4 Mar 2014 / 33 notes
MOSSLESS: In Simulating Iraq, American soldiers and civilians play the roles of Iraqi insurgents and civilians for training purposes. Did you ever ask the participants how they felt about the roles they were playing?Claire Beckett: Yes, I often asked participants about what they thought of their roles. I was fascinated to find that most participants absolutely relished the roles that they played. For some, it seemed like a case of play-acting, like high school theater wrought on a grander scale. For others, there was a fascination with Arab culture and language. I was surprised to learn at one facility that the female civilian role players were spending their own money to purchase fancy Arab-style clothing on the internet. I think that it made them feel glamorous. Among the soldiers there often seemed to be a bias towards playing the “bad guys,” typically identified as “jihadis” or “terrorists,” because it was exciting. The bad guys generally ran amok, used unique weaponry, and got to blow things up. Of course I am generalizing, but this is the spirit of things that I observed.
3 Mar 2014 / 22 notes
A sample of photographs currently available at our Kickstarter. Interested in buying a print from an Issue Three photographer? Click here for the full listing of prints available. All proceeds go towards the production of the book!
27 Feb 2014 / 40 notes
MOSSLESS: How have cultural changes in the last ten years affected you personally?
Eva O’Leary: Ireland has transformed completely from the country I knew as a child; it’s almost unrecognizable. I grew up amid the Irish banking boom of the 90s, a time of rapid growth and unbridled spending. For a brief time, it was the second richest country in the world. Last summer I returned to visit my family for the first time in 4 years. The contemporary landscape is different from what I remember as a child. There is a clear feeling of betrayal in the broken promise of capitalism. I’m left wondering how could a country that survived colonization, famine, and poverty be taken down by capitalist excess?
Harry Griffin: My mom, a secretary to a plastic surgeon, lost her job last month. She’d been working there for 10 years and got fired for trying to save a life. Seeing her struggle as a 55-year-old single woman is fucked up. This is a seriously flawed system for people without trust funds.
24 Feb 2014 / 18 notes
MOSSLESS: If you could change anything about the way photography is taught, what would it be?
Sean Stewart: I would stop cheating young artists out of a future. I think there are a few overlooked paths to forging a professional life out of photography. The raising cost of higher education and the fact that so few jobs are available just doesn’t add up for most people. If you really want to do something great, invest in your equipment, travel, and make work you really care about. There are technical concerns and philosophical hurdles to overcome that can’t be done alone in a room, so surrounding yourself with artists and sharing work is extremely important. The internet is probably the most important tool to learn.
10 Feb 2014 / 161 notes
MOSSLESS: Do you consider your work to be documentary photography?
Morgan Ashcom: To me, the word documentary implies a primary concern with things as they are: concern with the social landscape, psychology, politics, history, or activism. I don’t think of my work in that way at all. I am a photographer, and that’s it. Elements of the scene at Skatopia provided some useful dramatic material, but they serve a different purpose in West of Megsico than they do at Skatopia. The resulting photographs and their sequencing came from a mixture of imagination, observation, and my experience. I work like this because I am interested in looking at photographs in a way that includes the most possibilities. That is, I like them to appear as facts, while at the same time suggesting something beyond the visible world.
3 Feb 2014 / 43 notes
MOSSLESS: You mention in your artist statement that a lot of the settlements you photograph would be ghost towns if it weren’t for their Latino populations. What are these towns like?
Kathya Landeros: The part of California where I am from is some of the most fertile land in our country, making the people who tend to it (a majority being Latino) quite productive. The land is very flat, and yet there is always evidence of rolling foothills and mountains never too far away. The sun also seems to produce the most intense heat and light here—really beautiful California light. This is especially true in the summer when the sun is high and its light is drawn out late into the evening. The land is usually laid out in a similar rectilinear fashion: a main business drag with homes surrounding it. The homes are enveloped by expansive farmland, which is the most defining feature that can be seen from the highway. When I think of these towns the paintings of Richard Diebenkorn and some of the other Bay Area Figurative Movement painters come to mind. Although their work is not specific to the towns I am photographing in, their rendition of light and geometry very much describes the West I know. Such a quiet view of the land also offers an interesting foil to the mythos of the rugged American West of cowboys.
27 Jan 2014 / 43 notes
We are interviewing a number of photographers from Issue 3 for Vice Magazine online. They will be posted every monday and we will reblog a snippet of each here.
MOSSLESS: Tell us a memorable story from your travels across America.
Curran Hatleberg: A while back I was sitting in an empty barroom looking out the entrance to a dirty street. The door was propped wide open, framing a perfect view of the foot traffic and cars streaming by in the night. I studied thousands of insects as they whirled and smashed into a streetlight. I watched a nervous, skinny woman flash her gold teeth, then drop an orange rind on the sidewalk. Then I saw a sedan meet a concrete pillar at 50 miles an hour. The car lurched up the pole with vicious agility, going completely vertical before landing upside down. The whole event appeared slow and graceful and very far away. I stared, inactive, for what felt like a very long time, trying to decide if what I saw had actually happened or not. Before I was aware of my movements I was on my knees, breathing hard at the driver’s side window. Everything smelled like gas. Glass and debris was strewn everywhere like confetti. Looking inside, the driver had blood streaming down his face in squiggled paths and was laughing uncontrollably. With the help of another man, I dragged him by the arms out of the window and onto the grass. The driver writhed on the ground in spastic fits of energy. A crowd developed around him, unsure what to do. It all happened very fast, but I clearly remember standing up and seeing one of the car’s tires spinning purposely, as if the road were still underneath it.
20 Jan 2014 / 107 notes
Our Kickstarter is up. See the almost whole book in the video above.
Issue Three: The United States (2003-2013) is now available for preorder.
Verstoppertje by Romke Hoogwaerts and Grace Leigh is now available at our online store for just $10.
It was exclusively made for the 8 Ball Zine Fair at an edition of 20. We have just a few copies left. The photos are from our month in The Netherlands last year, and it is the first time we have published our own work.
16 Dec 2013 / 24 notes