Success Stories: Angela Bacon Kidwell

October 24, 2011 at 11:36 am | Posted in Lens Cratch | Leave a comment

What seems like a lifetime ago, I spent a quiet afternoon down the rabbit hole of looking at photographs and came across the work of Angela Bacon Kidwell. I think I was on Flickr or some photo sharing site, and I discovered imagery that was powerful, unique, and compelling. I contacted Angela immediately and over the years, we have become friends and supporters. I have featured Angela’s work several times on Lenscratch, but when she recently shared her new work with me, I literally got the chills. Her work was breaking new ground and I knew it was time to highlight Angela’s many success stories.

Having a ringside seat at Angela’s trajectory, I have watched her professionalism, her artistry, and her thoughtful approach to the photographic journey take root and soar. Her photographs have fans around the world; she has garnered award after award, most recently, winning First Place in the Texas Photographic Society International Competition, is one of the ten finalists for the John Clarence Laughlin Award, and has been nominated for the Santa Fe Prize for Photography. Her work is exhibited all across America and featured in numerous magazines. Born in Dallas, and now living in Wichita Falls, Texas, Angela draws inspiration from her life and experiences, her family, and surroundings. She’s a thinker, a dreamer, and a true artist.

Her new series, Traces of Existence, combines emotion, travel, the unknown, and the new, all mixing into new ways of working and seeing.

from Traces of Existence

The motive in this body of work is to mend the tension and tragedy created when conflicting emotions meet. Walking through the highs of my recent travel to China and the lows of significant personal loss, I have been searching for a visual level of communication that would unite traces of my existence. I have become increasingly fascinated by how tenacious life is and yet how in a moment survival ceases. The fragility of life is represented in this work by a personal language of symbols. I want all my images to have real meaning for me, even if it is not easily read by the viewer. By working more abstractly, the dissimilar images connect to one another in unexpected ways causing a thought or idea to evolve. The juxtaposition of death and despair, represented by skeletons, old age and holes connected to a joyous life filled with children, birds and Ferris Wheels examine the complicated and chaotic ways in which life contracts, expands, converges and divests in our personal journeys. By stretching the image to near disintegration by burning, freezing and submersions I seek to release my emotions and give respect to a life that has been fully lived. The emotions I sought to bandage together resulted in a somber, but completely liberating experience.

Process: Numerous layers of hand painted photographs, drawings and resin make up a single image. The final results are a complex layering process and not complete digital manipulations. The image is printed and re-photographed under various conditions in one final effort to heal the tender wounds that bind my own existence.

You state that the work was created as a way to “mend the tension and tragedy created when conflicting emotions meet. Walking through the highs of my recent travel to China and the lows of significant personal loss, I have been searching for a visual level of communication that would unite traces of my existence.” Has the process of creating the work been therapeutic for you?

The short answer is yes, but let me give you a little background on how the work evolved and share a simple quote I stumbled across while in China that helped lead me in producing this body of work.
“You cannot prevent the birds of sorrow from flying over your head, but you can prevent them from building nests in your hair”. — Old Chinese Proverb

Over the last several years, I’ve been working on a series that address the complex stages of grief after a death. During this time, of searching and gathering my ideas I was simultaneously processing two events in my life: First, the joy of my travels in China and second the loneliness that followed significant personal losses. I decided to take a detour from the new series and move in closer to some of specific events and emotions in my immediate space. The decision I made was to limit myself loosely to the photographs I took in China, personal effects from my grandparents’ home and images my son and I took the last day we occupied their home. My vision was to create a new object that would tie and seal my recent experiences into a single ambiguous memory. And, to keep those nests out!

The process of creating the work became therapeutic because it forced me to work abstractly with the subjects and that helped to create order, distance and a bridge between my internal and external worlds. The work took a considerable amount of time and energy to create, and the more layers an image embodied the more “new” life it took on. The long process of creating each image allowed much time to pass, and you know the saying “time heals all wounds”. It helps.

Did your trip to China change how you see and how make work?

My trip reinforced by belief that images have power beyond what we are able to communicate verbally. There was clearly a barrier in my communications with the people in China but our understanding of visual language provided an alternative to the lack of verbal ability. We are all much more similar than different. This reaffirmation helped me to explore a new way of creating and I sensed that the work would be able to communicate universally. At least I hoped it would.

Your approach is totally unique—hand painting, resin, photographing…can you describe this process?

Once I decided to shape the photographs and objects into a new story or expression the path became quite clear. I wanted to experience an emotional release with each layer of the image. I felt like many times creating the work I was going through certain stages of grief. There are many stages of grief, and they don’t follow a systematic order. They are messy, and this work was messy to create. I printed hundreds of images and began to deconstruct them by cutting, tearing, layering other objects, drawing and painting. The assemblage of the work allowed me to experience different emotions: the tearing and cutting was aggressive contrasted with the painting and drawing that was contemplative. There was a dance that I went through with each individual image- pushing it to near disintegration and then rescuing it again till I was finally ready to let it be. The final stage consisted of defrosting images, and at times allowing my son to interact with the melting image, submerging an image in water for days while adding oil to the water and watching it move, and burning the image. I re-photographed the images going through a new metamorphosis before the image would cease to exist. The final step was a visual and emotional closure.

Was there a reason for working in Black and White?

Honestly, I never considered approaching this work in color. I saw it in black and white.

How does living in a small town in Texas, without the influences of a metropolitan experience and an active physical photo community, affect making work?

I was raised in Dallas, Texas and even though that is a large city I always felt I would move to a larger city such as LA or NY to pursue the arts. Instead, thirteen years ago I moved to Wichita Falls, Texas and this city has boosted my artistic spirit. I do believe that I could be creative anywhere, but I feel where I live is truly conducive to the way I work. I’m a receiver type of personality, and I absorb the energy that is going on in my immediate environment so high energy cities tend to drain me over a period of time. I’m much more productive and peaceful in a small town. The city I live in has a rich, and talented artistic community, and many of my early mentors live here, and that brings about a feeling of safety for me which helps keep me centered.

Your son Bleu has been integral part of your image making. How does he feel about being part of you photographic journey?

Since the moment, he was born I knew I would no longer create in solitude but with a partner. The last six years with Bleu have been nothing short of amazing for me, and I’ll take it so far as to say he has had a pretty interesting, creative childhood.

But, I’ll let him answer that question for himself.

How do you juggle your ever growing success and the demands of motherhood?

Without a doubt, my husband and son are my biggest supporters-on a good day. No, honestly my husband although not a creative being and I know I drive him crazy at times is always in my corner. He understands me and my need to create and explore. He calls me the “white tornado” because I have a ton of energy and I’m rarely still. I can get a lot done! My focus the last eleven years has been on my work and family and one would not succeed without the other. They work in tandem so to speak. I feel very blessed and thankful and would not change a single thing about my life.

What advice can you give emerging photographers, especially on presentation, on networking, on consistently producing excellent work?

The best advice I can share is to attempt to be in a constant state of graciousness. We all have so much to be thankful for, and if you can believe that where you are at the present moment is exactly where you are supposed to be then you are free to create and enjoy what is around you in the present. I started out sharing work via different photography, and social networking sites and my involvement with this media allowed me to gain exposure. The feedback I received from all around the world was crucial because it gave me a boost in confidence to present my work to reviews and competitions. I know networking via Facebook etc… is relevant, but it is also crucial to devote the majority of your time to your own creativity and sometimes too much networking steals precious time. I feel I’m getting closer to my truer self in recent years, and that comes from having a quieter mind and, tweeting etc… is not harmonious with peace. I also think that if you are being honest with yourself then the people that can help you show up in your life at just the right moment without enormous effort on your part. You did that for me years ago, Aline. Thank you!

To be consistent at anything in life you have to keep trying different avenues of expression- it’s all in the doing and doing a ton that produces better work and better work attracts a larger audience. It is a numbers game.

What opportunity took your career to the next level?

Without a doubt, Photolucdia and Review Santa Fe in 2008 opened up some wonderful doors for me and allowed me meet some amazing fellow artists. I think it is also very important to surround yourself with a few caring individuals that support you and your vision. Even one is fine.

Do you ever have periods of self-doubt and feel creatively unmotivated?

Yes, but I don’t focus on those feelings. Every fiber of my being is about creating so I paint something, make something, do something. I’m never without a creative project going on in my life even if it has nothing to do with photography the act of making always impacts the next artistic endeavor. Most people think that being a creative person and living a creative life comes easily but it is a ton of actual work. Of course, there are moments of unique vision but those are fleeting- it is work and for unknown reasons it must come out of me. Annoying sometimes but I wholeheartedly accept it.

And finally, what would be your perfect day?

Finishing this interview is a nice day. Now back to doing. If, the doing goes good today than it is a perfect day!

Low Tech/High Art

October 23, 2011 at 12:00 pm | Posted in Lens Cratch | Leave a comment

Opening on October 28th, Low Tech/High Art, an invitational exhibition of toy camera artists will open at the Business of Art Center in Manitou Springs, Colorado. The exhibition will run through December 31st, along with a display of toy cameras.

Curator Carol Dass writes:
In this digitally dominated age it’s refreshing to see images produced with film and actual analog cameras. With that said, I invite you to view Low Tech/High Art, work by artists who have chosen to use toy cameras to create their compelling images. The photographers are a diverse group from across the country united in their passion for producing images using cheaply made cameras with substandard lenses for everything from commercial work to fine art.

A sampling of some of the images and image makers follow:

C. Gary Moyer

Michelle Bates

Jennifer Shaw

Anne Arden McDonald

Carol Dass

Gordon Stettinius

Heather Oelkaus

John Bridges

Mark Sink

Mary Ann Lynch

Matt Chmielarczyk

Panoptican Gallery and Harold Feinstein

October 22, 2011 at 12:00 pm | Posted in Lens Cratch | Leave a comment

Not many galleries can claim a 40 year history. Panopticon Gallery in Boston is celebrating its 40th Anniversary, and with it, their biggest group exhibition to date! From September 8th through October 31st, the gallery will be displaying close to seventy-five individual artists who have been asociated with Panopticon Gallery during its forty-year run.

In 1971, Tony Decaneas opened a small one-room gallery in the basement of 187 Bay State Road in Boston, MA. His first exhibition was a group exhibition of local photographers. This exhibition paved the way for many group and solo exhibitions to come. Panopticon Gallery soon began exhibiting photographs by many of today’s most noted photographers, including Ansel Adams, Garry Winogrand, Alfred Stieglitz, Bradford Washburn, Ernest C. Withers, Constantine Manos, Manuel Alvarez Bravo, Paul Caponigro, Elliott Erwitt and Edward Weston.

In the mid 1970’s, Panopticon Gallery moved to Newbury St, then back to Bay State Road before moving its gallery and imaging business to Moody Street in Waltham, MA in 2000. In 2004, the gallery opened its second location inside the Hotel Commonwealth in Kenmore Square, where it currently resides.

In early 2010, Mr. Decaneas sold the gallery to Jason Landry who continues to host outstanding exhibitions by internationally recognized photographs as well as local and national emerging artists.

Today, the gallery is noted as being the oldest fine art photography gallery in New England specializing in contemporary, modern and vintage photography.

In addition to all this celebrating, Jason Landry has launced a very successful Kickstarter campaign to produce a monograph of Harold Feinstein’s amazing work. There one day left in this campaign, and you can still get in on the project.

About the project

We plan to raise the funds to design, edit and publish 1,000 copies of a 200+ page large square hardcover retrospective of Harold Feinstein’s classic and historically important black & white photographs.

Why are we making this book.

Harold Feinstein is a living legend in the world of photography. At 80 years old, with 60+ years in photography, he has yet to have a monograph printed of his classic black & white photographs. We want Harold’s photographic legacy to be documented and available for everyone to appreciate his contribution to American 20th century photographic history.

Artist Statement

Harold Feinstein’s photographic career began in 1946. Before the age of 20, Edward Steichen had purchased his work for the permanent collection of the Museum of Modern Art in New York and exhibited it frequently. In the early 1950’s Steichen approached Feinstein and asked if he would like to be included in The Family of Man exhibition. Feinstein, feeling very puritanical said, “Look, a museum is a place where they should just show work because it is art, not because it fits I to a theme.” And with that, withheld this work from the exhibition, changing the course of his photographic history forever.

Harold was an integral member of the New York Photo League. He exhibited at Helen Gee’s Limelight Gallery in NYC, hung out with photographers including Helen Levitt, Weegee, Garry Winogrand and W. Eugene Smith.

Harold is renowned for his 40-year photographic love affair with Coney Island. Harold’s photos capture America playing, relaxing, and falling in love on the boardwalk and the beach at Coney Island.

As a soldier in Korea, Harold was able to experience and document firsthand, the integration of the American armed services. His images are a unique and irreplaceable historical document of this pivotal time in America’s military history.

Harold’s extensive body of work also includes New York City street photos, nudes, and still life imagery. All of which capture 20th century American history from his personal perspective.

Harold’s photographs have been exhibited and are represented in the permanent collections of major museums including the Museum of Modern Art, International Center of Photography, George Eastman House, The Museum of Photographic Arts, Musee d’Art Moderne and the Museum for the City of New York.

Aaron Hobson

October 21, 2011 at 12:02 pm | Posted in Lens Cratch | Leave a comment

Aaron Hobson lives a quiet life in a small town in the remote Adirondack Mountains. He brings a wonderful imagination and cinematic approach to his work, but recently he’s been creating work without a camera and from the comfort of his computer chair. His new series, Google Street View Edition, uses Google’s amazing technology to travel the world finding breathtaking vistas and quiet street scenes.

In search of enchanted and remote lands typically only reserved for the eyes of it’s inhabitants, but now are captured on camera by the automated and aesthetically-neutered google street view cars that linger.

Void of the main character (self-portrait) and an internal view, these images represent the closing chapter of 4 years of cinemascapes with an external view of the world.

Images from Google Street View Edition

Saint-Nicolas-de-la Grave, France

Viviens, France

Route 17, South Africa

Posada de Valdeón, Spain

Ponsworthy, England

Inverallochy, Scotland

Prejmer, Romania

Sao Joao Del Rei, Brazil

Saska, Czech Republic

Utsira, Norway

Huautla, Mexico

Dearagon, Spain

Capetown, South Africa

Sao Paulo, Brazil

Morrone Del Sannio, Italy

Siri Kaur

October 20, 2011 at 12:03 pm | Posted in Lens Cratch | Leave a comment

Siri Kaur lives in Los Angeles, spends her summers in Maine, and when she’s not teaching photography, she travels the world. She brings a unique tool belt to photography, having received her MFA from CalArts, her MA in Italian Studies and BA in Comparative Literature from Smith College. Her work is varied and intelligent, with a number of projects that explore portraiture in significant ways.

Siri is about to open an exhibition, Know Me For the First Time, at Blythe Projects in Culver City (Los Angeles) on October 29th and runs through December 17th. This new project of unrelated, yet connected images, is a personal exploration of people and places, gestures and moments that allow for a personal narrative.

Images from Know Me for the First Time



Burning a Mountain


Forest House




All of a Sudden, I Miss Everyone





Solstice Cave

Window Sill


Peter Hebeisen

October 19, 2011 at 12:03 pm | Posted in Lens Cratch | Leave a comment

If you are lucky and happen to be in San Francisco before November 5th, Swiss photographer Peter Hebeisen has an epic project, Metamorphosis and Myth: 20th Century European Battlefields, on exhibition at Gallery 291, where Ed Carey is showcasing 20 of the 50 images from this series. These large scale masterfully conceived photographs are stunning as landscape photographs, but layered with the historical significance of the location, they are charged with meaning, depth, and a haunting remembrance.

In the aftermath of the conflicts in ex-Yugoslavia, after having been confronted on a daily basis with harrowing images of heinous acts, genocide and indescribable grief conveyed to him via mass media, Peter Hebeisen took it upon himself to visit the European battlefields of the twentieth century in an act of remembrance and compassion. Having done extensive research on each of the battles and prompted by artistic and historical associations, Hebeisen focused his lens on the epicenter of each drama. Over seven years he covered over 40,000 kilometers by car. His approach was strategic and scientific carrying military maps with him to each location. He found nature in many cases had vanquished tragedy with beauty and a sense of peace.

Installation image of the exhibition

These former battlefields convey a haunting sense of stillness after the storm. Some works are reminiscent of the works of Martin Johnson Heade, an American Luminist painter or the German painter David Caspar Friedrich. In these sweeping often idyllic landscapes with their razor sharpness and utter stillness history is very nearly erased yet are eerily haunted emphasizing Hebeisen’s notion of the “theater of war.” These former battlefields carry an aura of stillness after the storm, where everything seems as before, but nothing can ever be the same.

Images from Metamorphosis and Myth: 20th Century European Battlefields

Battle of Gallipoli, Anzac, Turkey, 1915-1916

Battle of Verdun II, La Meuse, France 1916

Battle of Vittorio Veneto, Italy 1918

Battle of Jutland, Denmark 1916

Bombing of Guernica, Spain 1937

Siege of Leningrad, Russia 1941-1944

Battle of Kursk, Prokhorovka, Soviet Union 1943

Siege of Sevastopol, Crimean Peninsula 1941-1942

Battle of Moscow, Khimki, Russia 1941-1942

Battle of Britain, Dover Coast, United Kingsom 1940

Battle of Monte Cassino, Italy 1944

Operation Overlord, Ohama Beach, France 1944

Battle of Halbe, Germany 1945

Siege of Sarajevo, Bosnia 1992-1996

Jennifer Schwartz’s Crusade for Collecting

October 18, 2011 at 12:03 pm | Posted in Lens Cratch | Leave a comment

Thinking outside the box, Jennifer Schwartz of Atlanta’s Jennifer Schwartz Gallery, has come up with a unique idea for bringing fine art photography to collectors…she has just launced a Kickstarter campaign which will allow her to travel the country, bringing photographs to the people, rather than the people to the photographs…and you can help her to get started.
So in her words:
It’s a crusade. A crusade for collecting.

Bringing art to the people.

Tell me about this crusade. . .

Culturally, we are in our prime. We have sophisticated tastes and crave unique experiences. We are on-trend, we are curious, we are seekers.

And yet, we don’t buy art. We don’t patronize galleries and museums, and we don’t support artists. Abstractly, we think art is interesting and to be valued, but we are not collectors.

I am on a crusade for collecting. For cultivating a new crop of art collectors. For making collecting cool.

Because it is cool. Falling in love with an original piece of art and buying it. That is collecting. It doesn’t have to cost you thousands of dollars or even make a huge dent in your paycheck. It’s about the connection. It’s about looking at something and having an emotional response. Feeling something. And then purchasing that piece and hanging it on your wall and living with it. Your home becomes personal. Your walls start to describe you, and everywhere you look you see something you love.

That is collecting. And that is beyond cool.

So what am I going to do about it?

Well, if we’re talking crusade, then I’ve got to get out there. Not in a medieval military sort of way. All the passion without the violence and gore. A call to arms for art.

So I take this show on the road. I go on a 10 week, 10 city tour and do pop-up shows of photography from The Ten (a project I created to promote photography and collecting). I get a van and trick it out to have storage racks for framed art and flat files. Then I roll into town and show work right out of the van. Bringing art to the people. An art revival, tents and all.

Art is awesome. Heart art.

I want to talk about this far and wide and give people the opportunity to connect with photography and bring it home with them. A different photographer will travel with me on each leg of the trip. We’ll be talking photography, live blogging, creating podcasts and Blair Witch style video. You will be able to follow us from city to city, and I do hope you’ll visit.

I want to start a movement, spark a fire.

I just need the wheels.

Alex Arzt

October 17, 2011 at 12:02 pm | Posted in Lens Cratch | Leave a comment

Alex Arzt has a wonderful connection to the animal world, in real or faux form. Alex explores our relationships to the animal kingdom in her series, Human-Animal, and continues her animal explorations with a project about cats, Ailurophil and her series, Zoos. In addition, she has a number of interesting series about Americana.

Born in Washington DC and raised in Fredrick County, Maryland, Alex grew up with a childhood that included a reverence for the natural world and a connection to animals. After receiving her degree from the Rhode Island School of Design, she is now based in Brooklyn. She was a Critical Mass finalist in 2010 and has exhibited in a number of group exhibitions including the Griffin Museum Annual Juried Show.

Human Animal: These are photographs of real people and the animals, objects, and places that belong to them. I am fascinated by the similarities between life forms and how alike our basic drives and behaviors are. Though the basic physiologies of mammals are extremely alike from organs to skeleton (even a barnacle has a mouth, intestine, penis) there is something indefinably different about each species.

Even as I find the affinities between life forms intriguing, the boundaries between humans and other animals also interests me. I am not simply referring to the large brains that endow humans with culture, logic, self consciousness, and advanced language or our bipedal movement or opposable thumbs. To me, the indefinable difference is the mystery of animal perception that humans are only able to access through imagination and theory. In her book Adam’s Task, Vicki Hearne describes inter-species interactions as when each individual “knows for sure about the other…that each is a creature with an independent existence, an independent consciousness and thus the ability to think and take action in a way that may or may not be welcome (meaningful or creature-enhancing) to the other.” When we see another living creature, we can never truly know how they perceive us or their environment.

volution, or the transmutation of species (as Darwin calls it), has formed an infinite variety of species all ranging in different types of intelligences, instincts, physical capabilities, and defense mechanisms. Humans continually use these differences in ability to their own devices through domestication. In this project, I continually wondered how adaptable the human home is for other species, whether that species lives in its own bedroom or in a cage in the backyard. The animals in these pictures often occupy the home space as fixtures much like the trinkets and framed pictures that broadcast the animal lover’s identity.

Various objects, including empty grocery store food packets, tchotchkes, stuffed animals, animal clothes, car decals, drawings, memorialized gravesites, and photographs identify the human owners as animal-lovers, even when the object of their affection is not captured in the frame. As many of my photographs make clear, some human identities are carved through the creation of a familiar human-pet dynamic involving both affection and dominance, captivity and care. My photographs record this symbiosis as it occurs in the American home.

Latitidue 34 South

October 16, 2011 at 12:02 pm | Posted in Lens Cratch | Leave a comment

I was sad when my good friend, Martin Herrera Soler, moved to Uruguay, but I was excited to learn that he has helped create Latitude 34 South. Latitude 34 South is “a world-class endeavor specialized in travel workshops in the South of South America. We don’t city-tour: we create truly cultural experiences. Because we are local, we know the culture and its people, and, our international travel and business experience gives us a global ‘touch’. We will only take you to places we really know, and in general, these are little known and lost in time places, with a rich story behind them.

Additionally, we follow a unique approach to tutoring: by working with an overarching theme for the workshop and offering multi-level tutoring we enable every participant to improve his|her skills and leave the workshop with a finished product, usually a digital story or a photographic book.”

Who are we?

We are a team of multi-discipline visual artists professionals eager to share our region and connect with the international photographic community. We do this because we love what is here to photograph and we want to share it with you. We do this in a sustainable and responsible way. We take care of the environment, we are responsible with the people and the communities in which we photograph, and we always look for ways to give back (financially and otherwise) to make sure we can preserve this wonderful place where we live in.

This endeavor is a collaborative effort of Martin Herrera Soler, Diego Vidart and Clara Hori. Since one of our goals is to engage the international photo community, we love to bring aboard guest instructors from all places and walks of life.

Candombe from Latitude34South on Vimeo.

Cornelia Hediger

October 15, 2011 at 12:02 pm | Posted in Lens Cratch | Leave a comment

I have been remiss in featuring the new work of Cornelia Hediger, who currently has an exhibition at the Klompching Gallery in Brooklyn running through October 21st. Cornelia has been a long time favorite of mine,bringing a unique quality to her work through the division of space, the use of color and costume, and strong narratives.

Cornelia has recently given several terrific interviews worth exploring. They add a voice and richness to understanding the work. The first is with Robert Ayers on A Sky Filled with Shooting Stars and the second is with Ariel Body on Feature Shoot

With this newly released series of photographs, Doppelgänger II, Cornelia “continues her exploration of the uncanny, constructing complex pictorial narratives into segmented tableau vivants, consisting of up to eighteen individual photographs combined into a single composition.”

In each artwork the central characters—doppelgängers—are interwoven into a performative psychological struggle, displaying an undercurrent of the sinister, of angst and moral ambiguity. The dialogical discourse between the two central characters is superbly enacted by the artist herself, drawing comparisons in visual and conceptual strength to the work of historical photographers such as Claude Cahun.

Cornelia earned a BFA and MFA from Mason Gross School of the Arts at Rutgers University. In college, she started as a painter but in her third year, she realized that she could express herself better through photography than through painting. Her work has been widely exhibited in the US, as well as internationally and in 2009 she was awarded a PDN’s 30: Emerging Photographers to Watch. Her photographs have been featured in New York Magazine, HotShoe, Vision Magazine, Photography Quarterly, Photo+ and Phat Photo amongst others.

Images from Doppelgänger II

Next Page »

Create a free website or blog at
Entries and comments feeds.