Excerpt Magazine Issue 4 - Squarespace

MAGAZINE

#04

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MAGAZINE

COVER IMAGE

WELCOME For the exhibition section of issue 4, twelve artists were instructed to photograph their bedroom. The artists were provided with the cover image showing “My Bedroom” (2012) acting as a visual cue and were left to respond. The conceptual basis for this exhibition centered on questions of privilege and space. Asking the artists to offer up their private spaces for scrutiny provided an opportunity to consider how we see ourselves. Or more importantly how we see ourselves in relation to how others may perceive us. The responses varied from playful, aloof, considered and sterile. Devon Ackermann, Issue 4 Guest Co-Editor

Devon Ackermann My Bedroom | 2012 |

I asked Devon Ackermann to work with me on Issue 4, knowing he would grab hold of the ideas and shake them up. Devon quickly decided a photo of his chaotic bedroom should kick off the Issue. We had been talking about photography’s capacity to reveal or conceal what is actually going on. Photographing his bedroom and sending the image to others asking them to do the same, Devon was eloquently framing this issue. Devon has set up is question found in all art making, ‘what are you willing to show us?’ The results are amazing and anything but straightforward.

The sub-zero temperature Fiona Williams experienced whilst photographing visually inhabits her polaroids. Whilst in Jennifer Chan’s video High Tack, the awkwardly mediated over-share of makers of YouTube homage mash-ups is brought to the fore. I found myself swaying to the soundtrack. That’s the thing about works that have been inhabited in unexpected ways, where space and privilege has been opened up and contemplated, they are incredibly exciting works to negotiate as a viewer.

I am writing this in bed right now, although I normally wouldn’t own up to it. That’s one of the things about the art scene, this editing out. So many of us polish and shape our stories; we want to be interesting and we want to be in control of how interesting we are. This negotiation of the narrative impediment of ordinariness is a constant within creative production, we inevitably invest ourselves in the work we make. The works in this issue take charge, challenge and twist this investment.

EDITOR Amy Marjoram [email protected]

Many of these images are strangely inhabited. There is the double handling in Christopher Meerdo’s images, they rise like a phoenix from the ashes when Meerdo takes the second-hand cards and submits them to haphazard image retrieval software. In another conflation Chris Mottalini has built cardboard architectural models, shipped across the world to him, in his apartment. The photographic results equally privilege their grandiose geometry and well, cardboard-ness.

I hope you enjoy Issue 4 as much as I have.

Guest Creative Director Caitlin Smooker [email protected] EVENTS & MEDIA Sheridan Mills [email protected] SUPPORTERS Lou Hubbard Louis Porter SUBSCRIBE – IT’S FREE www.excerptmagazine.com FOLLOW US www.facebook.com/excerptmagazine Issue 4 - August 2012 ISSN 2202-5340 2

MAGAZINE CONTENTS NOAH KALINA_CRIK CROK 4 CLINTON HAYDEN_HUNTING SERIES 2012 5 TATYANA PALYGA_COLORLESS DAYS 8 CHRISTOPHER MEERDO_anthology HUNTING SERIES_CLINTON HAYDEN

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CHRIS MOTTALINI_GRaY/GREY 19

anthology _ CHRISTOPHER MEERDO

Mashed Art Writing 23 FIONA WILLIAMS_SUBZERO POLAROIDS 25 YAVUZ ERKAN_ UNORTHODOX APHORISMS 26 NOAH KALINA_THE SUPER MEGA CONE 31 EBAY ERASURES

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JENNIFER CHAN_HIGH TACK 37 MARION PIPER_MISUNDERSTANDING FOCUS

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KEVIN CHIN_FARKIN BOOTIFUL 42 PLEASING DECEPTIONS_JAMIE HOUSE

MARTIN BUDAY

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LINSEY GOSPER

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CATHERINE CLOVER_TELL ME SOMETHING 50 JAMIE HOUSE_PLEASING DECEPTIONS

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CHRISTOPHER HANDRAN_DETAIL 57 JOHANNES ROMPPANEN_2011-2012 66 Excerpt Exhibition

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Contributor links

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THANK-YOU 93 JOHANNES ROMPPANEN

Excerpt Exhibition

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NOAH Kalina

Crik Crok, 2011

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HUNTING SERIES Clinton Hayden

2012

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Clinton hayden hunting series

Oxford

4am Princess St, Manchester

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Clinton hayden hunting series

Last Morning

Transit, Manchester to London

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Tatyana Palyga

Image from the series: Colorless Days

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Christopher Meerdo

anthology 2007-2012

Anthology: IMG65.jpg, 2012, image at 100%

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CHRISTOPHER MEERDO anthology

Beginning in 2007, I began regularly purchasing used camera memory cards for sale on craigslist and eBay. Using an image data recovery program, eradicated data is restored and saved. The disjointed appearance of the photographs are a result of the incompleteness in data, which produces fragmentation and hue shifts. Each individual image appears exactly as it was recovered through the restoration process.

Anthology: IMG34.jpg, 2007-2011, image at 100%


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Anthology: _MG_0398.jpg, 2012, image at 50%

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Anthology: .jpg, 2007-2011, image at 50%


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Anthology: IMG38.jpg, 2012 image at 50%


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Anthology: IMG152_2.jpg, 2012, image at 60%


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Gray/Grey A photo series by Chris Mottalini

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Chris Mottalini GRAY/GREY

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The series Gray/Grey is about two seemingly unrelated subjects: skyscrapers and color blindness. The skyscrapers in Gray/Grey are paper models (from Latvia of all places), which I assembled, painted and photographed without ever leaving my apartment in Brooklyn. In reality, the Empire State Building (I can actually see it from my window) is one hundred and two stories tall. The model in my photograph, however, measured around twelve inches tall. I photographed Gray/Grey in my living room, on small sets made of pieces of wood and plexi glass. Each set has its own unique details, flaws and textures. I painted the sets the exact same color gray each and every time, while each individual skyscraper was spray-painted a different shade of grey.

I am partially color blind and for a while now I’ve wanted to shoot a project that would allow me to avoid the colors I have difficulty seeing (various shades of red, green, brown, pink, etc.). Basing the entire project around the color gray, therefore, seemed like an obvious choice. Though I prefer color photography, I cannot recognize many of the colors in my own images and, even though I’ve learned to deal with this, it can be quite frustrating. So, I decided to take matters into my own hands and simply removed these skyscrapers from their color saturated familiar surroundings and, essentially, from reality. Gray/Grey gave me control over my color blindness and enabled me to rebuild these skyscrapers in monochromatic vacuums of my own creation.

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image credits in viewing sequence: Taipei101 SanFranciscoPyramid HancockCenter ChryslerBuilding BurjAlArab SearsTower EmpireStateBuilding BankofChina

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MAW is written by a minimum of eight anonymous contributors. Submissions are only seen in their individual format by the editor who mashes them together to try to form something somewhat coherent (the editor does not contribute, but simply edits).

MAW allows people to put forward ideas without feeling obligated to construct seductively lined-up arguments to support them. MAW supports a lack of justification and a mish-mash of whatever because the stickiest and most interesting thoughts are so often just like that.

photo

READY Edited together by Amy Marjoram

A photographic cloud descended and everything and everyone everywhere began to embody the purpose of being photographed. People held their drinks at parties the way drinks should be held in photos, people began to sleep, dress, drive and wave goodbye in more photogenic ways, rooms based on rooms in photographs were photographed with people in them holding drinks the correct way... Tendencies amplified, the shy became introverted to excess whilst extroverts struck poses, teeth-beacons glaring beneath skyward pointed palms. Patricia wore those starspeckled spandex pants to the local shops even when she was 85. There was a chasm created, a no-man’s land devoid of inhabitants. There was no time or space for the moderates. Everybody

performed their role in accordance with the emerging art creation. To see a true persona, one had only to look through curved glass.

We are creatures grand and attractive, with great passions, decent intent, intellectual purpose and meaningful lives.

It’s not like the world only looked like a stock photo, much of it did; but there were still rare designated and muted grubby zones of marginalized people who fitted the bill. They sat around on cracked concrete as specimens of otherness. Although so many slumming image-makers stalked them that many tired of it and normalized.

Here, before the camera-folk who squatted like Afghan children to find their angle, a grotesque parody of personalities played a forced drama in real time. Stopping only to grab at drinks and aperture dials, the night entered a new, intense phase where there were more performers than viewers. It was beautifully repugnant, for sure. The photographic cloud was colossal in its pretentiousness. The world had never looked so easy, so clear, so uncomplicated yet so utterly representational.

Photography used to be pot-luck. You shoot and you hope and later you see the eyes closed, or the mouth open or the various indignity of living as it become apparent. That in your happy moment you had a cleavage sweat stain, carrot in your teeth and sometimes a lazy eye. Now in the cloud, it became hard to find the natural amongst the froth of stereotyped posturing, but it stopped mattering. Where people became fraudulent, situation became a perverse form of purism.

Tom fell down the stairs smashing his head on the palings at the bottom. But it was just the right amount of fall in just the right kind of way. In fact the fall was stunning, even while his face was being smashed in. There was no time to call an ambulance whilst also filming the pulsating limbs, the floundering. His eyes rolled back perfectly, he was dying to a script.

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Convulsing photogenically, people circled him and piously raised there camera phones as though in worship to a digital god. Square unblinking eyes recorded the death throes and he was crisp and the images were crisp and it told us so MUCH about ourselves. About our mortality and physical vulnerability and everyone there rewatched it once, even twice and they felt so connected to the world, to humanity, to photographically-obedient death. Death sometimes still dared to work antivisually, but funeral homes became advanced multimedia displays and post-mortem photography suddenly made a comeback. Not the old black and white baby-in a cot thing, but elaborately staged scenes often shot with a film-crew. There was no need to project private or provisional answers. Even in death the show must go on.

One photographer famous for fuck-you, flash in your face photos, fell apart in the wake of the cloud. What was the point when no matter how much he lurched at strangers they all obediently went chin down, eyes unblinking, body swivelled to a slimming pose, calm about their unbelievably sexy bodies. Under just the right amount of light he had a complete mental breakdown and attempted to grittily film himself but every image was perfect, pensively dreamy-like with this beautiful pastel glow around him. In the sparkling cloud some awkward people disappeared, the rest had easily contented conscience as no-one noticed these dissolving hailstones. Let’s be clear, it’s not a bad thing, it’s just an unavoidable thing. We all like a pretty life and when it enforces behavioral editing, that’s still a choice. It was all self-policed. Look. It was all too easy.

Everything in the photographic cloud was perfectly mimicking itself and we are wired to find beauty more convincing in every way, against biased lenses it was an invincible combination. Your thing is not scorching personal honesty. The only people who struggled with this were the people who thought of themselves as photographers before the cloud arrived for them it was a brutally blunt change. The street photographers mostly retreated to studios and tried to fake happenstance. A few stayed on the streets, numbly circling blocks of perfect cream picket fences, never raising their cameras.

stockimage

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FIONA Williams

Subzero Polaroids, 2011. Taken outside in subzero temperatures, these strange purple Polaroids record the atmospheric conditions via an unusual chemical reaction within the film.

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Yavuz Erkan Unorthodox Aphorisms

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yavuz erkan Unorthodox Aphorisms

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2011 image credits in viewing sequence: bubble gum urn gloves milk towel sugar jelly

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NOAH Kalina

The Super Mega Cone, 2011

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eBay Erasures Images as found on eBay by Amy Marjoram, 2012

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ebay erasures

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ebay erasures

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ebay erasures

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jennifer Chan

High Tack, 2011

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Misunderstanding in the Photosculptures of the Nerhol Collective

Focus

Marion Piper

I squint my eyes in an attempt to mimic her. I purse my lips and push them forward, just like Angelina Jolie would. Stray hairs, defying gravity, poke out from behind her ears and instinctively I rush to comb my fingers through my hair. Leaning forward to hover over the portrait, the shallow tub of water that seems to be distorting the woman’s image isn’t a tub of water at all: I’m face to face with a pile of photographs. Wrinkles. Lines. Creases. Arbitrary words in isolation, but on a face, on any face, they are the details that mark age, experience and disposition. Are you more distinguished if deep creases divide your forehead, exhibiting a more serious side? Perhaps the crow’s feet at the corners of your eyes indicate that you’re full of laughter to give to those around you?

Our faces are the medium through which we reveal or conceal who we are and what we want. Letting others see the many different layers of our personalities can be as painful as searing your skin on the stovetop whilst burning pasta, or, as joyful as laughing so hard you almost wet your pants. Japanese duo Yoshihisa Tanaka and Ryuta Iida working collaboratively as the Nerhol collective – are known for meticulously carved book sculptures. ‘Misunderstanding Focus’ slices through our expectations to reveal distorted eyes, uneven skin tones and the face in flux. Stacked with precision, each image represents a moment in time from a three-minute time lapse. Images that would normally be lost in an average day, or pass by during a casual conversation, are recorded here. Sitters were simply asked to sit for the duration of the shoot – they could smile but many chose not to. One quirky result of the layered time lapse is that many sitters appear to be smirking, privy to a joke that the viewer isn’t part of.

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Marion Piper MISUNDERSTANDING FOCUS

Our faces are the medium through which we reveal or conceal who we are and what we want

The blurring and movement created by the layering of photographs shows exactly how hard it is to sit still. The slight ruffle of hair or shift in body weight causes a break in the image; a fracturing that might make one eye smaller than the other or add an extra nostril. Sitting perfectly still is impossible due to the mechanics of the body: the heart pumps blood through every limb and the chest is continually expanding to allow oxygen into the lungs. Although we may try, our body betrays us as we are always in motion. ‘Misunderstanding Focus’ moves our attention to the details in collarbones, the tips of ears and the edges of t-shirts. Sneaky pockets of flatness emerge in certain places and we are given permission to indulge in the surface of the photograph, but not for long. A piece of red lace, a shirt collar or section of hair appear as though they’ve been pressed into an imaginary

glass screen, and everything else is staggered behind. It’s like that moment when you think you’re hilarious by photocopying your face and blurring your likeness by moving your face slightly to the left. Through the laughter you grab the copy and analyse every line, every detail: you can barely recognise yourself even though you know it’s you. That is the confusion inherent in ‘Misunderstanding Focus’ – it is illusion in a vision that wasn’t yours to begin with.

A still image is exactly that – still – the culmination of intention and vision. Stacking still images, one atop the next, would ordinarily create a moving image, a video or film. What we see is a combination of animation and sculpture – perhaps a scanimation - as space and time meet in the body of the pile and faces of the sitters. Aware of the time each portrait took to come to life, each new layer pushes us through time whether we like it or not.

The idea of the copy has been in our vernacular long before Duchamp took a leak in a urinal and called it Art. The photograph, by its very nature, is a reproducible copy: Nerhol use intervals of time, marked by still images, to question the reality of the photographic portrait. Historically, sitters would have to endure posing for hours for just one photograph, so to see Nerhol stacking prints like toys could be read as a tribute to Daguerre and his struggles.

The photosculptures in ‘Misunderstanding Focus’ have the gloss and even lighting of passport photos, but exhibit the movement of a satellite weather map. Contour lines slide over each face, clustered together in certain places. The high winds and stormy skies of the world reflected in the gaps between photograph edges: a slightly furrowed brow or a twitch of the eye could end a relationship or start a catastrophic argument.

Not only are we reminded of the subtle differences between each face, but also of our own mortality. In a single image we are reduced to a representation of ourselves, but in multiple images we don’t experience the mini-death of one ‘snap’. Building the layers builds the person; just like slicing an onion open at one end, we might cry, but everything is visible. Perhaps the sitters are more raw and exposed because we are privy to each and every movement they were trying to suppress. We have many faces to show when we are asked to pose for a photograph: each and every expression designed to communicate an aspect of who we are and how we feel. ‘Misunderstanding Focus’ plays with this relationship to the photographic image, because no matter how hard we try to sit still, we’re still alive and we’ll always be moving.

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Marion Piper MISUNDERSTANDING FOCUS

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Farkin Bootiful Kevin Chin 2012

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kevin chin farkin bootiful

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martin buday

Mudflap, Denver, CO. 2011

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Martin Buday Topless Go-Go, Warrington, PA. 2007

Untitled (Do Not), Denver, CO. 2011

Matress, Longmont, CO. 2011

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Martin Buday Untitled (Santa), Denver, CO. 2012

Star Wars Curtains, Dolyestown Denver, PA. 2008

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Martin Buday Stuffed Animal Tree, Lakewood, Co. 2011

Untitled (david Bekham), Greeley, CO. 2011

Untitled (Hot dog), Aurora, CO. 2011

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linsey gosper 48

Linsey Gosper

image credits in viewing sequence: Votre poupée, 2012 The proposition, 2012 I feel you, 2010

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CATHERINE CLOVER Tuesday 31st March 8am Elizabeth Street Coburg An announcement taking place, two ravens. They are close, loud. Cool morning almost chilly, autumnal, the sun has just risen. aub auble aubley or ah eee ah orr or ah ee ah orrr

The magpies’ choric voices from the creek

Wah

Wah

Weh

Raven 1 loud, emphatic, forte, brio, close

Wah

Wah

Weh

Raven 1 continues, distinct phrasing

Wah

Wah

Woh

Wah-Wah Weh Weehh Wah-Wah Weh

Wah-Wah

Weh Weehh

Woh

Raven 1

Weehh

Raven 1 Raven 2 responds quickly overlapping sounds, same emphasis as Raven 1 Raven 1 more distant now Bus stops outside house; double, triple squeak of doors opening and shutting, hiss as moves off. Pulsing traffic

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Catherine Clover excerpt from ‘Tell me something’

Looking up, listening for the birds, 2012

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Catherine Clover excerpt from ‘Tell me something’ wah woh

Raven 1 arrives on M+N’s aerial, diminuendo, looking around all directions

wah woh

Raven 1

wah woh

Raven 1

wah woh

Raven 1 piano

ah-owwk

Wattlebird squawks once

oh ohhh-oh

oh ohhh-oh

oh ohhh-oh

woh woh

Doves chorus softly, piano woh

Raven 1 piano

Train horn chord middle distance

Looking up, listening for the birds, 2012

wah

Raven 1 crescendo

wah!

Raven 1 mezzo forte

wah

Raven 2 responds, not sure where

wah wah

Raven 2

Wah Wah Wah

Raven 1 emphatatic again, paced

Wah Wah Wah Wah Wah

Weh

Woh

Wah

Wah

Wah

Wah Wah Wah Wah Wah

Weh

Woh

Wah

Wah

Wah

Raven 1 fortissimo, brio wah wah wah wah

Raven 1 diminuendo

wah wah wah

and then flies off to the cemetery

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Jamie House Pleasing Deceptions A phantasmagorical spectacle of visual illusions on a pseudoscientific journey of the senses.

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Jamie House pleasing deceptions

Over the last two years Jamie has built Camera Obscuras, telescopic tubes,mag nifers,zograscopes,magic mirrors, skewed perspectives, divination boxes, and an array of optical Philosphical machines: which were collectively know in the 1700`s as “pleasing deceptions”. Exploring how our vision and perception of objects is easily fooled. Employing a range from historic alternative processes to the latest digital imaging techniques, Jamie critically analyses the medium and apparatus of photography. He is currently building wearable Pinhole Viewers that emulate the experience of being inside a Camera Obscura.

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Jamie’s array of optical devices and viewers includes a wearable camera obscura based on Sir John Herschel Star Map of the Milky Way. When the viewer enters the Camera Obscura’s dark chamber they are confronted with hundreds of small apertures all producing images in the shape of the Milky Way.

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A recently finished project converted a large Victorian church in the United Kingdom into a Camera Obscura. A space that used to hold a congregation over of 600 is now a dedicated space for art, this residency was a challenging period of time blacking out over 30 windows that were 40 foot tall and cutting a aperture to let the light stream in and produce an image of the outside of the building. This project references early texts and representations of the night sky as well as ideas of navigation,sim ulation,geocentricism and the peculiar nature of light.

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cHristopher handran Detail

2002 - Present

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cHristopher handran detail

Detail presents a series of ethereal, sometimes abstract, images are formed by a matrix of hazy grain. The series was produced using a makeshift macro lens, constructed from plastic magnifying glasses. This was used to re-photograph details from existing photographs taken from a wide range of sources, including found photos, family snapshots, instructional pictures and mass media images. The resulting images literalise the soft-focus of memory or nostalgia to the point of abstraction, and foreground the perceptual experience of viewing. The series can also be seen as a perverse literalisation of Roland Barthes’ notion of the punctum, in which the small detail that captures the attention and provokes empathy, is enlarged to become the entire image.

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cHristopher handran detail

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Dreamachine

To be viewed up close, with eyes closed, for up to an hour (dreamachine) 2012

This video documents a home-made copy of the ‘Dreamachine’, a device for the production of internal visions. The Dreamachine was patented and distributed by Brion Gysin as a design from which anyone with a d.i.y. spirit, a record player and a light bulb could construct their own. The machine projects flickering light onto the viewer’s closed eyelids to produce visions and hallucinations. For Gysin, the endless variations of these visions superceded the need for both art history and television. This video collapses these distinctions, re-presenting the Dreamachine as abstract pattern, to be viewed on a screen, while nonetheless being able to be used like the original as suggested by the title.

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Stereostereoscope 2011

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cHristopher handran Stereosterepscope

Stereostereoscope comes from a series of works exploring 3D photography and video. In contrast to the digital illusionism and special effects of 3D cinema’s revival, the viewing experience is as much one of witnessing the image breakdown as it is of enjoying the spectacle. For this work, earphone components were used as multi-point pinhole lenses for basic digital cameras. Using these cameras to record activity in an unspecified location created abstract stereoscopic videos, which consist only of shifting points of light. Here it is the medium itself that is the effect on show; the technology struggling to process the signal, imperfectly translated through the homemade viewing apparatus, which itself plays between the visual and aural connotations of ‘stereo’.

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untitled snapshots 2002-2009

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cHristopher handran untitled snapshots

Untitled Snapshots consists of photographs that resemble less moments frozen in time than they do images half-glimpsed, or experiences indistinctly remembered. For this series, the shutter was removed from a basic ‘point-andshoot’ camera, making the exposure subject to my own reflexes rather than to those of the camera. This simple modification rendered the act of taking photographs as an attempt to almost literally grasp the moment. This camera was carried around on a daily basis over several years, and used to accumulate snapshots of everyday, ephemeral experiences.

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cHristopher handran untitled snapshots

Stephane, the central character in Michel Gondry’s Science of Sleep (2006) is an amateur inventor, a designer of devices such as goggles for experiencing real life in 3D, and a onesecond time machine. These ostensibly ineffectual devices provide a metaphor for my practice, in that they create a displacement, in which the apparatus becomes the contact point for experience and perception. For over a decade, my practice has involved the manipulation and misuse of the basic technologies of photography, sound and the moving image. For me, this combination of d.i.y. techniques, junkshop materials and obsolete technologies opens the workings of the apparatus to chance and employs contemporary materials and subjects to re-enact the sense of wonder and experimentation that characterised early photography and film. 65

Johannes

Romppanen 2011 - 2012

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Johannes romppanen

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Johannes romppanen

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Johannes romppanen

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Johannes romppanen

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Johannes romppanen

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Johannes romppanen

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Excerpt Exhibition Devon Ackermann invited twelve people to visually respond to the front cover image of his bedroom with bedroom images of their own.

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Excerpt Exhibition

IMAGE CREDITS 1. Fiona Macdonald, Bedroom 2 June 2012 2. Paul Yore, Ceiling 2012 3. Richard Osadczuk, I’d Rather Be Sleeping 2012 4. Kati Mennett, My Escape 2012 5. Ka-Yin Kwok, Untitled 2012 6. Darren Sylvester, Untitled 2012 7. Doran Walot, self-surveillance (screencapture, 19.34.30) 2012 8. Hanna Tai, Making the Bed 2012 9. David Lykes Keenan, Dude Eats Banana 2012 10. Roberta Rich, Bedroom 2012 11. Tommaso Fiscaletti, Letters 2012 12. Alexis Vasilikos, Untitled 2012

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LINKS EXHIBITION SECTION

CONTRIBUTORS Noah Kalina

www.noahkalina.com

Fiona Macdonald

contact excerpt

Clinton Hayden

www.clintonhayden.com

Paul Yore

www.gertrude.org.au/studios/studios/current-22/paul-yore.phps

Tatyana Palyga

www.cargocollective.com/tatyana_palyga

Richard Osadczuk

www.au.linkedin.com/pub/richard-osadczuk/18/2b/8a4

Christopher Meerdo

www.christophermeerdo.com

Kati Mennett

www.katimennett.com

Chris Mottalini

www.mottalini.com

Ka-Yin Kwok

www.artabase.net/artist/723-ka-yin-kwok

Fiona Williams

www.fiona-williams.blogspot.com.au

Darren Sylvester

www.ssfa.com.au/artists/sylvester-darren

Yavuz Erkan

www.yavuzerkan.net

Doran Walot

www.dwalot.com

Jennifer Chan

www.jennifer-chan.com

Hanna Tai

www.hannatai.com

www.marionpiper.moonfruit.com

David Lykes Keenan

www.dlkphotography.com

Nerhol www.nerhol.com

Roberta Rich

contact excerpt

Kevin Chin

www.kevinchin.com.au

Tommaso Fiscaletti

www.tommasofiscaletti.com

Martin Buday

www.martinbuday.com

Alexis Vasilikos

www.outofnowhereandbackin.blogspot.com.au

Linsey Gosper

www.linseygosper.com

Catherine Clover

www.ciclover.com

EDITOR

Jamie House

www.jamiehousephotography.co.uk

Amy Marjoram

Christopher Handran

www.christopherhandran.blogspot.com.au

Johannes Rompannen

www.johannesromppanen.com

Marion Piper

www.amymarjoram.com

GUEST EDITOR Devon Ackermann

www.artabase.net/artist/3525-devon-ackermann

GUEST Creative Director Caitlin Smooker

www.caitlinsmooker.com

EVENTS & MEDIA CO-ORDINATOR Sheridan Mills

www.ridiculousandthesublime.blogspot.com.au

SUPPORTERS Lou Hubbard

www.sarahscoutpresents.com/lou-hubbard

Louis Porter

www.louisporter.com

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THANKS Thank you to everyone working on Excerpt

Thank you to all the contributors and readers of Excerpt magazine Issue 4

Excerpt Magazine is an indie publication and the people working on it are so smart, kind, dedicated, talented and fun to be around that it is a treat.

We are grateful to everyone involved for the immensely creative energy that is fuelling the magazine. Our contributors are gold, it is constantly exciting seeing the amazing work we get to share with our audience. Our lovely audience continues to grow, the thousands of downloads spur us on. Please share our publication, it is the best way of supporting us.

For this issue, Editor Amy Marjoram was joined by Devon Ackermann Guest Co-Editor, Cover & Exhibition Section. Devon, we have so much respect for your curatorial understanding and love your influence on the publication. We have Caitlin Smooker, our Guest Creative Director who has brought her fantastic design skills and creative energy to this issue, she is beyond great to work with. Laura Gulbin, our founding Creative Director who continues to lend support. Sheridan Mills, our Events & Media Co-ordinator, he not only steers Excerpt to new audiences but brings in so many ideas and such great understanding that we couldn’t work with anyone better. Our supporters Lou Hubbard & Louis Porter continue to steer Excerpt in the right direction with endless encouragement and insights.

PROPS Thank you to Horse Bazaar for hosting our Issue 4 launch party! Thank you Scott Borys, for stellar website support. Thank you Yvette King for all your solid soundboarding.

We want as many people as possible to be involved in this project and welcome you all to contact us. We are always seeking potential contributors, editors of segments, ideas, recommendations and feedback. All segments of the magazine are open for people to suggest topics and content. Our contributors have kindly provided content without receiving payment and they retain copyright over their material. If you wish to reproduce any parts of Excerpt magazine please contact us. Please subscribe via our website or join our Facebook page to stay in touch.

Amy Marjoram [email protected] SUBSCRIBE – IT’S FREE www.excerptmagazine.com FOLLOW US www.facebook.com/excerptmagazine www.twitter.com/#!/excerptmagazine

ISSUE #05 Late 2012

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