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	<title>the black snapper &#187; conceptual photography</title>
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	<link>http://www.theblacksnapper.net</link>
	<description>international online photography magazine edited by diederik meijer</description>
	<lastBuildDate>Wed, 24 Feb 2010 10:01:01 +0000</lastBuildDate>
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		<title>Construction Firms Built More Than 300,000 Houses</title>
		<link>http://www.theblacksnapper.net/2010/02/20/construction-firms-built-more-than-300000-houses/</link>
		<comments>http://www.theblacksnapper.net/2010/02/20/construction-firms-built-more-than-300000-houses/#comments</comments>
		<pubDate>Sat, 20 Feb 2010 10:01:02 +0000</pubDate>
		<dc:creator>Michael Itkoff</dc:creator>
				<category><![CDATA[Homepage]]></category>
		<category><![CDATA[cityscapes]]></category>
		<category><![CDATA[conceptual photography]]></category>
		<category><![CDATA[constructed landscapes]]></category>
		<category><![CDATA[Latin America]]></category>
		<category><![CDATA[Mexico]]></category>
		<category><![CDATA[portraiture]]></category>
		<category><![CDATA[South America]]></category>
		<category><![CDATA[suburbia]]></category>

		<guid isPermaLink="false">http://www.theblacksnapper.net/?p=4147</guid>
		<description><![CDATA[Alejandro Cartegena focuses his lens on the development in Northern Mexico in a series of projects from which this portfolio is drawn. The rapid modernization and quick pace of pre-fab construction threatens not only local natural resources but also the traditional culture of the region.]]></description>
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		<slash:comments>0</slash:comments>
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		<title>It Is A Stage That Becomes A Metaphor For Life</title>
		<link>http://www.theblacksnapper.net/2010/02/08/it-is-a-stage-that-becomes-a-metaphor-for-life/</link>
		<comments>http://www.theblacksnapper.net/2010/02/08/it-is-a-stage-that-becomes-a-metaphor-for-life/#comments</comments>
		<pubDate>Mon, 08 Feb 2010 10:01:32 +0000</pubDate>
		<dc:creator>Elie Domit</dc:creator>
				<category><![CDATA[Homepage]]></category>
		<category><![CDATA[Asia]]></category>
		<category><![CDATA[conceptual photography]]></category>
		<category><![CDATA[Iran]]></category>
		<category><![CDATA[Middle East]]></category>
		<category><![CDATA[silhouettes]]></category>

		<guid isPermaLink="false">http://www.theblacksnapper.net/?p=3924</guid>
		<description><![CDATA[I was attracted to Mirzaei's series Human because of it very graphic nature. With this work the viewer has to approach very closely to see the images are actually photographic in nature, and not drawn or cut out silhouettes. It is as if you are looking through a microscope at scenes from the proverbial ant heap. Like a film maker, Mirzaei has zoomed out to capture different configurations, deciding when the shot was right or whether to wait for a few moments for the actors to regroup in different postures.]]></description>
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		<slash:comments>3</slash:comments>
		</item>
		<item>
		<title>A Culture That Came To Bloom After The Oil Boom</title>
		<link>http://www.theblacksnapper.net/2010/02/07/a-culture-that-came-to-bloom-after-the-oil-boom/</link>
		<comments>http://www.theblacksnapper.net/2010/02/07/a-culture-that-came-to-bloom-after-the-oil-boom/#comments</comments>
		<pubDate>Sun, 07 Feb 2010 10:01:50 +0000</pubDate>
		<dc:creator>Elie Domit</dc:creator>
				<category><![CDATA[Homepage]]></category>
		<category><![CDATA[conceptual photography]]></category>
		<category><![CDATA[Dubai]]></category>
		<category><![CDATA[interiors]]></category>
		<category><![CDATA[Middle East]]></category>
		<category><![CDATA[United Arab Emirates]]></category>

		<guid isPermaLink="false">http://www.theblacksnapper.net/?p=3911</guid>
		<description><![CDATA[The title of this project deals with the idea of subsistence in a renounced space and prevalence of identity within unwanted houses or structures in the United Arab Emirates (specifically Dubai, Sharjah and Ajman). The photographs of these spaces are varied from being semi-abandoned (people moving to new houses), to those soon to be demolished in lieu of a bigger and more innovative edifice. These interiors represent a young culture that came to notice after the oil boom nearly thirty years ago. With the current need for modernism and the building of the ‘future,’ cultural extinction is sadly inevitable and a new identity is thus forming.]]></description>
		<wfw:commentRss>http://www.theblacksnapper.net/2010/02/07/a-culture-that-came-to-bloom-after-the-oil-boom/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Yes, These Are Reminders That Time Is Passing</title>
		<link>http://www.theblacksnapper.net/2010/02/06/these-are-all-reminders-that-time-is-passing/</link>
		<comments>http://www.theblacksnapper.net/2010/02/06/these-are-all-reminders-that-time-is-passing/#comments</comments>
		<pubDate>Sat, 06 Feb 2010 10:01:00 +0000</pubDate>
		<dc:creator>Elie Domit</dc:creator>
				<category><![CDATA[Homepage]]></category>
		<category><![CDATA[absence]]></category>
		<category><![CDATA[Asia]]></category>
		<category><![CDATA[conceptual photography]]></category>
		<category><![CDATA[decay]]></category>
		<category><![CDATA[interiors]]></category>
		<category><![CDATA[Iran]]></category>
		<category><![CDATA[Middle East]]></category>

		<guid isPermaLink="false">http://www.theblacksnapper.net/?p=3879</guid>
		<description><![CDATA[The sense of emptiness of a house whose occupants have departed is somehow striking for me. There is a profound feeling -somewhat- strange about the abandoned houses. Most of the time there is a sad story behind it; forced immigration, need for money, grown children who have left or even death.]]></description>
		<wfw:commentRss>http://www.theblacksnapper.net/2010/02/06/these-are-all-reminders-that-time-is-passing/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Day 180 &#8211; An Essentially Fragmented Persona</title>
		<link>http://www.theblacksnapper.net/2010/02/04/day-180-an-essentially-fragmented-persona/</link>
		<comments>http://www.theblacksnapper.net/2010/02/04/day-180-an-essentially-fragmented-persona/#comments</comments>
		<pubDate>Thu, 04 Feb 2010 10:01:50 +0000</pubDate>
		<dc:creator>Elie Domit</dc:creator>
				<category><![CDATA[Homepage]]></category>
		<category><![CDATA[abstract photography]]></category>
		<category><![CDATA[conceptual photography]]></category>
		<category><![CDATA[Europe]]></category>
		<category><![CDATA[Middle East]]></category>
		<category><![CDATA[photomontage]]></category>
		<category><![CDATA[UK]]></category>

		<guid isPermaLink="false">http://www.theblacksnapper.net/?p=3833</guid>
		<description><![CDATA[Steve Sabella's In Exile is an attempt to reconstruct an identity which he felt deconstructed by the political situation in his former home town, Jerusalem. We sense the loss of the home, a confusion of not really belonging anywhere, of being suspended between cultures, of a bewildering multitude of perspectives that present themselves as possible ways of living. ]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>To Celebrate My Birthday Back In Cape Town</title>
		<link>http://www.theblacksnapper.net/2010/02/03/to-celebrate-my-birthday-back-in-cape-town/</link>
		<comments>http://www.theblacksnapper.net/2010/02/03/to-celebrate-my-birthday-back-in-cape-town/#comments</comments>
		<pubDate>Wed, 03 Feb 2010 10:01:43 +0000</pubDate>
		<dc:creator>Daniel Cuthbert</dc:creator>
				<category><![CDATA[Homepage]]></category>
		<category><![CDATA[Africa]]></category>
		<category><![CDATA[cityscapes]]></category>
		<category><![CDATA[conceptual photography]]></category>
		<category><![CDATA[self portraits]]></category>
		<category><![CDATA[South Africa]]></category>

		<guid isPermaLink="false">http://www.theblacksnapper.net/?p=3811</guid>
		<description><![CDATA[My father worked on numerous construction sites abroad, in particular in South Africa from 1979 till 1985 to build a nuclear power station. I arrived there at the age of five. In this period the regime of Apartheid tried to stay in power by applying a firmer repressive policy. There where 'whites only' places everywhere, restriction boards, borders and boundaries. I was there during a historic period, but I only knew about it due to my education and to my schooling in a French school. In daily life, Apartheid was invisible for me.]]></description>
		<wfw:commentRss>http://www.theblacksnapper.net/2010/02/03/to-celebrate-my-birthday-back-in-cape-town/feed/</wfw:commentRss>
		<slash:comments>3</slash:comments>
		</item>
		<item>
		<title>Day 172 &#8211; A False Veil Behind Which Lurks Death</title>
		<link>http://www.theblacksnapper.net/2010/01/27/day-172-a-false-veil-behind-which-lurks-death/</link>
		<comments>http://www.theblacksnapper.net/2010/01/27/day-172-a-false-veil-behind-which-lurks-death/#comments</comments>
		<pubDate>Wed, 27 Jan 2010 10:01:50 +0000</pubDate>
		<dc:creator>Marcelo Brodsky</dc:creator>
				<category><![CDATA[Homepage]]></category>
		<category><![CDATA[Argentina]]></category>
		<category><![CDATA[conceptual photography]]></category>
		<category><![CDATA[mixed media]]></category>
		<category><![CDATA[photographic oil painting]]></category>
		<category><![CDATA[portraiture]]></category>
		<category><![CDATA[South America]]></category>

		<guid isPermaLink="false">http://www.theblacksnapper.net/?p=3564</guid>
		<description><![CDATA[Photographic oil paintings are hypnotic. The patina of paint is like a false veil behind which lurks death: there is a sense of evasion, as when applying make-up to a corpse prior to viewing. It is a trans-vested genre where the subject is further removed from reality by an additional mask. The photographic image is thus disguised by a technical mixture, but the result is still a hybrid inspiring a particular symbolic tension: that which is intended to be hidden remains present, and what is feigned will never actually happen.]]></description>
		<wfw:commentRss>http://www.theblacksnapper.net/2010/01/27/day-172-a-false-veil-behind-which-lurks-death/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Such An Eclectic And Transformative Animal</title>
		<link>http://www.theblacksnapper.net/2010/01/23/day-170-such-an-eclectic-and-transformative-animal/</link>
		<comments>http://www.theblacksnapper.net/2010/01/23/day-170-such-an-eclectic-and-transformative-animal/#comments</comments>
		<pubDate>Sat, 23 Jan 2010 10:01:46 +0000</pubDate>
		<dc:creator>Marcelo Brodsky</dc:creator>
				<category><![CDATA[Homepage]]></category>
		<category><![CDATA[abstract photography]]></category>
		<category><![CDATA[Argentina]]></category>
		<category><![CDATA[conceptual photography]]></category>
		<category><![CDATA[South America]]></category>

		<guid isPermaLink="false">http://www.theblacksnapper.net/?p=3524</guid>
		<description><![CDATA[Bruno Dubner has achieved a degree of intimacy with the photographic medium that make his work become simple, synthetic and complex at the same time.]]></description>
		<wfw:commentRss>http://www.theblacksnapper.net/2010/01/23/day-170-such-an-eclectic-and-transformative-animal/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Moonlit Islanders Of The Paraná River Delta</title>
		<link>http://www.theblacksnapper.net/2010/01/22/moonlit-islanders-of-the-parana-river-delta/</link>
		<comments>http://www.theblacksnapper.net/2010/01/22/moonlit-islanders-of-the-parana-river-delta/#comments</comments>
		<pubDate>Fri, 22 Jan 2010 10:01:36 +0000</pubDate>
		<dc:creator>Marcelo Brodsky</dc:creator>
				<category><![CDATA[Homepage]]></category>
		<category><![CDATA[Argentina]]></category>
		<category><![CDATA[conceptual photography]]></category>
		<category><![CDATA[documentary photography]]></category>
		<category><![CDATA[environment]]></category>
		<category><![CDATA[night photography]]></category>
		<category><![CDATA[portraiture]]></category>
		<category><![CDATA[South America]]></category>

		<guid isPermaLink="false">http://www.theblacksnapper.net/?p=3515</guid>
		<description><![CDATA[With my photographs, I create imaginary scenarios with real people and situations. I explore the limits of documentary photography, using technical processes to transform the natural perception of light, color, and space. Much like a script in my head, I think of my pictures as slides of unfinished stories. The photographs are carefully planned after days of observation and then come into being with the slow process of a large format camera. Using only the light of the moon and flashlights, it can take from five to ten minutes until this thick darkness sprouts what is secret. My intention is to use photography to occupy a border between document and fiction and imbue the islanders with a strange timelessness. Photography can transform reality and produce a magical view of people and of life.]]></description>
		<wfw:commentRss>http://www.theblacksnapper.net/2010/01/22/moonlit-islanders-of-the-parana-river-delta/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Day 166 &#8211; The Beauty Of Ruins, Nature And Man</title>
		<link>http://www.theblacksnapper.net/2010/01/19/day-166-the-beauty-of-ruins-nature-and-man/</link>
		<comments>http://www.theblacksnapper.net/2010/01/19/day-166-the-beauty-of-ruins-nature-and-man/#comments</comments>
		<pubDate>Tue, 19 Jan 2010 10:01:14 +0000</pubDate>
		<dc:creator>Three Shadows Photography Art Centre</dc:creator>
				<category><![CDATA[Homepage]]></category>
		<category><![CDATA[Asia]]></category>
		<category><![CDATA[black and white]]></category>
		<category><![CDATA[China]]></category>
		<category><![CDATA[conceptual photography]]></category>

		<guid isPermaLink="false">http://www.theblacksnapper.net/?p=3480</guid>
		<description><![CDATA[Chinese photographer RongRong and his wife, Japanese photographer inri, have been working together since 2000. The new works shown in this exhibition focus on the relationship between destruction and reconstruction, and the rebirth of life that emerges from this cycle.]]></description>
		<wfw:commentRss>http://www.theblacksnapper.net/2010/01/19/day-166-the-beauty-of-ruins-nature-and-man/feed/</wfw:commentRss>
		<slash:comments>3</slash:comments>
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