifelong enthusiast of both the supernatural and Spiritualism, joined the circle. 

William Hope, A Seance, ca. 1920, Collection of the National Media Museum

In 1922 Hope relocated to London and became a professional medium. The work of the Crewe Circle was investigated on various occasions by paranormal investigators who hoped to prove Hope was a charlatan.The most famous of these took place in 1922, when the Society for Psychical Research sent Harry Price to investigate for fraud. Price collected evidence that Hope was substituting glass plates bearing ghostly images in order to produce his spirit photographs; he provided Hope with glass plates embossed with a special mark that could not be seen except when exposed. Hope substituted these for regular glass plates, and as such the marks did not show up – suggesting that he faked his photographs.

William Hope, Mourning Scene, ca. 1920, Collection of the National Media Museum

Still, hundreds of followers continued to believe Hope’s abilities were genuine.  This remains a matter for conjecture, a mystery that remains unsolved.   What can be said with certainty is he was rather adept at capturing photographic ghosts, whether real or imagined.

Upcoming Series. Roger Ballen.
The innocent playfulness of childhood intermingles with deep moments of curiosity, introspection, and darkness in Roger Ballen’s stunning and surreal images. 
— Alison Chen
For More Visit: { }
Halloween Prelude, Part One.

The countdown is on: one week until Halloween, and five days until the opening of Macabre & Mysticism at Red Roots GalleryTo evoke the spirit of the season, Conveyor Editor Dominica Paige will dedicate one post each day to the spookier side of photography.

Weegee (Arthur Fellig)

It seems only natural to begin this series with Arthur Fellig, better known as Weegee, whose dramatic noir photojournalism captured the grime and glamor of city life. 

With the emergence of tabloid newspapers in 1919 such as The Daily News, The Daily Mirror, and The Graphic, the photographing of death and crimes was nightmarishly circulated.  These newspapers, with their graphic front-page photographs and captivating captions, remained popular until the 1960s, and radiated a dark glamour that served to exemplify how the banal becomes electrified by association with the imagery of a crime. 

Weegee (Arthur Fellig)

Violating the traditional conventions of photography, photographers such as Tom Howard, Ed Giorandino, and Fellig depicted New York as a dangerous metropolis though their use of framing and lighting.  The aesthetic of the crime photograph established a visual language further popularized in nor films such as Citizen Kane, The Wrong Man, and The Naked City. 

These photos are not only compulsory records of New York but are also an intricate part of the visual language that has come to define the city, and continues to influence the mythological iconography of Gotham today.

Weegee (Arthur Fellig)

Weegee (Arthur Fellig), Murder in Hell’s Kitchen, 1944

Naked Hollywood: Weegee in Los Angeles opens at MoCA in November 2011 - { }

Peter Happel Christian, Black Holes & Blind Spots, 2010.
"Inspired by the ideas of American Transcendentalism, I photograph non-descript situations that make me pause and consider the varied relationships people have with the natural world."
Peter Happel Christian is an artist and professor, living and working in Minnesota. He recently received the McKnight Fellowship for Photographers and exhibited a solo show at the Minneapolis Institute of Arts, he will also be a presenter at the upcoming SPE Conference in San Francisco. And, the upcoming issue of Conveyor Magazine features a his project “Near the End of the Beginning”.
A limited edition of this photograph is available as one of our Kickstarter rewards! To learn more about our project or to donate visit: { } - Thanks!
For more on Peter Happel Christian: { }