Place
I recalled this great article written about my deep research project “the Line” on @places_journal written by @rothman_aaron and being paired with @markruwedel was and remains an honor.
The article was written in 2015 but I’ve working on photographing around the Mason - Dixon line since 2009, hard to believe. Even more hard to believe is how evergreen the work is. Im grateful to the GIDEST community for helping shape this work and get it out in the world. Link to article in bio. #theline #masondixon The past is never dead. It’s not even past….okay Mr Faulkner
Join us at @photolondonfair this 14th-17th of May.
Replika Publishing is proud to present recent works from our featured artists alongside our catalogue of books.
Colin Stearns @nonlinearbooks is a photographer and book maker based in New York City. His creative practice centers on the photobook as a vital form of artistic and historical expression, merging visual storytelling with archival research and personal narrative. He is the author of photobooks published by RITA BOOKS (2015) and KGP+ (2017), and since 2018 has self-published a range of experimental works in print, exploring the photobook as an independent and evolving medium.
The 1950’s were extremely conservative years in the United States. In March of 1958 The Rifleman began its five-year, 168 episode run. The show is about a rancher struggling to raise and defend his son with civilized morals in the pre-colonized New Mexico territory of the 1890’s.
Creativity crosses the Atlantic! 📸
We’ve officially launched the first-ever Paris x NYC #Photo Exchange. This semester, photography students in Paris are being paired with their peers at Parsons New York to engage in a #creative visual dialogue across borders. Stay tuned—we’ll be sharing the results of this cross-continental collaboration in a few months! 🇫🇷🗽
Many thanks to professors Colin Stearns @nonlinearbooks@sofijasilvia@photostories_ng and @postmodernclio for this initiative. @parsonsbfaphoto
I’ve been researching the television series The Rifleman for some time. Recently I’ve been isolating moments where men turn their backs to the camera, or are facing away or towards. This gesture of refusal—of not facing, of withholding acknowledgment—speaks to the ways patriarchy operates through denial as much as through assertion. The turned back becomes both a barrier and a performance: a sign of control, but also of isolation and vulnerability. In repeating this image, I’m interested in how masculinity is staged not only through presence and confrontation, but also through absence, avoidance, and the refusal to engage. For more, please look at my website, link in bio.
Drawing by Jeremiah Dixon, Where the east / west Transpeninsular Line bisects and the North Line begins. #theline #masondixonline #masondixon Photo Credit: @zachwassef
These are scanned pages for the journal of Charles Mason (of the Mason-Dixon Line) as he and Jeremiah Dixon made their survey. It’s just unbelievably beautiful. Since being a GIDEST Fellow this year I’ve been able to revisit my 15 year long history of this…life long project, of studying the Mason-Dixon Line. Sharing these pages today, of these amazing handwritten calculations and diagrams. The Journal is in the National Archive in DC.#masondixon #theline #icantdomath
New Blog Post out! 📷
This post is all about photography-related events at Parsons Paris! AMT program assistant @olinaolseth had the chance to chat with Colin Stearns (@nonlinearbooks ), Program Director of the BFA Photography Program at Parsons NY, and artist @sofijasilvia , who is currently teaching a darkroom workshop at @parsonsparis and showcasing her solo exhibition at @lairarts for the atelier’s 150th anniversary. Dive into the post for inspiration and insights into photography! Link in bio & story.
#ParsonsParis #Photography #Darkroom #ArtExhibition #ParsonsNY #artisttalk
"As a result of war or climate or political upheaval, your environment has become hostile. You've left your familiar space for another place to live. Between the departure and the arrival points, you cross a multitude of landscapes.
Deserts, plains, forests, streams. All sites for your body to experience, in a harsh intimacy, but their transitory nature means you stay alien to them. Migrants is what you're called by those who live, sedentary, in more favourable landscapes.
Refugees is a more accurate term because there's no possible way back. Behind you, a bygone landscape. In front: the horizon as a promise of protection. During this itinerary, what tools do you use to guide you?
Depending on the season, the state of your body, the intensity of your hopes, we are your landmarks and your obstacles". / text from the Moving Landscape exhibition at Jeu de Paume/ photo mine from the Musée des arts et Métiers - of a very different time in our history
Tomorrow at 4 PM—don’t miss it! Join us at Galerie 45 for an artist talk with Colin Stearns (@nonlinearbooks ), Program Director of Photography at Parsons NY (@parsonsschoolofdesign ). He’ll also be bringing some of his photo books for you to browse. See you there!
#ParsonsParis #ArtMediaTechnology #Photography #ArtistTalk #PhotoBooks #Storytelling #ColinStearns #Galerie45
📸 Exciting News! Join us on Tuesday, February 11th at Galerie 45 as we host Colin Stearns (@nonlinearbooks ), Program Director of BFA Photography at Parsons NY, for an exclusive artist talk from 4-5 pm. 🎙️ Whether you’re a student, alumni, faculty member, or guest, everyone is welcome to come hear from the talented Colin Stearns and ask any burning questions! See you there!
#ParsonsParis#Photography#PhotographyTalk #Galerie45 #TheNewSchool#ArtistTalk
The Riflemen: Twelve Shots Four Seconds
This chapter recreates the opening sequence of The Rifleman, The protagonist slowly walks with a rifle while quickly firing at an unseen and unknown target. There is no music, only the sound of a high powered rifle discharging twelve shots in four seconds. The rifle has been modified to work semi-automatically, a technology that did not exist at the time the television show was set.
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The 1950’s were extremely conservative years in the United States. In March of 1958 The Rifleman began its five-year, 168 episode run. The show is about a rancher struggling to raise and defend his son with civilized morals in the pre-colonized New Mexico territory of the 1890’s.
This television western and many others like it were the shows of the formative years of the Baby Boomers generation. Rifleman themed toys such as the semi-automatic rifle of the protagonist were marketed to children. Good men were idols and were depicted as independent and void of emotion. However, their conviction and dedication to the Christian bible, as a means to form a new nation, propelled them. Western expansion created space for white men to exact their own justice. In their world violence was always justified when upholding the civilized morality of an expanding American colony.
The hero killed more than 120 people in five years, typically, extra-judicially. He was guided with this same moral center and lone judgment that he used to raise his son.
The legacy of patriarchy is inescapable.
Honored, thrilled, excited to be asked to present my photobooks and photography to the community at Parsons Paris next week. Here are images and notes for upcoming talk. @parsonsparis.artmedia@parsonsparis #photobooks #masondixon #theline. 1, Meridian 2, all that cannot be said 3, Please 4, The Riflemen 5, the Line Find out more on my website link in bio.
