http://www.jonorotman.com Jono Rotman Thu, 31 Mar 2011 19:51:27 +0000 http://www.jonorotman.com en http://jonorotman.com/Test_110331 http://jonorotman.com/following/jonorotman.com/Test_110331 Thu, 31 Mar 2011 19:51:27 +0000 Jono Rotman 1247096 http://jonorotman.com/A1_Splash http://jonorotman.com/following/jonorotman.com/A1_Splash Tue, 29 Mar 2011 16:41:46 +0000 Jono Rotman 1235660 OOO <img src="http://payload.cargocollective.com/1/0/28660/1235660/Spl_2b_960.png" width="960" height="262" width_o="960" height_o="262" src_o="http://payload.cargocollective.com/1/0/28660/1235660/Spl_2b_o.png" data-mid="6211952" border="0" align="left"/> http://jonorotman.com/B22Pig http://jonorotman.com/following/jonorotman.com/B22Pig Mon, 28 Mar 2011 21:13:23 +0000 Jono Rotman 1231329 <img src="http://payload.cargocollective.com/1/0/28660/1231329/Ma00_207.png" width="207" height="15" width_o="207" height_o="15" src_o="http://payload.cargocollective.com/1/0/28660/1231329/Ma00_207_o.png" data-mid="5947928" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/28660/1231329/Mb22Pig_384.png" width="384" height="15" width_o="384" height_o="15" src_o="http://payload.cargocollective.com/1/0/28660/1231329/Mb22Pig_384_o.png" data-mid="5948244" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/28660/1231329/Mc2P_352.png" width="352" height="15" width_o="352" height_o="15" src_o="http://payload.cargocollective.com/1/0/28660/1231329/Mc2P_352_o.png" data-mid="5948005" border="0" align="left"/> COMING SOON! http://jonorotman.com/B22_Marble_Statement http://jonorotman.com/following/jonorotman.com/B22_Marble_Statement Mon, 28 Mar 2011 13:42:03 +0000 Jono Rotman 500273 Marble Town is concerned with the architecture of the departed, with a particular focus on monument and the vestiges of empire. Such structures whisper of arcane histories and posthumous aspirations. In this sense, a building is like a ghost, a presence long after the builder has passed on. Tombs offer a prism on the cultures from whence they came, and there is a strange intent behind an edifice that asserts its presence while hiding what is inside. As physical manifestations of culture, monuments are the most rarefied, unhindered as they are by practicality, and they are free to breathe the air of imagination and subjective history. http://jonorotman.com/B22_Recent_Work http://jonorotman.com/following/jonorotman.com/B22_Recent_Work Thu, 24 Mar 2011 13:33:38 +0000 Jono Rotman 1214124 <img src="http://payload.cargocollective.com/1/0/28660/1214124/B21_18_37_960.jpg" width="960" height="615" width_o="960" height_o="615" src_o="http://payload.cargocollective.com/1/0/28660/1214124/B21_18_37_o.jpg" data-mid="13893751" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28660/1214124/B21_4_960.jpg" width="960" height="615" width_o="960" height_o="615" src_o="http://payload.cargocollective.com/1/0/28660/1214124/B21_4_o.jpg" data-mid="5863325" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28660/1214124/B21_5_960.jpg" width="960" height="615" width_o="960" height_o="615" src_o="http://payload.cargocollective.com/1/0/28660/1214124/B21_5_o.jpg" data-mid="5863327" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28660/1214124/B21_17_960.jpg" width="960" height="615" width_o="960" height_o="615" src_o="http://payload.cargocollective.com/1/0/28660/1214124/B21_17_o.jpg" data-mid="6346017" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28660/1214124/B21_10b_960.jpg" width="960" height="615" width_o="960" height_o="615" src_o="http://payload.cargocollective.com/1/0/28660/1214124/B21_10b_o.jpg" data-mid="6189339" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28660/1214124/B21_2_960.jpg" width="960" height="615" width_o="960" height_o="615" src_o="http://payload.cargocollective.com/1/0/28660/1214124/B21_2_o.jpg" data-mid="5863317" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28660/1214124/B21_11_960.jpg" width="960" height="615" width_o="960" height_o="615" src_o="http://payload.cargocollective.com/1/0/28660/1214124/B21_11_o.jpg" data-mid="5863350" border="0" align="left"/>.slideshow_thumb{display:none!important;} ALL IMAGES © 1994-2011 JONO ROTMAN http://jonorotman.com/BG_Ran_Fixed http://jonorotman.com/following/jonorotman.com/BG_Ran_Fixed Mon, 14 Mar 2011 16:28:08 +0000 Jono Rotman 1168577 body{position:fixed;} JONO ROTMAN <img src="http://c0573862.cdn.cloudfiles.rackspacecloud.com/1/0/28660/1159668/101217_SPLASH_1_960.jpg" border="0" width="960" height="60" align="left"> <img src="http://payload.cargocollective.com/1/0/28660/1168577/16_S_60.png" width="208" height="27" width_o="208" height_o="27" src_o="http://payload.cargocollective.com/1/0/28660/1168577/16_S_60_o.png" data-mid="5688606" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28660/1168577/16_S_80.png" width="208" height="27" width_o="208" height_o="27" src_o="http://payload.cargocollective.com/1/0/28660/1168577/16_S_80_o.png" data-mid="5688608" border="0" align="left"/> http://jonorotman.com/100801_WAIHORA http://jonorotman.com/following/jonorotman.com/100801_WAIHORA Fri, 21 Jan 2011 21:55:31 +0000 Jono Rotman 964586 slideshow}<img src="http://payload.cargocollective.com/1/0/28660/964586/100801_web_1_960.jpg" width="960" height="690" width_o="960" height_o="690" src_o="http://payload.cargocollective.com/1/0/28660/964586/100801_web_1_o.jpg" data-mid="4630715" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28660/964586/100801_web_3_960.jpg" width="960" height="690" width_o="960" height_o="690" src_o="http://payload.cargocollective.com/1/0/28660/964586/100801_web_3_o.jpg" data-mid="4630721" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28660/964586/100801_web_4_960.jpg" width="960" height="690" width_o="960" height_o="690" src_o="http://payload.cargocollective.com/1/0/28660/964586/100801_web_4_o.jpg" data-mid="4630722" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28660/964586/100801_web_5_960.jpg" width="960" height="690" width_o="960" height_o="690" src_o="http://payload.cargocollective.com/1/0/28660/964586/100801_web_5_o.jpg" data-mid="4630728" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28660/964586/100801_web_2_960.jpg" width="960" height="690" width_o="960" height_o="690" src_o="http://payload.cargocollective.com/1/0/28660/964586/100801_web_2_o.jpg" data-mid="4630719" border="0" align="left"/> Approx. 120cm X 380cm. Edition of 5 http://jonorotman.com/B22_Chambers http://jonorotman.com/following/jonorotman.com/B22_Chambers Mon, 10 Jan 2011 19:54:12 +0000 Jono Rotman 922191 <img src="http://payload.cargocollective.com/1/0/28660/922191/B22Cha_1_960.jpg" width="960" height="615" width_o="960" height_o="615" src_o="http://payload.cargocollective.com/1/0/28660/922191/B22Cha_1_o.jpg" data-mid="5949327" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28660/922191/B22Cha_9_960.jpg" width="960" height="615" width_o="960" height_o="615" src_o="http://payload.cargocollective.com/1/0/28660/922191/B22Cha_9_o.jpg" data-mid="5949355" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28660/922191/B22Cha_5_960.jpg" width="960" height="615" width_o="960" height_o="615" src_o="http://payload.cargocollective.com/1/0/28660/922191/B22Cha_5_o.jpg" data-mid="5949337" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28660/922191/B22Cha_6_960.jpg" width="960" height="615" width_o="960" height_o="615" src_o="http://payload.cargocollective.com/1/0/28660/922191/B22Cha_6_o.jpg" data-mid="5949339" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28660/922191/B22Cha_7_960.jpg" width="960" height="615" width_o="960" height_o="615" src_o="http://payload.cargocollective.com/1/0/28660/922191/B22Cha_7_o.jpg" data-mid="5949344" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28660/922191/B22Cha_13_960.jpg" width="960" height="615" width_o="960" height_o="615" src_o="http://payload.cargocollective.com/1/0/28660/922191/B22Cha_13_o.jpg" data-mid="5949362" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28660/922191/B22Cha_16_960.jpg" width="960" height="615" width_o="960" height_o="615" src_o="http://payload.cargocollective.com/1/0/28660/922191/B22Cha_16_o.jpg" data-mid="5949365" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28660/922191/B22Cha_17_960.jpg" width="960" height="615" width_o="960" height_o="615" src_o="http://payload.cargocollective.com/1/0/28660/922191/B22Cha_17_o.jpg" data-mid="5949368" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28660/922191/B22Cha_18_960.jpg" width="960" height="615" width_o="960" height_o="615" src_o="http://payload.cargocollective.com/1/0/28660/922191/B22Cha_18_o.jpg" data-mid="5949370" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/28660/922191/B22Cha_20_960.jpg" width="960" height="615" width_o="960" height_o="615" src_o="http://payload.cargocollective.com/1/0/28660/922191/B22Cha_20_o.jpg" data-mid="5949373" border="0" align="left"/> ALL IMAGES © 1994-2011 JONO ROTMAN http://jonorotman.com/B22_MM http://jonorotman.com/following/jonorotman.com/B22_MM Mon, 10 Jan 2011 15:44:02 +0000 Jono Rotman 921032 <img src="http://payload.cargocollective.com/1/0/28660/921032/B22Mmm_6_960.jpg" width="960" height="615" width_o="960" height_o="615" src_o="http://payload.cargocollective.com/1/0/28660/921032/B22Mmm_6_o.jpg" data-mid="5961826" border="0" align="left"/> CONTACT JONO TO VIEW THIS WORK ALL IMAGES © 1994-2011 JONO ROTMAN http://jonorotman.com/C543_Inner_View http://jonorotman.com/following/jonorotman.com/C543_Inner_View Thu, 06 Jan 2011 02:19:51 +0000 Jono Rotman 907770 <img src="http://payload.cargocollective.com/1/0/28660/907770/B543_IVb_960.jpg" width="960" height="615" width_o="960" height_o="615" src_o="http://payload.cargocollective.com/1/0/28660/907770/B543_IVb_o.jpg" data-mid="6301684" border="0" align="left"/> ALL IMAGES © 1994-2011 JONO ROTMAN I was about 19 when I decided to become a photographer, because I somehow conceived it would fit with the sort of life I wanted to live. I knew I wanted to see as much as I could of the world and have adventures, but I wanted to do so from within a discipline and thereby have something to show for my freewheeling twenties. In New Zealand, where I am from, it was necessary for me to come to grips with commercial photography, because New Zealand is a small country and there are not as many options. But it went very well, and I’ve been working as a photographer for more than 10 years now. For me the most interesting part of being a photographer is about doing things, meeting people, going to places and having experiences that show me something new. I try and work with what I would want to look at or be interested in anyway—but the reason for doing it is photography. That way the work is both an exploration and a methodology, and that’s how I like it. Much of my work has been concerned with showing some kind of extreme. Life is the dark as well as the light, so I don't look at the dark things as necessarily bad. I am exploring those areas because people usually don't want to deal with them. For me, my personal work can be seen as externalizing my inherited demons, and perhaps those I have minted uniquely for myself. But in some sense I align work that depicts moments of sublimity with the darker material because each demands a countervailing balance. I want pictures to be so strong that people literally experience something. I try to open a door into a subject matter —and from that hope the person who is looking at the image may come away with a different way of understanding the subject. I am not so much trying to show people something they don’t know about. I am trying to expand upon what’s already there, and invite them to go deeper. The notion that photographs might offer physical as well intellectual experience seems natural to me, but people tend not to couch their responses to art it that fashion. I don’t like that sort of rarified engagement. If a piece of work can somehow hit you physically and emotionally first then the intellectual questioning can follow. In essence you have a physical experience and then you question why that might be. That process can then itself become iterative, and with each ongoing consideration, new ideas and questions arise. It is not so much about understanding. What I try to achieve with my work is that I want people to ‘experience questioning’ because to me this is something really important. That is also why I am fascinated by large formats. When you have a picture that large, it becomes a physical experience, which is quite different from looking at a magazine. Something where you can almost literally step into the subject, as close as a two-dimensional thing can get to becoming three-dimensional. The skulls are on show at the Bodies Exhibition here in New York. If you’ll forgive me, I’ll submit they reflect the interest I have in trying to get to the bones of my subject matter. I chose them because they are such oddities, really. They are presented as pieces of art and exhibits of science. And with a bright blue and red nervous system externalized, they reflect classic psychic and psychedelic dualism. You can view them as a portrait seen from the inside. They sort of nudge up against an avenue of death and direct you back towards experience. A pictures of a skull can scare you, but they are also fascinating and somehow very seductive objects. The way I like to try doing this is to get you get drawn into something so that you are involved before you realize where you are. It’s like an invitation to the Witch’s gingerbread house. That's probably what I got from advertising—to be aware of the seductive qualities images can have. If you just glance at them, it seems obvious, but the more you look at it, the more you can get into it. It is like looking at a person and understanding that it is a woman as opposed to a man or girl or boy, which is pretty obvious, and then you talk to the woman and you interact and things start to open up and open up...