Over the past four decades, Arno Rafael Minkkinen has been engaged as a teacher, curator, and writer while continuing to devote his photographic energies exclusively to stunning self-portraits.
The inherent sense of freedom compels him to photograph himself in a variety of scenarios: sometimes curled up on a sandy beach, other times dangling off the edge of a cliff, always naked as the day he was born.
The national parks hold a special meaning for photographer Abelardo Morell. While growing up in Cuba, he fell in love with the popular Hollywood westerns playing at the local cinema. Once he immigrated to the U.S., he was eager to discover the region for himself. Using a camera obscura, Morell transforms scenes of the national parks—made familiar by Ansel Adams—into otherworldly, impressionistic images.
See Morell’s work in “Ansel Adams in Our Time,” which places Adams into a dual conversation with his 19th-century predecessors and contemporary artists. The exhibition is on view through February 24
The show was jointly organized by the National Gallery of Art and the Peabody Essex Museum in Salem, Mass. It is weighted toward photographs made since 2000, which account for roughly two-thirds of 110 works, all but five black-and-white.
Mann first came to widespread attention in a less than auspicious way. In 1992, conservative culture warriors attacked the publication of her fourth book, “Immediate Family,” which includes 13 images (of 65) in which one or more of her three then-young kids is unclothed — a not uncommon occurrence at a cabin on isolated land during a humid summer day. A brilliant picture like “The Ditch” unravels the fearful hysteria that fueled the uproar.
In 1986 then-33 year Abelardo Morell made an unabashedly sentimental photograph of his wife Lisa McElaney holding their infant son Brady—mother and child blurrily framed behind pebbled surface of a glass door in their Boston apartment. The Mary Cassatt subject, and his Impressionist treatment of it, violated almost everything the recent MFA graduate had been taught about the art of photography. Fears of ridicule made him pause. Looking through the ground glass before pressing the shutter, he remembers thinking: “Boy, they’re really going to hate this at Yale.”
To express admiration for Ansel Adams (1902-1984) in art journals of avant-garde opinion has for many years been totally uncool. Even before the 1970s, younger landscape photographers, resentful of the gigantic shadow he cast, were less apt to emulate the tonal virtuosity of his black-and-white prints than to make pictures that mocked his Edenic views of the American West and stentorian visual rhetoric.
The 17th edition of Art Basel Miami Beach opens to the public on Thursday, December 6, with a preview day for invited guests on Wednesday. The fair brings together 268 galleries from 35 countries, including 29 first-time exhibitors, to the beach town’s convention center. Part 1 of ARTnews’s two-part preview looks at the exhibitors in the main Galleries section of the fair.
Among the highlights are a 1936 portrait of Dora Maar by Man Ray at New York’s Edwynn Houk Gallery...
Featuring major works by world-renowned American photographer Dorothea Lange (1895, Hoboken, New Jersey, 1966, San Francisco, California), some of which have never been exhibited in France, the exhibition "Dorothea Lange. Visible Politics "is articulated in five distinct sets. These emphasize the emotional force emanating from these photographs as well as the context of the photographer's documentary practice. More than a hundred vintage prints, made from 1933 to 1957, are highlighted by documents and screenings that broaden the scope of a work already often familiar to the public through iconic images of the history of photography asWhite Angel Breadline (1933) and Migrant Mother (1936). The prints are mainly from the Oakland Museum of California, where Lange's extensive archives, bequeathed by her husband Paul Schuster Taylor and his family, are kept.
Flowers are very pretty, and that has made them less than compelling as a subject matter for photographers drawn to complexity and contradiction (although a number of modernists, from Karl Blossfeldt to Imogen Cunningham to Robert Mapplethorpe, were interested in them as architectural objects). So it may be hard to believe that the most exhilarating photo book of the year is entirely devoted to flowers — until, that is, you have actually turned the pages of Abelardo Morell’s FLOWERS FOR LISA: A Delirium of Photographic Invention (Abrams, $60). What began as a gift from the photographer to his wife on her birthday — an explosive photo bouquet involving multiple superimposed layers of flowers, rather than a run-of-the-mill three-dimensional one — turned into an expansive project, which tests the outer limits of how a bouquet might be represented photographically.
Edwynn Houk Gallery, in New York City, exhibited the twenty-three photographs from the Madame Brassai collection from September 13 - October 27, 2018. These vintage photographs were all produced in the 1930s. Each image reflects deeply upon a time and an era in Paris, which is both astounding, beautiful and provocative. Edwynn Houk wrote about the collection (in “Brassai: The Eye of Paris"), “For me, one of the greatest opportunities and privileges of the past decade has been to share in her intimate knowledge of Brassai’s life and career, as well as to have been personally involved in some of the fundamental research into his art.”
Boston-based photographer Abelardo Morell has a longstanding tradition of giving Lisa, his wife of over 40 years, a bouquet of flowers for her birthday. In February 2014, he decided to give her something more permanent. “I thought to myself, ‘Maybe I can take a picture instead?’ For one thing, it would last longer…”
Back in February 2014, the eminent American photographer Abelardo Morell found himself getting tired of the same old thing — that thing being his annual ritual of gifting Lisa A. McElaney, his wife and partner of almost 40 years, with a bouquet of flowers on the occasion of her birthday. (Truth be told, Lisa, herself a distinguished filmmaker and social worker, may not have been all that thrilled at the prospect either.) So instead he hazarded something altogether fresh: a photo of a gift of flowers.
Sally Mann: A Thousand Crossings
Essays by Hilton Als, Malcolm Daniel, Drew Gilpin Faust
230 photos, 320 pages
This catalogue was produced to accompany the retrospective exhibition of Mann’s work organized by the National Gallery of Art and the Peabody Essex Museum. Essays by Hilton Als, Malcolm Daniel and Drew Gilpin Faust are illustrated with both Mann’s work and images by Emmet Gowin, Harry Callaghan, Timothy H. O’Sullivan and other photographers who photographed family, landscape and historic sites. The comparisons show how Mann photographed in a way that is uniquely her own.
Flowers for Lisa
By Abelardo Morell
Essay by Lawrence Weschler
144 pages, 100 images
Morell turns a common, fleeting romantic gesture—giving flowers to a loved
one—into something lasting and permanent: a series of 76 hypnotic photographs, made using a variety of techniques, that commemorate his love for his wife.
NEW YORK, NY.- Edwynn Houk Gallery is presenting an exhibition of thirteen large-scale photographs by Abelardo Morell (American, b. Cuba, 1948), from his series Flowers for Lisa. The exhibition marks a culmination of the series, originally debuted by the gallery in 2017, and features a selection of never-before-seen photographs in which Morell delves deeper into his experimentation of variations on floral still lifes.
Titled after Morell's wife of more than 40 years, Lisa McElaney, Flowers for Lisa evolved from the artist’s quest for a birthday gift that would endure beyond the brief lifespan of the bouquets Lisa was accustomed to receiving, and impress her with its bold, lasting visual impact. The process of creating this initial work for his wife spurred an intensive investigation into the theme over several years, resulting in a series of more than seventy examples that span a range of influences and improvisational techniques, and “serve an emotional impulse to show my dedication to the woman with whom I share my life.”
A mural-size image of “Walden: Woods and Pond, 2016” by photographer Abelardo Morell was recently installed in the Concord Museum’s Churchill and Janet Franklin Lyceum.
The mural, which is 11 feet high and 32 feet wide, is one of the focal points of the new Anna and Neil Rasmussen Education Center, which will open to the public Nov. 2.
Morell used more than 20 photos taken with a 100-pixel camera of Walden Pond and Woods to create this piece of artwork. The original photograph is a gift from the photographer, who debuted the image in the “Walden: Four Views/Abelardo Morell” exhibition during Concord Museum’s celebration of the bicentennial of the birth of Henry David Thoreau in 2017. Guided and inspired by Thoreau’s journals and his work “Walden,” Morell’s work suggests a new perspective in which to look at Walden Pond.
When an artist dies, the responsibility for the remaining artworks often falls to a spouse, a relative, or in some cases, a long time friend or studio associate. Some families set up estates, trusts, and other legal entities to actively manage the artist’s legacy, while others simply place the artworks in safe keeping of some kind, awaiting an opportunity to quietly place them with interested buyers.
Brassaï passed away in 1984, and since that time, there have been plenty of gallery shows, comprehensive museum retrospectives, and major sales of his work, so it would be reasonable to assume that whatever was left behind when he died was long ago picked over and sifted through by industrious gallery owners, museum curators, and other interested parties. But as is often the case, family members tend to squirrel away some of their favorites, living with them in their homes and keeping them out of the purview of the art market machine. And just when we think the well might have run dry for rare vintage examples of a deceased photographer’s best work, sometimes we get lucky and a few gems pop out from these family collections.
Such is the case with this show of Brassaï’s 1930s work drawn from the collection of Madame Brassaï.
Civilization: The Way We Live Now is a large-scale international photography exhibition featuring the work of more than 135 photographers from Asia, Australia, Europe, Africa and the Americas. Some 350 original prints are exhibited, some displayed as stand-alone works, others displayed as series.
Today, few major photography exhibitions in the world attempt a view of our world as wide-ranging as Civilization: The Way We Live Now, on view from October 18, 2018 through Feb 17, 2019. Not since Edward Steichen’s The Family of Man more than 60 years ago has a single exhibition tackled such a broad spectrum of human activity: habitation, transport, society, culture, art, science and technology; order and disorder.... these are only some of the vital themes dealt with in different and original ways in Civilization.
Best known for his photographs taken during the 1930s, Brassaï took his most iconic photographs of Paris as the city transitioned between its Belle Epoque and Modern Era, including its conversion from gas to electric light. This era is amongst the richest periods of photography in the twentieth century, and Brassaï approached the time and its changes with particular distinction. His work shines light on the depth of nighttime as a subject itself, transforming the “cloak” of night into a stage for his subjects-as-archetypes.
Abelardo Morell, in his latest book, Flowers for Lisa (Abrams), turns a common, fleeting romantic gesture—giving flowers to a loved one—into something lasting and permanent: a series of 76 hypnotic photographs that commemorate his love for his wife. While Morell is best known for elaborately transforming rooms into life-sized camera-obscuras, he’s experimented throughout his career. “The truth is that I have always worked on many things at once,” Morell tells PDN in an email interview. “I have a restless mind that’s interested in many ideas.” These new photographs relate to Morell’s ongoing effort to challenge himself by imagining new ways to approach a commonly photographed subject.
Los Angeles seems literally made of light. Most days, an unbroken blaze shines down from cloudly skies were palm trees casually sway, casting every detail of the city's surfaces in forensic focus until they eventually disintegrate into the pink-hued explosion of sunset... Mona Kuhn, a German-Brazilian transplant to the city, often works at the intersection of light and architecture. In her series, She Disappeared into Complete Silence (2014) (which draws its name from Louise Bourgeois's first monograph), the lines and shapes of an anonymous house frame images of a desert setting. A sharply angled overhang looks out toward a graph of mountain ranges and cuts a black triangle across a swath of sky. Watery reflections undulate beneath a room's blurry scaffolding, and refracted doorways lead to the arid earth outside. Mirrorlike, silverly folds and a spectral figure recur, beacons in an ominous landscape. Shot in a modernist-structure built by architect Robert Stone outside Joshua tree National Park on teh fringes of LA, Kuhn's images are mirage-like, visions borne of a thirst for otherworldliness.
In 1973, the photographer Lynn Davis was 29 years old and considering a move to New York City from San Francisco with the hope of beginning her career. She had a young son, a failing marriage, a degree from the San Francisco Art Institute, a Leica camera, her portfolio — and not much else. She landed a meeting at Esquire magazine, which at the time was going through a period of transition following the departure of its longtime editor, Harold Hayes.
Presented by Art Expositions, LLC, EXPO CHICAGO 2018, the International Exposition of Contemporary and Modern Art, enters its seventh year as a leading international art fair. Returning to Navy Pier ’s Festival Hall in Chicago this September.
This year, the fair will bring together 135 leading international exhibitors presented alongside one of the highest quality platforms for global contemporary art and culture. Its diverse programming will include /Dialogues, IN/SITU, IN/SITU Outside, EXPO VIDEO, the Curatorial Forum, the Art Critics Forum, Special Exhibitions, EXPO Sound and OVERRIDE | A Billboard Project.
“New Territory: Landscape Photography Today” (on view through September 16) contains more than 100 works by 40 contemporary photographers, all of whom depict landscapes in unusual ways, whether by experimenting with traditional darkroom techniques or applying newfangled digital processes to otherwise conventional pictures.
“Questions about the landscape and the environment are foremost in people’s minds right now, and this exhibition is a way to foster discussion,” says Eric Paddock, curator of photography at the museum.
“New Territory” brings together heavy hitters — Edward Burtynsky, Andreas Gursky, John Chiara, Mark Ruwedel — and rising talents, such as François-Xavier Gbré, Valérie Anex and Jennifer Colten. Some explore memory and nostalgia, while others focus on how humans are changing the natural world.
Vik Muniz: Photography and the Rebirth of Wonder examines the full breadth of the imaginative artist’s career and features more than 100 photographs, including many of Muniz’s most recent works.
A new exhibit opening at the Eastman Museum may change the way you look at your neighbors.
Gail Albert Halaban had only been living in New York City for a short time when something weird happened. It was her daughter's first birthday, and they received a package in the mail from her neighbors in the next building over.
In the 19th century, icebergs were a hot topic for artists looking for exotic subject matter. In the 21st century, icebergs are literally hot, at least warmer than they used to be, and are melting at a steady pace.
Like many students of art history, curator Sarah Kennel’s first introduction to Sally Mann came with Immediate Family. Published in 1992, Mann’s groundbreaking and controversial exploration of childhood stands as one of the great photography books of our time.
Anything worth doing is worth doing well, but who has the patience, energy, time? Julie Castellano, director of Edwynn Houk Gallery in New York City, delves deeply into her area of expertise – contemporary photography – every single day. With a stable of more than 30 contemporary photographers, a relatively small staff of seven, and some eight art fairs to do each year, that’s no small feat. This is her 14th year with the gallery, and it is largely thanks to her efforts that Houk’s stable has grown to include contemporary artists (like Sebastiaan Bremer and Valérie Belin) in a way that fuses seamlessly with the gallery’s already well-regarded vintage modern program (André Kertész, Erwin Blumenfeld).
If there is one medium over which the photographer Sally Mann has total command, it is the written word. She is a superb writer, having learned well from her favorite authors and poets, Nabokov, Faulkner, Welty, Rushdie, Eliot, and Pound. Her particular gift is metaphor. Here, for instance, is Mann describing the drying blood on the frozen ground after a convicted sex offender who had escaped onto her farm was shot, killed, and hauled away: the blood puddle “shrank perceptibly, forming a brief meniscus before leveling off again, as if the earth had taken a delicate sip.”
Feast for the Eyes explores the rich history of food as a subject in photography. From basic sustenance to decadent feasts, food awakens the senses and touches both private and public life. As a subject that is commonly at hand, food has been and continues to be widely depicted. And photographs of food – much like food itself – can raise deep-seated questions around ideas of family, tradition, lifestyle, gender, race, pleasure and disgust.
Turns out I’m not alone in my curiosity about my neighbors’ tastes in window coverings. New York-based photographer Gail Albert Halaban has spent 13 years photographing people’s relationships with those they can see from their windows–and actually helping them meet each other. For her sprawling, multi-city photo series Out My Window, Halaban helps a person meet the folks who live across from them, and then stages a photograph of those people with their permission. She sets up lighting in their apartment, and then photographs them from across the way, capturing their lives through the window.
Erwin Blumenfeld had a full retrospective at the Jeu de Paume in Paris in 2013, so the arc of his photographic career, and its movements from Dada and Surrealism into the realms of high fashion, has been comprehensively detailed relatively recently. Given that context, this show takes a smart approach and heads for a narrow theme – the interconnected nature of Blumenfeld’s use of drapery, shadows, and veiling in his photography, primarily as seen in 1930s and 1940s pictures of the female form but also in a few portraits. It’s a tight edit, and that commonality of subject matter allows us to follow Blumenfeld’s experiments with composition and process more closely.
Inside Out: Camera Obscura Views of Villas and Their Environs | The Photography of Abelardo Morell
Villa La Pietra, Florence
Michael Eastman: Havana
Michael Eastman's large-scale color photographs of Havana explore the decline of the majestic architecture of Cuba's capital. Through Eastman's strong sense of color and elaborate compositional rigor, these images transport the viewer to the streets and interiors of a decaying urban landscape resonant with the stories and echoes of the city’s inhabitants and culture.
Photograph courtesy of the Sheldon Museum of Art, University of Lincoln-Nebraska.
When Abelardo Morell decided to turn a floral bouquet into one of his celebrated photographs as a birthday gift for his wife, little did he know that this touching gesture would evolve into a major series of his work and become the subject of his forthcoming coffee-table book.
While his initial motivation to create a colorful floral still life was because it “felt more enduring than actual flowers, something in the making of that first photograph gave me a newly found spark to experiment in ways I had not done before,” he says. “Precisely because flowers are such a conventional subject, I felt a strong desire to describe them in new, inventive ways.”
Few locations inspire such immediate and glamorous imagery as Paris, and one photographer is known for capturing the city’s 20th-century nightlife. The work of Brassaï, the single-name Hungarian-French photographer, is being memorialized in an eponymous, 368-page tome, out now from Spanish publisher Fundación Mapfre. He moved to Paris in the glitzy, Fitzgerald-filled 1920s and documented France until his death, in 1984.
"Does the earth remember?” The infinitely gifted photographer Sally Mann asks this question in the catalogue of her great retrospective at the National Gallery in Washington. On view there is her series of Civil War battlefield landscapes, among the most ravishing works of art from the early 2000s. Once sites of brutal violence, they’re now scraps of rolling fields or unremarkable clumps of trees, like the battlefield at Antietam. It’s still the most bloodied land in the country, with deaths multiples of those on 9/11. “Do these fields where unspeakable carnage occurred bear witness in some way?”
At AIPAD 2018, the boldest, most challenging, and most socially relevant works at the fair were all produced by women. It was refreshing to see that contemporary dealers are closing the gap of representation equality, and that talent is surpassing maleness as the definitive criteria for contemporary gallery rosters.
Valérie Belin – Edwynn Houk Gallery, New York
French artist Valerie Belin presents one of her large-scaled Painted Ladies at Edwynn Houk’s booth. The work consists of a black and white photograph of an agency model. Collaborating with makeup artist Isamaya Ffrench, Belin employs make-up applications for painterly effects. Lady Round Brush is named in reference to the digital retouching tools that groom and optimize fashion pictures into hyper-idealizations. The physical make-up along with further post-processing techniques fracture the linear space of the portrait. The figure is excised from her expected presence within a glossy-paged fashion magazine and is introduced as a ghost-like figure that haunts the picture frame. The piece holds an indelible presence at the fair, and looms over passersby with the cognitive weight of a history painting.
Michael Eastman at Edwynn Houk Gallery
Missouri-born photographer Michael Eastman utilizes formal elements such as color, surface, and patina to express emotional narratives in his architectural images. In his expansive oeuvre, the artist aims to capture historical interiors and landscapes with a visual language that’s rich in color, architecturally precise, and emotionally evocative.
Abelardo Morell at Edwynn Houk Gallery
Cuban-born photographer Abelardo Morell is renowned for his mastery of a centuries-old technique of recording images with a camera obscura to capture urban and landscape scenes on monumental scales. View of Central Park Looking North, Spring, 2010 showcases the artist’s capacity to capture enchanting scenes that bring exterior spaces indoors.
It’s hard to be stuck in a studio while longing to enjoy life outside. Brassaï, famed for his classic images of Paris, was neither a photographer nor a Parisian — he wanted to be a painter. But once he arrived in Paris in 1924, he gave up his brushes. The fact was, he was so attracted to Parisian life that he said he had no interest in confining himself “to the four walls of an atelier all alone.”
The acclaimed Brazilian visual artist and photographer Vik Muniz is best known for his bold and layered recreations of canonical artworks using a range of media. In conversation with Monocle’s Robert Bound, Muniz muses on the role of art, his fascination with illusion and image and his influences, which range from Andy Warhol and Joseph Beuys to his grandmother and his childhood in 1970s Brazil.
Sally Mann, born in a hospital that had once been Stonewall Jackson’s home, has lived in Virginia most of her life and always proclaimed her Southern-ness in her photographs and in her engaging and boisterous memoir, “Hold Still.” She says that what makes her work Southern is her obsession with place, family, the past, her love of Southern light, and her willingness to experiment with levels of romance beyond what most late-20th-century artists could tolerate. Add to that romanticism the influence of Southern writers and you get a tinge of gothic. A streak of expressionism also comes into the mix, powered by the will to express feelings strongly and the capacity to make those visible.
We snap a selfie with the tap of a finger. We're used to preserving smiling moments.
At the Museum of Contemporary Art in Los Angeles, there's an exhibit right now which goes to darker places with a camera. The images in "Real Worlds" are from three major photographers, taken over half a century.
Just as expressions like “corridors of the mind” and “window to the soul” illustrate a link between architecture and our inner world, the artists featured in Lived Space explore our psychological and physical attachments to the places we build and inhabit. In their work, interior rooms function as receptacles of memory, emotion, and identity. Some artworks show the human body merging with the built environment, while others present imaginary structures that exist solely in the artist’s mind. Drawn from deCordova’s permanent collection, the exhibition includes work by Kahn/Selesnick, Sarah Malakoff, Arno Rafael Minkkinen, Abelardo Morell, and Elaine Spatz-Rabinowitz, among others. Shown together, their artwork addresses our impulse to adapt and relate to our architectural surroundings, as well as the ways in which these spaces shape and inspire us.
On View Apr 4, 2018 - Sep 30, 2018.
Using the lens of her personal experience, LallaEssaydi (b. 1965, Marrakesh, Morocco) reveals the complexity of Arab female identity by challenging stereotypes she has encountered in both the East and the West.
London-born photographer Nick Brandt, in his recent collection, Inherit the Dust, tackles tragedy with an epicness, intimacy, and integrity that is bringing the world to its knees, in prayer for the preservation of life itself — the natural world.
Best known for his surreal camera obscura pictures and luminous black-and-white photographs of books, photographer Abelardo Morell now turns his transformative lens to one of the most common of artistic subjects, the flower. The concept for Flowers for Lisa emerged when Morell gave his wife, Lisa, a photograph of flowers on her birthday. “Flowers are part of a long tradition of still life in art,” writes Morell. “Precisely because flowers are such a conventional subject, I felt a strong desire to describe them in new, inventive ways.” With nods to the work of Jan Brueghel, Édouard Manet, Georgia O’Keeffe, René Magritte, and others, Morell does just that; the images are as innovative as they are arresting.
“How can a sentient person of the modern age mistake photography for reality?” asks the photographer Sally Mann in her memoir Hold Still. “Photographs economize the truth; they are always moments more or less illusorily abducted from time’s continuum.” Mann’s slightly exasperated remarks suggest the irony in Immediate Family, the title of the book that made her famous — and for some, infamous — more than a quarter-century ago.
Lalla Essaydi is amongst the ever-growing number of women artists from the Maghreb who have garnered international acclaim. The artist must also be placed, more widely, within a generation of minoritized artists who, often living and working in North America or Europe, explore issues relating to colonialism, gender and identity, particularly plural identity or what Homi Bhabha famously calls the “third space.”
It’s December and in Virginia, at Sally Mann’s countryside home, she has invited Bill T. Jones for a photo session. Death – its menacing approach or dark legacy – looms large in Mann’s work, and it’s no surprise to find the dancer-choreographer’s high cheekbones made skull-like behind her lens. “Almost a death mask,” she concludes in a video of the encounter shown in a major survey at the National Gallery of Art in Washington. Sitter and photographer, both 66, are keenly aware they have entered their final chapter.
Giorgio Armani’s next exhibition at his Silos space in Milan shines the light on works by Italian artist Paolo Ventura.
“Imaginary Tales,” which runs from Wednesday until July 29, is comprised of about 100 works ranging from photographs and paintings to set designs that revisit reality with a fairy-tale, dream-like streak.
“I photograph what does not exist and I have been integrating painting and photography over the past two to three years, creating imaginary worlds,” Ventura said during a preview on Wednesday. “Photography leads you to believe it is real, but I play on ambiguity.”
‘Sally Mann: A Thousand Crossings,” at the National Gallery of Art, reminds us that great photographs do not have meanings; they have agency. This is the first major show for Ms. Mann (b. 1951), with more than 100 images taken over four decades, all dealing with the American South. Ms. Mann, who was born and still lives in Lexington, Va., is obsessed with the South: its landscape, its people, its literature, its history—especially the gnarled history of race.
Parlor Room Presents: Elinor Carucci in conversation with Parlor Room
Monday, March 19th at 5:30pm
The School of the Art Institute of Chicago
Columbus Building, 280 S. Columbus Drive, Room 319
Born 1971 in Jerusalem, Israel, Elinor Carucci graduated in 1995 from Bezalel Academy of Arts and Design with a degree in photography, and moved to New York that same year. Her work has been included in many solo and group exhibitions worldwide, solo shows include Edwynn Houk gallery, Fifty One Fine Art Gallery, James Hyman and Gagosian Gallery, London among others and group shows include The Museum of Modern Art New York, MoCP Chicago and The Photographers' Gallery, London.
The Museum of Contemporary Art, Los Angeles (MOCA), presents Real Worlds: Brassaï, Arbus, Goldin, an exhibition that brings together the works of three of the most influential photographers of modern life. Drawn largely from MOCA’s extraordinary collection of photography, the exhibition provides a remarkable opportunity to explore the ways in which Brassaï (Gyula Halász) (b. 1899, Brassó, Hungary (now Romania); d. 1984, Èze, France), Diane Arbus (b.1923, New York; d. 1971, New York) and Nan Goldin (b. 1953, Washington, D.C.) use the camera to reflect and transform the world around them. Real Worlds features an exceptional trove of approximately one hundred works by the three artists, including Brassaï’s unforgettable images of the nocturnal denizens of Paris, Arbus’s most memorable and unsettling portraits, and Goldin’s searingly poignant documentation of herself and her community. The exhibition is structured around MOCA’s nearly comprehensive collection of photographs that appear in three legendary photobooks: Brassaï’s The Secret Paris of the 30’s (1976), the posthumous Diane Arbus: An Aperture Monograph (1972), and Goldin’s The Ballad of Sexual Dependency (1986).
For this exhibition at the Armani/Silos, Paolo Ventura tells the story of an imaginary world, where different forms of expression are the means to transform dreams into reality. ‘Racconti Immaginari’ is an anthology featuring over a hundred works – between photos, objects, set designs and installations – carefully selected by the eclectic photographer to represent his artistic evolution.
For more than 40 years, Sally Mann (b. 1951) has made experimental, elegiac, and hauntingly beautiful photographs that explore the overarching themes of existence: memory, desire, death, the bonds of family, and nature’s magisterial indifference to human endeavor. What unites this broad body of work—portraits, still lifes, landscapes, and other studies—is that it is all “bred of a place,” the American South. Mann, who is a native of Lexington, Virginia, uses her deep love of her homeland and her knowledge of its historically fraught heritage to ask powerful, provocative questions—about history, identity, race, and religion—that reverberate across geographic and national boundaries. Organized into five sections—Family, The Land, Last Measure, Abide with Me, and What Remains—and including many works not previously exhibited or published, Sally Mann: A Thousand Crossings is a sweeping overview of Mann’s artistic achievements.
Round-up of best photographs exhibited at PHOTOFAIRS San Francisco 2018 includes Elinor Carucci, "Kiss," 2017, as seen at Edwynn Houk Gallery's booth, and Mona Kuhn, "Bushes and Succulents series," 2017.
We’re in Virginia, where the photographer Sally Mann was born, in 1951, and where she still lives, making work so rooted in place that it is inseparable from history, from lore, and from the effects of slavery. Like Janus, she looks forward as she looks back, at all those bodies that made her and her place in Virginia, and into the landscape, filled with rutted earth, big or low clouds, storybook fantastic vegetation, and the Southern light that reminds so many of photography itself—dark, as Joan Didion wrote, and glowing “with a morbid luminescence.” That entire vision is a part of Mann’s photographs, as she asks in these images of family members, roads, rivers, churches, and the effects of blackness on whiteness and whiteness on itself: Abide with me. And it all does—voices, sounds, the invisible things that Mann’s haunted and haunting photographs allow us to see.
When the National Gallery of Art realized that, with a major acquisition of works from the Corcoran Gallery of Art in 2014, it had one of the largest public holdings of photographer Sally Mann, efforts began on mounting her first major international exhibition. “Sally Mann: A Thousand Crossings,” which opens Sunday, covers four decades of work from the 66-year-old photographer, who initially stayed close to her childhood home in Lexington, Va., but deepened her understanding of the South by traveling more widely to ponder its fraught history in haunting photographs further enhanced by antique, experimental processes. Here, Sarah Greenough, senior curator and head of the department of photographs at the National Gallery of Art, gives insight into five of the 110 pieces included in the exhibit.
Elinor Carucci's "Kiss," 2017 has been selected for The Photography Show's special exhibition, A Time for Reflection, curated by Sir Elton John. Another special exhibition at the fair this year, Forever Young: Selections from the Joe Baio Collection, also includes work by the artist from her Mother series.
Featuring 40 leading international and US galleries, PHOTOFAIRS | San Francisco is a highly curated, boutique fair that offers collectors and curators access to artists and galleries never seen before in the Bay Area.
From Feb. 23 to 25, PHOTOFAIRS | San Francisco at the Fort Mason Center will host select galleries, exhibitions and public programming for its 2018 edition, alongside the work of cutting-edge artists which will be available for purchase for the first time on the West Coast. Highlights include new work by artists Alec Soth (Weinstein Gallery, Minneapolis); the West Coast debut of French visual artist Noémie Goudal (Les Filles du Calvaire, Paris); a female-focused presentation featuring Ruth van Beek and Eva Stenram from The Ravestijn Gallery (Amsterdam). Mandy Barker (East Wing, Doha), and Cuban artist Abelardo Morell (Edwynn Houk Gallery, New York & Zurich) will present works at the fair in addition to speaking in the Fair’s Conversations program.
Acclaimed photographer Robert Polidori (Canadian-French-American, born 1951), known for his images of architecture and human habitats, created a series of images of the Getty Center shortly before the opening of the multipurpose complex in 1997. Organized to celebrate the twentieth anniversary of the Center, this exhibition features captivating behind-the-scenes views of the building and the new galleries as objects from J. Paul Getty's painting, sculpture, and decorative arts collections were being installed in the Museum.
“The photographer has a sense of the magic beneath the surface of reality", wrote Brassaï, whose work is getting a huge exhibition in Barcelona from 19 February-13 May.
It would be an understatement to say that the legacy of Gyula Halász – better known by his pseudonym, Brassaï – has been the object of extensive research and countless curatorial projects. Yet the Fundación Mapfre, the private institution that has shown the highest devotion to photography in Spain, has entrusted Peter Galassi, the former chief curator of photography at Museum of Modern Art, to conduct what will probably be the definitive exhibition about the Hungarian-French photographer at its Barcelona gallery, the Garriga i Nogués exhibition hall (19 February to 13 May).
Saturday, 24 February 2018
12pm-1pm: A Conversation with Abelardo Morell, Artist, and Erin O'Toole, Associate Curator of Photography, San Francisco Museum of Modern Art
1pm-1:30pm: Abelardo Morell: Tent Camera book signing in Edwynn Houk Gallery's booth, B01
Staged, part of at PHOTOFAIRS San Francisco, explores the relationship between photography and other art forms such as installation art, sculpture, video and painting. Mona Kuhn will participate in the 2018 programming with her 2014 series She Disappeared into Complete Silence.
Acclaimed for her contemporary and intimate depictions of the figure, Mona Kuhn takes a new direction into abstraction in her latest series She Disappeared into Complete Silence. Photographed at a golden modernist structure on the edge of Joshua Tree National Park, architectural lines, light reflections and a single figure have been carefully balanced against the backdrop of the Californian desert.
The exhibition presents a selection of masterpieces from the history of photography, part of the collection of Sondra Gilman and Celso Gonzalez-Falla. Based in New York, it includes over 1500 original prints by some of the greatest photographers of the 20th and 21st centuries. Through visual confrontations, the visitor is invited to experience the power of the photographic line through these sublime works. Photographs by Bérénice Abbott, Eugène Atget, Robert Adams, Walker Evans, Man Ray Lee Friedlander, Vik Muniz, and Abelardo Morell constitute the exhibition.
Edwynn Houk Gallery is hosting an exhibition “Stephen Shore: Uncommon Places, Vintage Prints” at the gallery’s New York location.
The exhibition brings together a selection of vintage prints from the landmark series “Uncommon Places” by one of the pioneers of the New American Color Photography- American artist Stephen Shore (b.1947). As one of the first practitioners to use color, the artist, along with a small number of his contemporaries, such as William Eggleston and Joel Meyerowitz, shattered the boundaries of photography, which fuelled a widespread recognition and appreciation of color photography as art. First published as a monograph in 1982, the images from his “Uncommon Places” articulate a vision of the United States, unlike any preceding artistic statement. Following the footsteps of the masters like Walker Evans and Robert Frank with his chronicle of scenes across the breadth of the country, Shore emphasized the American landscape as quintessentially vernacular and colorful. On view at the show are a rare presentation of these vintage prints presented in their original format and materials, in 8 x 10 inches and 12 x 15 inches. In particular, these prints are known for their astonishingly acute details and distinct color palette that distills the spirit of the 1970s.
For more than 40 years, Sally Mann has made experimental, elegiac, and hauntingly beautiful photographs that explore the overarching themes of existence: memory, desire, death, the bonds of family, and nature's magisterial indifference to human endeavor. What unites this broad body of work—figure studies, landscapes, and architectural views—is that it is all bred of a place, the American South. Using her deep love of her homeland and her knowledge of its historically fraught heritage, Mann asks powerful, provocative questions—about history, identity, race, and religion—that reverberate across geographic and national boundaries.
Sally Mann: A Thousand Crossings, the first major survey of this celebrated artist to travel internationally, investigates how Mann's relationship with her native land—a place rich in literary and artistic traditions but troubled by history—has shaped her work.
Bringing together more than 80 pictures taken by photographers from the 19th century to today, (un)expected families at the Museum of Fine Arts, Boston (MFA), explores the definition of the American family—from the families we’re born into to the ones we’ve chosen. The photographs in the exhibition, on view from December 9, 2017 through June 17, 2018, depict a wide range of relationships—multiple generations, romantic unions and alternative family structures—whether connected by DNA, shared life experiences, common interests or even a social media network. Drawn primarily from the MFA’s holdings, the exhibition includes photographs by celebrated artists such as Nan Goldin, Gordon Parks, Nicholas Nixon, Sally Mann, Diane Arbus, Tina Barney, Emmet Gowin and Bruce Davidson. Photograph: Andrea Shea/WBUR.
One of the most fascinating internet phenomenons of 2017 was the commotion, and high-test handwringing, around "Cat Person," a short story by Kristen Roupenian published in the New Yorker earlier this month. Depicting a series of bad dates and bad sex between a young woman and an older man, the details in the piece of fiction felt—especially in the context of the public discussion of power dynamics between men and women today—like a very real gut-punch. As much conversation and sub-conversation as Roupenian's story generated, there was almost as much talk about the photograph commissioned to illustrate the story.
Debe anotarse que la calidad de ArtBasel sigue intacta y si bien en esta edición hubo menos deslumbres que en otros años, se apreció el alto nivel acostumbrado. Galerías ya clásicas como, entre otras, Thomas Schulte con Allan McCollum, Landau con sus Magrittes o Mary-Anne Martin con sus Gerszos y Tamayos aportaron la cuota de obras maestras que dieron lustre al evento, así como importantes Milton Avery, Hans Hoffmann, Helen Frankenthaler, Robert Rauschenberg, Sol Lewitt y Ellsworth Kelly. La escuálida participación de galerías locales contrastó con la robusta oferta de galerías brasileñas, entre ellas Anita Schwartz con la instalación de Nuno Ramos sobre los desastres de guerra de Goya, seguido por la argentina Jorge Mara La Ruche con fotografías de Grete Stern. Imperturbable con su aire giocondesco, la bella obra de Sally Mann en Houk Gallery neoyorkina, signó la elegante mirada de toda la feria.
It’s unusual for a short story to generate the kind of online commotion created by Kristen Roupenian’s “Cat Person,” which appeared in the magazine last week. Nearly every woman I spoke with about it found Roupenian’s detailed articulation of a strange and terrible sexual bargaining—is it easier (or safer) for me to just let this happen, rather than to try and stop it?—queasily familiar. “There is no doubt fiction makes a better job of the truth,” Doris Lessing wrote, in 1949, in the first volume of her autobiography. For many readers, “Cat Person” felt not just true but revelatory. It was a kind of unburdening—a suggestion that, perhaps, the uneasy internal monologues we deliver to ourselves during our most vulnerable and confusing moments are, in fact, shared.
The Denver Art Museum (DAM) proudly presents Challenging Terrain: Landscape Photography in the 21st Century, a survey of contemporary landscape photography from around the world. The exhibition of more than 80 photographs will gauge how living artists stretch the boundaries of traditional landscape photography to reflect the environmental attitudes, perceptions and values of our time. The works in Challenging Terrain will depict landscapes in unexpected ways, challenging visitors to see photography differently. Organized by the DAM and curated by Eric Paddock, curator of photography, Challenging Terrain will be on view June 24, 2018 to Sept. 16, 2018.
Works by well-known artists, including Cuban-American photographer Abelardo Morell, will be featured in the exhibition. His works focus on iconic views of America’s national parks made famous by previous generations of photographers, such as Ansel Adams. Morell’s process, rooted in photo history, uses a tent camera to project an image onto the ground that he then photographs digitally, resulting in familiar, yet unexpected works.
From the Arabian Nights to the Arab Spring, Westerners see images of the Middle East in our own pop culture, news and art. But what does the region look like through the lens of local women? The exhibit She Who Tells a Story includes 85 images taken from the 1990s to today by a dozen female photographers from Iran and the Arab world. They aim to challenge Western conceptions and illuminate contemporary life and politics. Organized by the Museum of Fine Arts in Boston, the exhibit opens at the Canadian War Museum Wednesday and runs until March 4.
Moroccan-born Lalla Essaydi, a former painter and alumna of the School of the Museum of Fine Arts, Boston (SMFA), uses iconography from 19th century Orientalist paintings as inspiration to explore and question her own cultural identity. In the triptych Bullets Revisited #3 (2012), the most expansive work in the exhibition at 5 1⁄2 x 12 1⁄2 feet, she uses calligraphy (a typically male art form) to suggest the complexity of gender roles within Islamic culture. In Bullets Revisited #3, silver and golden bullet casings evoke symbolic violence, referencing her fear about growing restrictions on women in a new, post-revolutionary era that followed demonstrations and protests in the Arab world that began in 2010.
Each year on Finland's Independence Day, December 6, the President of the Republic of Finland grants awards to Finnish citizens in recognition of their outstanding civilian and military contributions. The acknowledgment best known to the public is the Pro Finlandia Medal of the Order of the Lions of Finland, the highest honor for distinguished artists. This December 6, which marks the 100th anniversary of Finnish independence, President Sauli Niinistö recognized Arno Rafael Minkkinen for his contributions to Finland through photographic achievement.
Stephen Shore, the subject of an immersive and staggeringly charming retrospective at the Museum of Modern Art, is my favorite American photographer of the past half century. This is not purely a judgment of quality. Shore has peers in a generation that, in the nineteen-seventies, stormed to eminence with color film, which art photographers had long disdained, and, often, with a detached scrutiny of suburban sprawl, woebegone towns, touristed nature, cars (always cars), and other familiar and banal, accidentally beautiful, cross-country phenomena. The closest to Shore, in a cohort that includes Joel Meyerowitz, Joel Sternfeld, and Richard Misrach, is his friend William Eggleston, the raffish Southern aristocrat who has made pictures unbeatably intense and iconic: epiphanies triggered by the hues and textures of a stranded tricycle, say, or of a faded billboard in a scrubby field. While similarly alert to offbeat sublimities, Shore is a New Yorker more receptive than marauding in attitude. I fancy that Eggleston is the cavalier Mephistopheles of American color photography, and Shore the discreet angel Gabriel.
Starting today, people from all around the world will flock to the sunny shores of Miami Beach over the next week for Art Basel’s stateside fair.
What started in Basel, Switzerland in the 70’s saw itself extend to Miami in 2002 and has grown to become the premier contemporary art fair in the Americas.
Its massive popularity spurred the creation of another fair alongside it, Design Miami/, which focuses solely on design and has become the showcase for the best the world of contemporary design has to offer.
Converging Territories is a photo series conceptualized and executed by Moroccan-born photographer, Lalla Essaydi. The photographs feature Arab women as odalisques, and objects representative of the harem, as they confront the veil of a Western perspective of Orientalism. Borrowing the words of Whitman, the women in this series are large, they contain multitudes, and to wholly appreciate the granduer Essaydi encourages her viewers to dismiss stereotypes when engaging with her work.
Already a respected photographer at age 25, Danny Lyon returned to his hometown of New York in 1966 and settled in Lower Manhattan. After observing that half the buildings on his street were boarded up, he learned that a 60-acre area encompassing one of the city’s oldest neighborhoods was slated for demolition. “I came to see the buildings as fossils of a time past. These buildings were used during the Civil War. The men were all dead, but the buildings were still here, left behind as the city grew around them. . . . For a hundred years they have stood in the darkness and the day. . . . Now, in the end, they are visited by demolition men . . . pulling apart brick by brick and beam by beam the work of other American workers who once stood on the same walls and held the same bricks, then new, so long ago.”
Moroccan artist Lalla Essaydi’s photographs set out to provoke viewers into new ways of seeing by mimicking and subverting Orientalist tropes. Beautiful but reductive, fetishistic and steeped in colonialism and imperialism, Orientalist paintings invented a Middle East that never existed for an audience that wished to see its desires and prejudices reinforced. Moroccan photographer Lalla Essaydi hijacks this imagery to create photographs that deliberately subvert Orientalist views.
In the art world of the 1960s and 1970s, the photograph came to have a multiplicity of functions: it could document a performance (as in the art of Carolee Schneemann), advocate a social message (Danny Lyon), underpin a conceptual practice (Sol LeWitt), or relate a fictional narrative (Eleanor Antin). And today, now that cameras are ubiquitous and cloud-compatible, we often expect photography to serve as a tool for other efforts. But a photograph can still — we forget sometimes — have no function than to be itself.
Steidl Week continues as we host artist Mona Kuhn to discuss her lifetime of work, including pieces from the yet to be realeased collection. A brief description of her future collection:
Acclaimed for her intimate nudes, Mona Kuhn takes a new direction into abstraction in her latest series, She Disappeared in Complete Silence. Photographed at a golden modernist structure on the edge of Joshua Tree National Park, architectural lines, light reflections and a single figure have been carefully balanced against the backdrop of the Californian desert. She Disappeared in Complete Silence marks Kuhn’s increasing use of techniques that appear to merge the figure, abstraction and landscape into one.
Michael Eastman’s (b. 1947) melancholy images posit the golden-age grandeur of the region’s late 19thcentury interiors against modern technologies. Breathing new life into ageing structures, Eastman illuminates doorways and stairwells in surprising ways. Until 20 January.
Lynn Davis: Africa (1997-1998) is on view Mondays through Fridays, 10am-4pm at the Hutchins Center for African & African American Research at Harvard University
Valérie Belin discussed her major exhibition at the Bernard Magrez Cultural Institute, on view until 25 March 2018. The artist cites Italian Baroque and American minimalism as major sources of inspiration for her works. In her own photographs, artificiality remains a consistent subject of inquiry—by blurring the lines between real and artificial, "confusion ensues" and the viewer is invited to "turn inward, to look at their own face, their own image." This process is apparent in each of her series, and she describes in depth the process of her Metisses series (2006) as an example. Belin says she asked women she met on the metro to model for her. She says she was interested in how these girls used makeup, wigs and blue contact lenses to radically alter their outward appearance. Belin emphasized this artificiality in her portraits. In her All Stars series (2016), this sense of confusion and blurring becomes visible vis-a-vis the comic book illustrations superimposed on top of the model's faces: the "details in the drawings convey the whirlwind of the woman's thoughts, the chaos in her mind," Belin says.
Abelardo Morell is a Boston-based artist born in Havana, Cuba. Morell earned a Bachelor of Fine Arts from Bowdoin College in 1977, and a Master of Fine Arts from Yale University School of Art in 1981. Morell’s work has been shown at more than 70 museums, including the Museum of Modern Art, the Whitney Museum of American Art, and the Metropolitan Museum of Art. In this talk the artist discusses his work and process. Morell is best known for his Camera Obscura images. Using techniques developed in the ancient world to project an outdoor scene onto the walls of a darkened room, he creates a natural optical phenomenon that he then captures with a large-format camera, as seen in Camera Obscura Image of Manhattan View Looking West in Empty Room that is part of SAAM’s Latino and photography collections.
Purple Diary included "Female Torso with Black Sand" by Herb Ritts and "Lady Round Brush" by Valérie Belin, displayed in Edwynn Houk Gallery's booth at Paris Photo 2017, amongst their top selections from the fair. Photographs by August Sander, Edward Weston, Andre Kertesz, Sissi Farassat, and Vera Lutter were also included.
Selecting a single work by a female photographer from every booth at Paris Photo turns out to be an impossible task. There are many booths, from solo presentations to multi-artist groups, where there are simply no works by women on view, and even though the gender of the maker may not always be the most relevant metric for evaluating an artwork, being forcefully faced with the absence of women in so many places was undeniably an eye-opener.
Another autumn means another Paris Photo 2017. The art fair is set to open on November 12 at the Grand Palais, where the Edwynn Houk Gallery will present its chosen showcases for the year. Featuring the likes of Valérie Belin, Dora Maar and Erwin Blumenfeld, the gallery is set for another exciting year at this prestigious art fair. Paris Photo 2017 will take place at Grand Palais, and Edwynn Houk Gallery is set to take part in the fair at Booth C22. This is Edwynn Houk Gallery's twentieth year exhibiting at the fair.
Paris Photo, the first international fair dedicated to the photographic medium, will present its 21st edition from 9 to 12 November 2017 at the Grand Palais in Paris. A must-see event for collectors, professionals, artists and art lovers, Paris Photo focuses on the diversity and quality of the artists and works presented and proposes an ambitious and demanding public program. More than 180 galleries and publishers in three sectors present a complete panorama of the history of photography, from historical and modern works to contemporary creation, from rare and limited editions to previews of artists' books.
Held annually since 1997, Paris Photo is one of the world's most prestigious photography art fairs. It takes place at the magnificent and expansive Grand Palais building on the Champs-Élysées, which is so huge that they manage to pack 190 exhibitors from 29 countries while still allowing their art full room to breathe.
This year's fair is also connected with two big names. Fashion designer Karl Lagerfeld is the guest of honour, sharing his personal favourites from the thousands of artworks on show. Rock legend Patti Smith is also curating a section of work. You probably won't get to see either in person, but their involvement adds an extra dash of energy and inventiveness that's one of the reasons Paris Photo still feels alive and fresh, 21 editions in.
American photographer Michael Eastman’s (b. 1947) intriguing investigations into Buenos Aires’ iconic late 19th century interiors are displayed at Edwynn Houk Gallery, New York. Playing with the unexpected, the haunting images contrast golden-age grandeur with contemporary realities. Doorways and stairwells are illuminated by electric blue lights, breathing new life into ageing structures.
I find this image transfixing. Having long admired 19th- and early-20th-century Orientalist art, I enjoy Lalla Essaydi’s fresh approach to it. Here, the artist re-creates a French School harem pose, herself applying the hennaed Islamic calligraphy covering the woman’s body. Antique textiles are central to my projects and those used in this composition are sensational. Her bed, wrapped in a strong indigo-blue carpet, contrasts with the sweeter surrounding colours and brings the subject forward in the composition. Her layers of clothing appear to extend out into the profusion of silks around her, adding to her allure. This highly decorative, impactful piece provides a window into a secretive world, a place the artist describes as a “dangerous frontier where sacred law and pleasure collide”.
Gail Albert Halaban’s Out My Window is both a penetrating exploration of modern community and a group of moving and beautiful photographs. The project started when she moved to New York from Los Angeles. In an effort to combat feelings of loneliness and isolation, she began to use her art as a way of connecting with her neighbors. She starts by explaining her work to potential participants and asking for their involvement. If they agree, Albert Halaban facilitates communication among the neighbors and arranges to photograph one from the window of the other. In this way, Albert Halaban employs photography as a form of social engagement. For despite platitudes about modern technology making the world a smaller place, this same virtual environment can also result in feelings of isolation and extreme self-absorption. By connecting strangers who live across the street from each other, Albert Halaban’s expertly composed, beautifully rendered, large-scale photographs encourage viewers to take a fresh look at the people they see every day.
After graduating from the Dutch Film Academy in 1979, Erik van Empel moved more and more towards documentary filmmaking as a cameraman. Established with many international awards he has shot over 100 documentaries. Absorbed with cinematic images in his mind, he decided 14 years ago to direct a film by himself. Now with his third documentary ‘Paolo Ventura, Vanishing Man’ (2015), he won the prestigious Prix Italia.
‘Paolo Ventura, Vanishing Man,’ shows how an Italian artist creates his own timeless melancholic world in a barn on an abandoned mountaintop in Italy. With paint, cardboard, and relics of a human life, he resonates his childhood’s memories and isolation by giving himself and found objects a new magical life.
Artist Abelardo Morell reimagines scenery by turning entire rooms into camera obscuras—effectively merging interior and exterior spaces—and then photographing the results. He discusses how he developed this peculiar practice over time, and how he has found fulfillment infusing everyday environments with new enchantment.
Considered one of the most important French photographers of her generation, Valérie Belin won the prestigious Prix Pictet in 2015. The Bernard Magrez Cultural Institute presents, in the rooms of the Château Labottière, a vast selection of works from the most emblematic series by the artist. The photographs presented in this exhibition dialogue with each other and highlight the diversity of Valérie Belin's work. By the treatment of light, contrasts, proportions of prints and other parameters skilfully orchestrated, Valérie Belin plays with uncertainty. In front of her images, it is often difficult to determine what is alive or inanimate, real or virtual, natural or artificial.
A special exhibition of new photographs by acclaimed photographer Vera Lutter, Painting on Paper: Vera Lutter's Old Master Photographs, is on loan from the Los Angeles County Museum of Art (LACMA) and forms the centerpiece of the cultural programme at TEFAF New York Fall. A collection of new large-scale photographs by Vera Lutter make their public debut at TEFAF New York Fall. Created as part of the artist’s residency at LACMA, which began in February and continues through March 2018, this dynamic new body of work draws inspiration from the museum’s architecture, gallery interiors, and vast permanent collections. The presentation at TEFAF New York Fall offers visitors an exclusive opportunity to preview a selection of photographs from the still-ongoing project, which culminates in a major survey exhibition at LACMA in 2019. The artist discusses her new work on Sunday, October 29 4:00-5:00pm.
In subject matter, if nothing else, the Italian collagist Paolo Ventura resembles his compatriot Giorgio de Chirico. Both artists depict small human figures against large, and largely empty, cityscapes. And they both have a deep interest in the relationship between the human figure and space. But where de Chirico’s famous paintings, like The Enigma of Arrival, are openly melancholic, Ventura approaches his subject sideways: peopling his works with clowns and musicians, rendering his skies in deceptive, almost innocently light hues.
It’s like watching a comedy acted on a surrealist stage-set.
Edwynn Houk Gallery presents Michael Eastman’s “Buenos Aires: Southern Light” at its New York venue. The exhibition runs 16 November 2017 - 20 January 2018 with an opening reception on 16 November, at which the artist will be in attendance.
“Buenos Aires: Southern Light” presents Michael Eastman’s recent works. The artist’s oeuvre is diverse, spanning sumptuous Italian interiors along with decrepit American ghost towns. He explores the expansive mid-western landscapes and is probably most well known for his vibrant and haunting images of Havana, Cuba. These had been photographed over the course of five trips beginning in the late 1990s. One of the usual themes present throughout his work is historic preservation and the depiction of places marking human activity but devoid of actual inhabitants. One can see the presence of a rich color palette, geometric precision, and elevation of setting that transports the viewer to a different place and time.
"Mind Over Matter: Photography of Arno Rafael Minkkinen" incorporates some of Minkkinen’s images from the 1970s and 1980s, contemporary and recent work, image murals, and, in a rare move for Minkkinen, selections of his color photography. The exhibition is on display at the museum, located at Daytona State College in Florida, from August 29 to October 29, following a retrospective at Centro Niemeyer, Avilés, Spain. A lecture and book signing by the artist took place on October 6.
“Do you know what is actually in paint? They used to grind up mummies to make brown, what is less orthodox than paint?” – Vik Muniz
Art is not a thing, it is not a subject, it is not something that you can grab or understand. Art is a vehicle, a filter; you have to pass life through it in order for it to work.
Muniz sees himself precisely as Cézanne or Matisse; easel painters, people who took their canvases to the landscape and painted what they were looking at. Muniz is doing the same thing, but his landscape is different. His landscape is the result of a cross referential maze of loaded images of every preconceived image full of what has come before it. Every image has attached to it the memory of that image and the memory of making that image. We see too many images and the images are very complicated. If we are going to reproduce the world as artists, that has to come with the same complexity as the world, but, in order to do that you have to start from the very beginning.
In his new series “Eclipse," Paolo Ventura continues his exploration of memory, history and narrative using the tools of photography, painting and the stage. The series is on view in his first show at Edwynn Houk Gallery in New York City, which runs until November 11. The series includes many of the same characters and types that have appeared in Ventura’s work for years—a clown, a soldier, a man in a sharp suit, a romantic couple, often played by a cast that includes Ventura himself, his twin brother, his son and his wife. The images are set in an eerily empty, urban landscape that recalls Europe in the 1940s, a time and place Ventura knew from stories his grandmother told about living in the Italian countryside during World War II.
Abelardo Morell’s camera-obscura view inside an attic, and of the sea brought in, is an emotionally accurate correlative for aspects of [To the Lighthouse's chapter] “Time Passes,” and I always think of it when I read the book. Though Woolf ’s fictional house is furnished and Morell’s attic is not, both writer and photographer show how nature reenters our carefully protected spaces (in Morell’s case by a tiny aperture and long exposure, and rendered upside down), restoring to the temporal the timeless.
The Lucie Awards is the premiere annual event honoring the greatest achievements in photography. Each year, the Lucie Advisory Board nominates the most outstanding photographers across a variety of categories. Abe Morell is the 2017 Honoree in the Achievement in Fine Art category. He will be honored with the award on October 29, 2017.
Edwynn Houk Gallery presents Paolo Ventura’s works at their New York venue.
Ventura, an Italian photographer, is best known for constructing and photographing stylized dioramas to tell visual stories with a cinematic quality. Most of his works lie in the intersection of fantasy and nostalgia, and he creates scenes that evoke the past in a way that is rich, dream-like, and occasionally surreal. There is a narrative quality about the works that is also seen in the current exhibit that the artist brings up in stories; he clearly seems to have a natural gift for narrative. All of his pictures have their own little mystery, a bombardment of character and atmosphere.
Check out a selection of what we have available on Artsy from artists Ilse Bing, Nick Brandt, Brassaï, Manuel Álvarez Bravo, Sebastiaan Bremer, Henri Cartier-Bresson, Lynn Davis, Michael Eastman, Walker Evans, Robert Frank, André Kertész, Danny Lyon, Dora Maar, Sally Mann, Abelardo Morell, Vik Muniz, Herb Ritts, Stephen Shore, Alfred Stieglitz and Edward Weston.
In 1979, before he gained recognition for his photography, Abelardo Morell worked the night shift as a security guard for the Morgan Library & Museum. Now, Mr. Morell has donated a new work of art to the museum to honor its security staff. “Thoreau: 40 Journals in Chronological Order” will be on display at the Morgan from Tuesday through Sept. 10. as part of “This Ever New Self: Thoreau and His Journal,” which traces Henry David Thoreau’s life through notebooks and other artifacts.
"I Am," a traveling exhibition that has already stopped in Amman, Jordan and London, UK, aims to challenge such stereotypes and shatter misconceptions of Middle Eastern women through photographs, paintings, and mixed-media works that reflect their varied life experiences.
Lalla Essaydi's "Bullets Revisited #15" is included in the exhibition.
“Lynn Davis: On Ice” presents a selection of photographs from the artist’s longstanding engagement with the icebergs on the sea outside of Ilulissat, a small town on the edge of a glacier off the west coast of Greenland. Developed over the course of six expeditions that began in 1986, Davis’s photographs evidence strong affinities with the spare geometry of minimalist sculpture and track the dramatic transformation of the natural environment.
In 1950, Elliott Erwitt traveled to Pittsburgh, then known as the Steel City. At the invitation of Roy Striker, director of the photographic program of the Farm Security Administration, he captured for several months the transformations of the industrial city. A large urbanization and renovation plan was put in place by authorities of the city of Pittsburgh. With the clear mission to transform the industrial, blackish, clogged city into a greener, more open spaced, in a word,a more pleasant town.
Moroccan artist Lalla Essaydi's "Bullets Revisited #3" is one of several works featured in the Akron Art Museum's upcoming exhibition, "Alchemy: Transformations in Gold." The exhibition travels from the Des Moines Art Center, where it was open from 11 February — 5 May 2017.
Stephen Shore encompasses the entirety of the artist’s work of the last five decades, during which he has conducted a continual, restless interrogation of image making, from the gelatin silver prints he made as a teenager to his current engagement with digital platforms.
One of the most significant photographers of our time, Stephen Shore (American, b. 1947) has often been considered alongside other artists who rose to prominence in the 1970s by capturing the mundane aspects of American popular culture in straightforward, unglamorous images. But Shore has worked with many forms of photography, switching from cheap automatic cameras to large-format cameras in the 1970s, pioneering the use of color before returning to black and white in the 1990s, and in the 2000s taking up the opportunities of digital photography, digital printing, and social media.
The artist’s first survey in New York to include his entire career, this exhibition will both allow for a fuller understanding of Shore’s work, and demonstrate his singular vision—defined by an interest in daily life, a taste for serial and often systematic approaches, a strong intellectual underpinning, a restrained style, sly humor, and visual casualness—and uncompromising pursuit of photography’s possibilities.
From a young teenager playing with a camera to having his own solo show at the Museum of Modern Art in New York, Stephen Shore has come a long way. His photographic journey is well documented in this fascinating exhibition at the Museum of Modern Art. Starting in mid-November, the display of Shore’s work will run into Spring 2018.
As the first US survey of the American photographer’s oeuvre, the exhibition ranges from gelatin silver prints made by him as a teenager to his current work that is more concerned with digital platforms. The exhibition charts the artist’s trajectory from his beginnings at just 14 years old, to his continuous restless investigation of image making. The exhibit also includes hundreds of photographic works along with books, ephemera, and objects. Many of these works have not been published or exhibited to the public before now. These works come from his conceptual projects, the ‘American Surfaces’, and ‘Uncommon Places’ series, his landscapes of the 1980s, commissions, and his recent explorations of Israel and Ukraine.
Inherit the Dust an exhibition of works by British photographer Nick Brandt is on view at Multimedia Art Museum, Moscow. The selection of works on display features a new project by Brandt. The exhibition contains 19 photographs with titles that reflect disparity such as ‘Factory with chimpanzee’, ‘Quarry with elephant’ and ‘Construction site with rhinos’, among others.
There are only a few days left to contemplate Liberty, a work created by Valérie Belin for the perfumer Guerlain. The photograph, displayed on the ground floor of the shop located on the Champs-Élysées, is presented as part of "Women Seen by Women: Revelation," an exhibition in partnership with Jean-Luc Monterosso, Director of the Maison Européenne de la Photographie.
Elliot Erwitt arrived in Pittsburgh in September of 1950 looking to prove his worth. Just 22 years old, he had traveled to the City of Bridges at the invitation of Roy Stryker, the former head of the Farm Security Administration’s documentary photography program, which during the 1930s and ’40s commissioned some of the century’s most enduring images by the likes of Walker Evans and Dorothea Lange.
Years before he found fame as a Magnum photographer, Elliott Erwitt was commissioned to document the city of Pittsburgh. Many of the images he took as a 22-year-old lay forgotten for decades, but have now been compiled in a book. "Pittsburgh 1950" by Elliott Erwitt is published by GOST books.
The idea behind this long and intense project, entitled Out of My Window, occured to this New York photographer many years ago, during one of those intimate moments mothers experience while nursing as she looked out the window of her apartment one night.
It was in 1972 that Michael Eastman began to observe the world as from inside a frame, setting out on his journey of experimentation with photography in which architecture and abstraction were at the center of his work.
Peeking into other people’s houses (with their permission, obviously) Gail Halaban gives a representation of humanity. Original and without filters.
Valérie Belin explores the materiality of matter, primarily using the human form and its manmade and virtual representations. A central theme is her work is the boundary between reality and illusion; where, in our perception, in our habit of seeing and understanding, does this lie?
Titled “The Sanctuary”, this collaboration between painter Sebastiaan Bremer and musician-composer Josephine Wiggs includes paints and inks from Bremer’s studio, instruments from Wiggs’s home studio and a recording center, a bubble blower for the shower, an etch-a-sketch beside the toilet, an array of crazy second hand shop finds including a bizarre taxidermy fish alligator and a bulletin board affixed with band photos and a business card with the contact information for the the Nashville mayor’s scheduler.
I AM is a peacebuilding exhibition that premiered in Amman, Jordan under the patronage of Her Majesty Queen Rania Al Abdullah involving 31 of the Middle East's premier contemporary women artists that promotes and celebrates the many accomplishments of Middle Eastern women in shaping our world into a peaceful and harmonious one.
When Elinor Carucci is behind the camera, the distinction between public and private moments disappears. For more than two decades, Carucci has offered an unflinching look into her personal life as she left her family in Jerusalem, moved to New York City, and raised a family of her own. Carucci’s work has been celebrated for its transformation of the oft-overlooked details of everyday life into compelling expressions of emotion and intimacy.
For more than forty years, Sally Mann (b. 1951, Lexington, Virginia) has made experimental, elegiac, and hauntingly beautiful photographs that span a broad body of work including portraits, still lifes, and landscapes. Sally Mann: A Thousand Crossings explores how her relationship with the South has shaped her work.
Exhibition schedule: National Gallery of Art, Washington DC, 4 March – 28 May 2018; Peabody Essex Museum, Salem, 30 June – 23 September 2018; J. Paul Getty Museum, Los Angeles, 20 November 2018 – 10 February 2019; The Museum of Fine Arts, Houston, 3 March – 27 May 2019; Galerie nationale du Jeu de Paume, Paris, 16 June – 15 September 2019; High Museum of Art, Atlanta, 13 October 2019 – 5 January 2020
My process is playful. There is no clear plan or story I am trying to tell. I manipulate photographs which evoke a familiar feeling—something I have a deep connection to. As I draw on these photographs, a story is told—something seen through my eyes, an intrinsic human response to emotion and to memory. What I create are visual manifestations of my ideas.
Not many would voluntarily spend time around decaying corpses, alone, in a forest. Sally Mann, however, is not most
people. Her body of work, Body Farm, captures the silence surrounding her, the heavy feel of death saturating the air,
the stillness and calmness of a lifeless forest speckled with corpses.
Elinor Carucci is an accomplished photographer. To put it mildly. Her photographsare in the collections at MOMA, the Brooklyn Museum of Art, the Houston Museum of Fine Art, among others. She is the new master photographer at Ilford. She has held visiting teaching positions at Princeton, Harvard, and the International Center for Photography, and is currently a faculty member at the School of Visual Arts. She has published three books. Recently, on assignment for The New York Times Magazine, she photographed young adults who left their Ultra Orthodox communities. Her photographs of Evan, a transgender man who gave birth to a baby boy, which appeared in Time, won multiple awards. She is also a former professional belly dancer.
A total of 14 black and white photographic works, framed in white and unmatted, and hung against cream colored walls in the main gallery space, the smaller side room, and the entry area. All of the works are hand painted archival inkjet prints on matte paper with pigment ink, made in 2016 and 2017. Physical sizes range from roughly 7×5 to 37×50 (or reverse) and all of the works are unique.
A Handful of Dust is a speculative history of the 20th century, tracing a visual journey through the imagery of dust from aerial reconnaissance, wartime destruction and natural disasters to urban decay, domestic dirt and forensics.
The exhibition features works by over 30 artists and photographers including Marcel Duchamp, Walker Evans, Robert Filliou, Mona Kuhn, Man Ray, Gerhard Richter, Sophie Ristelhueber, Aaron Siskind, Shomei Tomatsu, Jeff Wall and Nick Waplington alongside magazine spreads, press photos, postcards and film clips.
The National Museum of Women in the Arts (NMWA) announces recent major collection acquisitions in celebration of the beginning of the museum’s 30th-anniversary year. Newly acquired works include Lalla Essaydi's Bullets Revisited #3 (2012), on view in "REVIVAL" from June 23 to September 10, 2017. The show also includes Essaydi's Bullets Revisited #20 (2014) (pictured here).
“We are delighted to have strong support from generous donors and members who made these acquisitions possible. Their contributions have enabled us to add new, diverse and increasingly global artworks to the collection—from late 19th century painting to contemporary times,” said NMWA Director Susan Fisher Sterling. “These important acquisitions greatly enrich the thematic reinstallation of our collection galleries for the museum’s 30th anniversary.”
The Multimedia Art Museum, Moscow presents ‘Inherit the Dust’, a new project by the celebrated British photographer Nick Brandt. On view 24 May - 3 September 2017.
Today’s show: “Sebastiaan Bremer: Ave Maria” is on view at Edwynn Houk Gallery in New York through Saturday, June 24. The solo exhibition presents a series of recent works that use photographs that the Dutch artist took 23 years ago while living in New York.
Fifty years ago, the market for fine art photographs barely existed. Major auction houses only began including photographs in their sales in the early 1970s, and American museums were surprisingly late to the party, too. The first to collect was the Boston Museum of Fine Arts, which accepted 27 images from Alfred Stieglitz in 1924 — almost a century after photography was invented.
Today, anyone who argues that photographs can’t be fine art sounds like a crank. Treasures of the medium were displayed in the spring at The Association of International Photography Dealers show at Pier 94 in Manhattan, but New Yorkis a paradise for photography collectors year-round. These six galleries are proof.
The title of a new exhibition at the National Museum of Women in the Arts , “She Who Tells a Story,” undersells the high quality of the work therein. The name is borrowed from an Arabic word, rawiya, which also refers to a group of female photographers working as a collective in the Middle East. But the title makes it sound as if this provocative show — devoted to photography by women from Iran and the Arab world — is just another exercise in narrative, just more storytelling, a needless addition to the overflowing swamp of narrative that drowns out critical thinking.
The new exhibition “Period.” includes bra sculptures and mesmerizing photographs of menstrual blood — and it may make some viewers uncomfortable.
For co-gallerists Eira Rojas and Aimee Rubenstein, the curatorial process always starts with the topics that animate their everyday conversations with friends. "I am constantly talking about my period," Eira says. "But only to a select group of individuals." These daily dialogues develop quickly into politically charged and provocative exhibitions at Miami's Rojas + Rubensteen Projects, the gallery the duo founded in October 2016. The last two shows at the space focused on the relationship between freedom and control in American politics and Islamophobia.
French artist Valérie Belin was born in 1964, and is currently based in Paris. Belin has been developing themes of disorder and chaos, creating works that are both visually and psychologically complex. Main concepts behind the All Star series exhibited at AIPAD examine stereotypes, psychology, and consumerism. Her photographic composites feature super-heroines in high-fashion settings with vintage comic book imagery. Through this unusual juxtaposition, Belin creates an alternate story. In 2015, Belin was awarded the Prix Pictet in 2015 for her work titled Disorder. She has exhibited in major institutions worldwide, including Centre Pompidou in Paris and New York City’s Museum of Modern Art.
I am happy to report that the newly installed edition of the Photography Show presented by the Association of Independent Photography Art Dealers at Pier 94 is quite spectacular. There were many, myself included, who were very attached to the idea of this reliable warhorse being held in the Park Avenue Armory. Something about the enclosed, cozy space was familiar and intimate. The idea of the Pier could have rendered it cold and impersonal. The good news is that the lightness and extra space actually gives the galleries and the work more room to breathe.
The displays have great contrapuntal rhythms, between past and present, between color and black-and-white, and among sensibilities guided by burning social consciences, the drive to experiment or a joyful embrace of the medium’s idiosyncratic possibilities. Sometimes all of this can be found in one eclectic presentation. At Edwynn Houk, one of Robert Frank’s insightful images of Americans shares walls with Lillian Bassman’s innovative fashion photography and Abelardo Morell’s playful new still lifes, notably a scene of domestic catastrophe created for the camera from plywood, a ceramic pitcher and a plethora of flowers.
The depiction of Arab women in art is a relatively recent phenomenon. For centuries, it was unconditionally banned; the only existing representations were 19th-century European fantasies of women lazing in harems.
Now, women from the Muslim world appear frequently in painting, sculpture and photography, yet the issue remains fraught.
A panel discussion at The New York Times Art for Tomorrow conference in Doha explored the subject of how Arab women are portrayed in art, with Lalla Essaydi, an artist who lives and works in New York and Marrakesh, and Touria El Glaoui, the founder of the 1:54 Contemporary African Art Fair and the daughter of the renowned Moroccan painter Hassan El Glaoui.
Flowers for Lisa, as it sounds, is Abe Morell’s ballad. Like a deliberate collection of bouquets from Manet, Mitchell and Penn, his new series is effeminate and tender, painterly yet instructed. Morell’s gingerly-framed flowers began as a birthday gift to his wife, Lisa McElaney, with a desire to prolong the pleasure that flowers suggest. Morell went on to investigate the language of flowers, and pronounced them by combining multiple frames of different arrangements to create images of euphoria.
Dutch artist Sebastiaan Bremer is working to build a sanctuary in Greenpoint, Brooklyn. Hailing from Amsterdam, Bremer moved to New York 25 years ago, making it his home. He lives and works in the neighborhood, his studio situated at the cozy intersection of Banker and N 15th. Across the street, sits the San Damiano Mission Church. Originally riding the line between church and community center, one day Bremer noticed the church’s old wooden doors were replaced with inviting glass ones. No doubt curious, Bremer walked in, finding two Franciscan monks that are working to renovate the space, as well as bring it back to its initial goal—community.
Gallery owner and AIPAD member Edwynn Houk on the unique opportunities The Photography Show offers collectors and others in attendance at one of the world's most prestigious annual photography events.
In Valérie Belin’s latest series, All Star (2016), currently on view at Edwynn Houk Gallery in New York, Belin places the faces of pale, idealized women against a background of digitally collaged, 1950s comic strips. The unidentified, unnamed models appear passive, almost forlorn, with eyes cast down or obscured by shadow. Rife with scenes of chaos and destruction, the composition and graphic quality of the images evokes nightmarish magazine covers, but each print stands about five-and-a-half feet tall—miniature billboards in scale. How confusing, how chaotic, how layered—and yet, how consumable.
Alchemy brings together a group of international artists whose work incorporates gold (or another metal disguised as gold). In each case, this precious material not only brings a sense of luxury to the work, but also ushers in connotations of the historic and cultural value various societies have placed on this rare element. As glamorous and sought after as gold may be, it’s capable of suggesting complicated politics and potent symbolism. The works in Alchemy embrace both dark and light readings of this glittering metal.
Lalla Essaydi's Bullets Revisited #3 and Bullets Revisited #22, pictured here, are included in the exhibition.
Mona Kuhn, the photographer who organised The Billboard Creative shows for the past two years, says the format is a natural for the city, going back to the 1960s when artists such as Ed Ruscha were painting billboards on canvas. “We live in a car culture; our largest audience is not sitting still but commuting,” she says. “Some of our locations have 200,000 cars passing weekly.”
The work of female photographers is being sought and collected more than ever. We asked seven to make self portraits that show what others see in them -- and what they see in themselves.
There is the actual pond in Concord, with its trails, its cold depths, its sandy rim, its turtles and fish. And there is the pond that lives in our imaginations as the result of Henry David Thoreau’s classic “Walden.’’ Cuban-born and Boston-based photographer Abelardo Morell explores the interplay of the two through a quartet of panoramic photographs that will be exhibited as part of the launch of a year’s worth of celebrations at the Concord Museum marking the bicentennial of Thoreau’s birth.
No facet of Paris was off limits to Brassaï. Beginning in the 1930s, the transplanted Transylvanian photographer wandered the Parisian streets after dark, documenting prostitutes and lovers. He was a dedicated voyeur, and a master of the candid picture. He also had a passion for graffiti.
Mann made a name for herself through the photographs of her children, taken between 1984 and 1992, which she stopped around the time her eldest daughter turned 12. “This is somewhat of an extension of that series, which was done when the children were coming of age, in their twenties, not living at home anymore,” said gallery director Julie Castellano. “They’re done so close up they’re almost an homage to death portraits.” One of an edition of five, the $55,000 large work was created in the wet collodion process, one of the earliest processes of photography. “Sally loves the way that it abstracts; she loves the imperfections. She can make a perfect print but she loves to play with the emulsion and add abstraction.”
Dutch artist Sebastiaan Bremer first started out recreating his own photographs with paint. In 1998, he attended the Skowhegan School of Painting and Sculpture in Maine, where he trialled his now [signature] style of drawing on photographs. Part of a wider series, this piece originates from a box of negatives Sebastiaan discovered featuring images of his parents and siblings on holiday in the Alps in 1973. (He had been too young to go.) “It is hard to make profound remarks about happiness for some reason,” he says, reflecting on his practice. “Perhaps it’s related to what is said about how hard it is to make a good comedy film; it’s easier to faithfully depict drama. For me it is, anyway.”
Since 2013, critics have publicly debated the Los Angeles County Museum of Art’s plans for a $600 million campus redesign by Peter Zumthor that requires razing three deteriorating 1965 buildings designed by William Pereira and a 1986 addition by Hardy Holzman Pfeiffer Associates. While many, including Christopher Hawthorne, the architecture Critic for The Los Angeles Times, generally support the Zumthor plan, some favor renovation of the existing buildings or have voiced their emotional attachment to the old structures.
“There’s this real sense of nostalgia for place, even if the place doesn’t function anymore,” said the museum’s director, Michael Govan. Rather than sweeping such sentiments under the rug as he stewards the campus overhaul, Mr. Govan has commissioned the artist Vera Lutter “to confront these sites that have meaning and preserve them through her work.”
By utilizing a basic principle of optics once used by Renaissance artists like Canaletto and Vermeer, photographer Abelardo Morell builds a "camera obscura" with which to capture landscapes and architectural wonders. Serena Altschul reports on how Morell's fascinating photographs really bring the outside in.
Valérie Belin will present her newest series, "All Star" at Edwynn Houk Gallery. The exhibition of eleven large-scale color photographs will be on view January 19 - March 4, 2017.
In conjuction with the show, Valérie Belin will be in conversation with Quentin Bajac, at Albertine bookstore on February, 28th at 7pm. Quentin Bajac is the Joel and Anne Ehrenkranz Chief Curator of Photography at The Museum of Modern Art, New York. They will discuss Belin’s new book, Valerie Belin(Damiani, 288 pages, $55) which surveys her stunning series from Magicians, Bouquets and Lido to Brides, Bob, and Black Eyed Susan and continuing up to recent work including Super Models and All Stars. The conversation will be followed by a book signing.
Capturing images of the Golden Gate Bridge with his tent camera — a portable form of camera obscura — photographer Abelardo Morell talks about craft, invention, and the mysteries of photography.
Vik Muniz, the Brazilian artist, has worked between New York and Rio de Janeiro his entire career and said he has “known the subway sometimes better than I wanted to.” He has become highly regarded for pieces based on materials antithetical to permanence and, seemingly, to seriousness: chocolate, spaghetti sauce, thread, trash.
Artist Abelardo Morell reimagines scenery by turning entire rooms into camera obscuras — effectively merging interior and exterior spaces — and then photographing the results. He discusses how he developed this peculiar practice over time, and how he has found fulfillment infusing everyday environments with new enchantment.
Billboards dominate the landscape of Los Angeles. A vast sea of signs greets commuters each day with an onslaught of commercial messaging. The Billboard Creative offers an alternative: art replacing advertising, for an entire month, at some of the busiest intersections throughout Los Angeles.
We asked Israeli-American photographer Elinor Carucci, whose book, Mother, chronicled her pregnancy and her relationship with her twins, to delve into the power of photography.
A faculty member of the graduate program at the School of Visual Arts with work held in permanent collections of museums across the world, Carucci says she’s looking for universality in her own work. “I am looking to go deeper,” she tells TIME. “Beyond the façade of what we see into I guess the core of who we are.”
Several photographers presented large-scale scenes that opened a window into their own dreams. Their photographs played with the logical assumption that an image must depict the real, and instead provided the viewer with an escape from reality. Los Angeles-based photographer Mona Kuhn showed several colourful images featuring models enjoying a classical, Dionysian garden scene, as though taken from a dream.
As a longtime editor and the creator of 10 Corso Como, Milan’s high-end retail and dining complex, Carla Sozzani is a well-known figure in the fashion world; and as the founder of the gallery there that bears her name, she’s been a longtime force in the art world as well. What many don’t know is that she is also a passionate collector of photography. For more than 40 years, she has built a collection of over 650 works, mostly in black and white, representing more than 70 artists from the 19th century to today: big names like Helmut Newton, Alfred Stieglitz, August Sanders and Irving Penn, but also lesser-known photographers like Xanti Schawinsky, an experimental artist from the 1920s.
Images of Herb Ritts is a miracle of lightness and harmony, the representation of a rare balance, not to hold, but that prints forever on photo paper and passes through the careful mix of natural elements, the exaltation of the body, evidence of light on their faces. Walking through one after the other photos of Ritts, we see the world not as it appears, but as we would like, offering only perfect day, blue skies, smooth bodies and faces heedless. Found in all his photographs natural elements which fed his gaze - the wind, the light and the land of California, the horizon of sight, the immense spaces - as well as the bodies of male and female models, their eyes , their clothes. The result is a rare and valuable combination of these ingredients and his photographic work a measured set of spontaneity and composition, glamor and immediacy, sophisticated poses and pure fun.
Empathy is both an emotional response, as well as a cognitive one. We can both feel what another experiences, as well as perceive it through rational thought. To be empathetic is a challenge some refuse to accept, but for those willing to open themselves, it is a two-fold process. First there is simply the ability to understand that which is not our own, and to refrain from manipulations that would adulterate its truth.
Made, written and narrated by photographer Nick Brandt, he tells the story of the production of the photo series, Inherit the Dust.
The second of two videos written and narrated by Nick Brandt about Inherit the Dust.
Produced by Fotografiska Museum, Stockholm, who held a major exhibition of Inherit The Dust May-September 2016.
Buy the large format book of the series, "Inherit The Dust", on Amazon.
Made, written and narrated by photographer Nick Brandt, he tells the story of the concept behind the photo series, Inherit the Dust.
The first of two videos written and narrated by Nick Brandt about Inherit the Dust.
Produced by Fotografiska Museum, Stockholm, who held a major exhibition of Inherit The Dust May-September 2016.
Buy the large format book of the series, "Inherit The Dust", on Amazon.
While travelling to Ilulissat, a small town on the edge of Disko Bay in Greenland, her career hit a turning point when she discovered icebergs. For 30 years she would return, tracking and studying their changing shapes. Monumental, Davis’s icebergs seem to drift away on the gelatin silver prints. Their shape long vanished; their suggestive carvings long gone. She asks herself: “What is so special about these icebergs? What causes loss of self in these creatures?”
Covering six decades of artistic output, Danny Lyon’s first full retrospective provides an inclusively robust cross section of his work as a photographer, filmmaker, and writer, so much so that it opens the door to a wholesale re-evaluation of his long career. What it shows us is that the first decade of Lyon’s career (from roughly the early 1960s to the early 1970s) burned with an astonishingly incandescent brightness that few have matched before or since. In that one ten year span, Lyon delivered no less than four stand alone lightning strike projects of durable significance, along with several other in-between efforts of overlooked merit. Seeing that consistent intensity of engagement clearly laid out in a series of well-edited adjacent rooms is immensely impressive.
Danny Lyon’s career would make a great bio-pic. The New York City photographer, who, at seventy-four, is the subject of the Whitney’s terrific survey “Message to the Future,” has led an improbably adventurous life, beginning with his involvement in the civil-rights movement. In 1963, when he was twenty-one, he became the staff photographer for the Student Nonviolent Coordinating Committee. The year before, on his first trip to the South, Lyon ended up in a Georgia jail, with Martin Luther King, Jr., in a nearby cell. Over the next few years, he documented marches, sit-ins, arrests, and the aftermaths of bombings.
Lillian Bassman (1917-2012) began her career in fashion photography assisting the great Harper’s Bazaar art director Alexey Brodovitch. She was an accomplished darkroom technician who honed her skills on her lunch hours developing images for George Hoyningen-Huene, using bleach and selective focus to manipulate the prints. In 1946 she began taking her own photographs, and in 1947 Harper’s published Bassman’s first picture...
Over the course of half a century, the photographer, writer and filmmaker Danny Lyon has documented the civil rights movement, outlaw motorcycle gangs and the harsh Texas prison system.
It’s more than a bit disturbing that the photographs Danny Lyon captured during the early '60s while working with the Student Nonviolent Coordinating Committee (SNCC) in the segregated south continue to resonate so deeply in the modern day. It would be one thing if these black-and-white photographs, taken in the earliest years of the photographer’s career, served as a historic document of how far the country has come, but the issues of race, mass incarceration and urban gentrification that Lyon documented when he was first starting out have only intensified in America. Danny Lyon isn’t looking back on history—he is looking at the present.
Art and life are never entirely separate, but different artists lean more toward one than the other for inspiration. For the photographer Danny Lyon, the world of live humans has been the bigger draw. “You put a camera in my hand,” he once said, “I want to get close to people. Not just physically close, emotionally close; all of it.”
The work of the American photographer Stephen Shore (b. 1947, New York City) has shaped contemporary photography and inspired generations of photographers. He has never stopped exploring the boudaries of photography, and has selected subjects that were not seen as obviously photogenic. He has effortlessly switched back and forth between black and white and colour, and has experimented with a wide variety of cameras and every possible format. This exhibition covers the period 1960-2016 and shows important turning points in his career.
From 11 June to 13 November 2016 the Forte hosts the exhibition Elliott Erwitt - Retrospective. Made by the Fort Bard Association in collaboration with Magnum Photos Paris, the show presents world premiere a new retrospective project of the immense work by Elliott Erwitt, one of the great protagonists of photography of our time.
Mona Kuhn is best known for her large-scale, dream-like photographs of the human form. Her work often reference classical themes with a light and insightful touch. Kuhn’s approach to her photography is unusual in that she usually develops close relationships with her subjects, resulting in images of remarkable naturalness and intimacy, and creating the effect of people naked but comfortable in their own skin. She has recently been the judge of The Human Bodytheme for Life Framer.
As the art director of Junior Bazaar, a short-lived Harper's Bazaar spin-off, Lillian Bassman spent the early 40's working with photography greats like Robert Frank and Richard Avedon. Then she decided to pick up the camera herself. Soon, it was Bassman's own images appearing in the pages of Bazaar—carefully blurred, fashion-focused silhouettes that John Galliano once described as possessed of "painterly strokes of light." Though she did lose a bit of fire at one point—Bassman destroyed decades' worth of prints and negatives in the 70's, even debating abandoning the medium—she stuck with her instantly recognizable black-and-white photography, shooting Galliano's designs up into the 90's, even toying around with digital before she died in 2012. Take a look back at her career through some her most memorable pictures, up now at New York's Edwynn Houk Gallery through July 8th, here.
Many of Nick Brandt‘s photographs of African wildlife look like studio portraits, a Richard Avedon perhaps. But they are not, they were taken in situ on African land with a patience born of love, and without a telephoto lens. He used a Pentax 67 ll to photograph the animals and a Mamiya RZ67 Pro II for the onsite images in this series. There is no doubt that his photographs are, in his words, “achieved by one not so simple thing: getting very, very close to the animals.” His photos are exquisite depictions of animals and a way of life we may be on the brink of losing...
Everything is personal for Elinor Carucci. If you ask her for an interview, for example, there’s a chance she might invite you to her home in New York City. If you arrive, say, voiceless with laryngitis, she might offer you tea. Sitting in her living room, you may notice the panels of black seamless next to kids’ drawings amid copies of her monographs and bikes mounted on the exposed brick wall. You may sit on a low sofa and sip green jasmine together. In five minutes you will have become like old friends.
Edwynn Houk Gallery presents its exclusive representation of the Estate of Lillian Bassman and its first exhibition of the artist’s photographs. The show will feature more than 30 photographs tracing the legendary fashion photographer’s stylistic development from early vintage prints to her reinterpreted prints made in the 1990s.
In the early 1970s, after decades as a successful fashion photographer, Lillian Bassman got fed up. Disillusioned by the direction that commercial fashion imagery was headed, she stopped taking assignments and even destroyed most of her negatives and prints—which now seems like a bizarre act of a mad artist.
British photographer Nick Brandt has been making intimate portraits of East African animals for close to two decades. In that time, many of the places he works have been transformed by rapid development, and the environmental devastation that often comes with it. Now, in a new book and series of international exhibitions is called Inherit the Dust, Brandt attempts to show what habitat destruction looks like by placing giant portraits of animals in landscapes where they used to roam.
IN ANOTHER LIGHT: The artistically haunting fashion photography of Lillian Bassman will be spotlighted at the Edwynn Houk Gallery in a new exhibition that opens May 12.
Of all the assumptions about the Arab world, “maybe the most insulting is the idea that women from our region are oppressed, and therefore weak, backwards and cannot think for themselves,” Yemeni photographer Boushra Almutawakel says. “Yes, there are cases of oppression for sure, yet in spite of it all I feel women from our part of the world are strong and resilient, and we are intelligent, and can speak for ourselves.” Ten of Almutawakel’s works — among them a series of portraits of a mother, her young daughter and her daughter’s doll increasingly veiled until they fade into the black background — appear as part of the National Museum of Women in the Arts’ newest exhibition, “She Who Tells a Story: Women Photographers from Iran and the Arab World.” Running through the end of July, the show features 83 photographs and one video installation by a dozen contemporary female artists, each exploring stereotypes in her own way.
Peering over the edge of an ornate building lining the Avenida de Mayo, Gail Albert Halaban trains her lens on the window of the opposite building. Below her, one of the city’s busiest thoroughfares pulses with commuters in motion, cars honk in the late afternoon swell, yet with the orange haze of dusk setting in behind her, the photographer snaps her subject with silent conviction.
If instead of looking for bargains (lots of luck) you are hunting for surprises, there are other lessons to be picked up amid the wide-ranging array of high-priced work for sale. At Edwynn Houk, the importance of scale is emphasized. In “Underpass With Elephants (Lean Back, Your Life Is on Track),” shot last year, the English photographer Nick Brandt hung a life-size print of his portrait of elephants from a highway overpass in Nairobi, under which homeless glue sniffers congregate.
Nick Brandt built lifesized panels depicting Africa’s great creatures and placed them in scenes where they used to roam. The resulting photographs serve as a potent reminder of what poaching, habitat loss and climate change put at stake.
New York–based Dutch artist Sebastiaan Bremer mines extant images for his photographic alterations; his sources are usually personal, but he also looks for images that carry wider cultural implications. He is interested in how we consume images: what does a photographic image signify? Which archetypes does it represent and what personal meanings does it carry? In an effort to bring forth latent associations, Bremer makes free-associative changes to his found photographs—either adding or subtracting, or both.
Inherit the Dust, by Nick Brandt | Edwynn Houk Editions, $65
Nick Brandt’s latest work is both gorgeous and disturbing: He applies his stately animal portraiture to a potent caveat about the Earth’s fate. Brandt returns to East Africa, where he’s photographed his trilogy of wildlife-imagery projects in recent years. This time around, he places life-sized panels of great and endangered species—elephants, rhinos, zebras, lions, apes—in locales where the animals once roamed, which are now littered with detritus from factories, dumpsites, quarries, overpasses and other man-made intrusions.
As an ardent conservationist, photographer Nick Brandt's early work showing the majesty of the large animals that once ruled East Africa wasn't enough. Brandt created three gorgeous photo books focused on African animals in danger of extinction: On This Earth (2005), A Shadow Falls (2009) and Across the Ravaged Land (2013). As a result of that work, what he saw, and what he learned, in 2010 he created the Big Life Foundation with conservationist Richard Bonham. Big Life protects more than 2 million acres of the Amboseli-Tsavo-Kilimanjaro ecosystem in East Africa.
In the new photo book Inherit the Dust, photographer Nick Brandt printed large format versions of his photos of endangered animals and built them into the African landscapes where they used to roam—landscapes now transformed by man-made constructions. Brandt aligns the images so seamlessly into the landscape that the animals—elephants, cheetahs, zebras—look like ghosts dwindling between past and present. The striking prints state a painful truth we all know—we are abusing our planet. Click through the indelible images or see the large prints at Edwynn Houk Gallery, where they will be on view until April 30.
Nick Brandt’s portraits of East African wildlife are shot in crisp, metallic black and white, but they capture a dynamic informality in their subjects. It’s as if the creatures Brandt encounters are unaware of his presence and have not had time to arrange themselves at their best. An elephant, ragged ears flapping, shuffles toward the camera, weighed down by broken tusks. A rhinoceros in profile displays a hide covered with nicks and gashes. A buffalo peers into the camera, one of its eyes swollen nearly shut. An ostrich egg, mysteriously abandoned on a mud flat, seems destined to petrify in the light of a distant sunset. Brandt’s photographs, which at first glance can seem static, are in fact suffused with movement and with a sense of the ephemeral quality of life.
The animals in Nick Brandt’s book, Inherit the Dust, which Edwynn Houk Editions published in March, couldn’t look more out of place among the quarries, underpasses, and man-made wastelands where they’ve been photographed. But not too long ago, before they were driven out by humans, those places were their natural habitats. The contrast he draws is striking—both an elegy and an accusingly pointed finger.
Nick Brandt’s new photographic work, Inherit the Dust, is his visual cry of anguish about the looming apocalypse for animals habitats in Africa. If the killing of animals continues at its current pace, the elephants, rhinos, lions and cheetahs will all but disappear in 10 years. “I am embarrassed to use this phrase because it’s so corny and clichéd, but I want to make the world a better place,” he says.
When British-born photographer Nick Brandt first started photographing animals in the East African wild in 2000, he didn't realize how quickly the region would be transformed. Their disappearing habitats inspired his latest series, "Inherit the Dust." Mr. Brandt and a team of over 20 crew members placed life-size photos of giraffes, elephants and other animals in their former stomping grounds—places that had become factories, quarries and garbage dumps. Mr. Brandt captured the resulting landscape, often with gray skies overhead, creating an evocative portrait of change and loss.
Nick Brandt has been photographing the grandeur of East Africa's stoic wildlife since 2001, but during his many trips he has observed a troubling pattern:
"The destruction of the natural world was occurring at an alarming rate — faster than my already pessimistic imagination could have anticipated," Brandt said from his studio in the Santa Monica Mountains.
His forthcoming series of photos, "Inherit the Dust," was conceived as his elegy to Africa's natural world. He came up with the idea of photographing displaced animals in places where just three years earlier they used to roam — but no longer can because of rapid urban sprawl. Factories, garbage dumps and quarries now stand where elephants, lions, rhinos and cheetahs once lived.
Best known for assembling mundane materials into trompe l’oeil tableaux, which he then photographs, the Brazilian-born talent is the subject of a retrospective opening this winter at Atlanta’s High Museum of Art
Mona Kuhn discusses her recent project with The Billboard Creative with Kelly Korzun for Musée Magazine
Spanning the first decade of her twin children’s lives, Elinor Carucci’s latest monograph, Mother, continues the photographer’s tradition of crafting deeply intimate, honest scenes of personal and family life. Snapshots of sibling fights, subway-train meltdowns, and excursions to McDonald’s alternate with more painterly, classically staged portraits of the two children and Carucci’s own pregnant figure. The body of work exposes the profound changes that child-rearing brought to the photographer’s own life, body, and sense of self, but it serves equally as a celebration of motherhood’s ubiquity, beauty, and spiritual power. With an interview by Juliana Halpert.
Valérie Belin has won the sixth Prix Pictet photography prize, selected from a shortlist of twelve photographers. She is being recognized for “Still life,” 2014, which she describes as “a jarring commentary on the effects of our obsession with cheap objects, for not only is their material, plastic, emblematic of the wasteful use of raw materials, but it also represents a grotesque kind of immortality because of its non-biodegradable nature—an immortality that, one could say, is slowly killing the planet.” Belin has had a solo show at the Pompidou and lives and works in Paris, France.
The French photographer Valérie Belin has won the sixth Prix Pictet for photography, for her series “Still life, 2014.” The award was announced by Kofi Annan, the former secretary general of the United Nations and the honorary president of the prize, on Thursday at the Musée d’Art Moderne in Paris, at the opening reception for an exhibition of work by the 12 finalists.
PARIS PHOTO 2015
At the heart of the fair are 147 international galleries who bring to light the greatest talents in photography.
In advance of the official release of Sebastiaan Bremer – To Joy, which is the latest book to be published by Frame, we caught up with the artist for an exclusive interview about his influences and inspiration, and to find out about his groundbreaking painting technique.
The US-based Dutch artist has a habit of discovering old photos and transforming them through his own artistic intervention, using a technique that he developed in the late 1990s. It came about through his use of photography as a sketch or model and his love of adding, changing, enhancing and – even – entering the picture.
What else is there to see in a photograph that’s been talked about so endlessly you can picture it in your mind? This week, a month after the release of Sally Mann’s extraordinary artist’s memoir, Hold Still, and 23 years after the initial publication of Immediate Family, arrives an expanded, paper edition of the book that catapulted her career into the realm of critically lauded and publicly debated celebrity.
The inspiration for Gail Albert Halaban’s international Rear Window–esque photography series is, like the Hitchcock film, a bit creepy.
In 2007, Albert Halaban, her husband, and their newborn daughter moved from Los Angeles to a loft-style apartment in Manhattan. On her daughter’s first birthday, balloons were sent to the apartment from the florist across the street. There was a note saying how great it had been watching their daughter grow up. The family had never met the florist.
Vik Muniz’s New York studio used to be a repair garage for school buses, which seems oddly appropriate given the decidedly childish spirit of its current occupant. The Brazilian-born artist, 53, found international fame making portraits from spaghetti, copying Monet’s Rouen Cathedral in chocolate syrup and recreating the Mona Lisa out of peanut butter and jam.
“I’m trying to figure out a correspondence between the image in your mind and the image that you see,” he says, sitting on the edge of his sofa, cup of coffee in hand. And he thinks he might have come close with his Postcards from Nowhere series. These large-scale collages (on show this weekend as part of Photo London) are giant copies of vintage postcards that are themselves created from shredded old cards. For Muniz, they are an attempt to capture the way we recall any place in our minds as a composite of other places we’ve been to or imagined. “There’s a great German word,” he says, “Bildflud – flood of images.”
Many a city dweller is familiar with the habit of stealing a peek (or full-on stare) across the street into your neighbor’s window. Living in densely populated cities where apartments are stacked in front of one another like dominoes makes it an especially easy hobby. Several years ago, photographer Gail Albert-Halaban also found herself staring out at the people milling about in the apartment and storefront windows in her New York neighborhood and soon had the idea to explore this fascination with watching other people’s lives, turning it into an opportunity to confront the feeling of isolation in a large city in her ongoing series “Out My Window.”
Une femme qui enfile un corsage, un couple qui se dispute… En 2012, Gail Albert Halaban avait observé, tout spécialement pour “M Le magazine du Monde”, la vie intime des Parisiens, d'une fenêtre à l’autre. De ce travail, la photographe américaine a tiré une série, “Vis-à-vis”, aujourd'hui exposée à la Houk Gallery, à New York.
Pointing to the large panes that line the street-side wall of her Chelsea home and studio, the photographer Gail Albert Halaban explains the provenance of her celebrated “Out My Window” series. “When my daughter was little, I used to feed her late at night while looking out, and on her first birthday, the shop across the street sent me balloons and flowers, but I’d never met them. They’d seen us the entire year and they noticed that people were over and having cake, so it must be a birthday party. It totally inspired the project.”
Last winter seems like a long time ago, and good, record-setting riddance. Who’d want to revisit it? “A Mind of Winter: Photographs by Abelardo Morell” makes an excellent case for doing so. It runs at the Bowdoin College Museum of Art through Sept. 27.
Morell is best known for his camera obscura photographs. Camera obscura is the optical phenomenon whereby light from a pinhole camera projects upside-down images. Morell has memorably turned entire rooms into a form of camera obscura, projecting exterior images on their walls — or, in the case of the Empire State Building, on a bed — and then photographing the results with a film camera. The sense of dislocation is startling: upside down, inside out, unreal reality.
The photographer Sally Mann describes her pictures as “silver poems of tone and undertow,” and they have always seemed designed to stop the passage of things that can barely be slowed: youth, memory, seasons, light, even decay. When she began her first attempt at a piece of sustained writing, “Hold Still,” her memoir published this week by Little Brown, she said she realized with great relief that she had followed the same impulse in her nonphotographic life, letting nary a scrap of paper escape her archival clutches.
“I don’t know what the instinct is, to save every report card, every half-sentence scribbled note, but my mother did it pretty effectively, and I’ve done it to a fare-thee-well,” she said, adding, “My poor kids.”
Controversy has a logic of its own that tends to obscure the particulars of whatever caused the uproar; those caught in its shadow might recede for a time, only to be sucked back into its vortex the next time the debate is once again brought to the forefront of public consciousness.
So when discussing photographer Sally Mann it’s probably worth mentioning the nudity. Not just Irving Penn-style buttocks that might as well be musical instruments; not Richard Avedon’s cultural icons baring it all. Mann is known for nude images of her children. In some of the photos, the children stare back at the viewer confrontationally, while in others they are seemingly oblivious. In one particularly striking image, Mann’s daughter, Jessie, hangs from a hayhook in a barn, entirely naked, her head thrown back and her prepubescent mons pubis visible. It is arrestingly beautiful and also troubling, a difficult combination to turn away from.
Photographer Sally Mann has built her career capturing the intimate details of the bodies, landscapes and objects that surround her. Her subjects have included her young children depicted as wild things ("Immediate Family"), landscapes of her beloved Virginia ("Deep South") and vivid, raw images of her own body and that of her husband's ("Proud Flesh"). Her excellent memoir, "Hold Still," a careful, detailed literary and visual portrait of the photographer's early influences and experiences, begins with Mann opening what she calls "ancestral boxes" filled with old photographs. She notes that rummaging through old photos, deciding which to keep and which to trash, is a delicate and emotional enterprise fraught with the misguided belief that visual representations of ourselves offer clues to who we are.
The world-renowned photographer soared to fame in the '90s and released a series of images called "Immediate Family.” Twenty-five years later, Mann looks at her remarkable career in a new memoir called “Hold Still.”
Gail Albert Halaban was first inspired to train her artistic gaze through others’ windows during a period of personal tragedy. While her five-year-old son was in the hospital for serious heart surgery, the photographer contemplated the nature of modern care, which allowed doctors to glimpse her son’s medical realities through electronic devices.
“I realized all the technology in a hospital is remote. The doctors were monitoring my son’s heart from a different floor. They could look inside his body without being near him. I realized I could look at the world in the same way,” she told the British Journal of Photography.
Before reading “Hold Still,” my knowledge of Sally Mann was based entirely on her photographs of her family on their Virginia farm, her dreamlike Southern landscapes, and some memory of the controversies that have surrounded the question of whether her intimate portraits of her children, often nude, were exploitative. I’d assumed she was continuing to make new work and enjoying placid rural domesticity periodically interrupted by brief but abrasive trials in the court of public opinion.
Now her wonderfully weird and vivid memoir — generously illustrated with family snapshots, her own and other people’s photos, documents and letters — describes a life more dramatic than I had imagined. Perhaps that should be unsurprising, given how deeply her psyche and her oeuvre seem to have been marked by the South, its live oaks dripping Spanish moss, its terrible record on race and its multigenerational dynasties hiding gothic Faulknerian secrets.
There aren’t many important memoirs by American photographers. I wish especially that, along with Robert Frank and Diane Arbus, Walker Evans had left one behind. How good was Evans’s prose? He once described James Agee’s sartorial style as “knowingly comical inverted dandyism.” He added: “wind, rain, work and mockery were his tailors.”
I held Evans’s writing in mind while reading “Hold Still,” the photographer Sally Mann’s weird, intense and uncommonly beautiful new memoir. Ms. Mann has got Evans’s gift for fine and offbeat declaration. She’s also led a big Southern-bohemian life, rich with incident. Or maybe it only seems rich with incident because of an old maxim that still holds: Stories happen only to people who can tell them.
Winning a Guggenheim Fellowship is a big deal.
Fellows, who are experts in fields ranging from biochemistry to photography, receive tens of thousands of dollars with no strings attached in order to continue making work.
Finnish photographer and 2015 Fellow Arno Rafael Minkkinen memorably described to TIME the moment he heard the news: “I raced up to the bedroom to kiss my wife Sandy. Then ran downstairs to text my son Dan. Then I called my assistant Rachel. Then lifted the velvety ear of our German Short-haired Pointer, Bravo (after Manuel Alvarez), and, as if rehearsing the lines of a Billy Collins poem, whispered the good news into his ear.”
This year, the Guggenheim Foundation recognized 12 photographers working in a wide range of styles, but TIME noticed a strong concentration of work in landscape photography genre. Here, we highlight some of the best.
In September 1992, I published my third book of photographs, “Immediate Family.” The book contained 60 photographs from a decade-long series of more than 200 pictures of my children, Emmett, Jessie and Virginia, who were about 6, 4 and 1 when I started the project. The photographs show them going about their lives, sometimes without clothing, on our farm tucked into the Virginia hills. For miles in all directions, there was not a breathing soul. When we were on the farm, we were isolated, not just by geography but by the primitive living conditions: no electricity, no running water and, of course, no computer, no phone. Out of a conviction that my lens should remain open to the full scope of their childhood, and with the willing, creative participation of everyone involved, I photographed their triumphs, confusion, harmony and isolation, as well as the hardships that tend to befall children — bruises, vomit, bloody noses, wet beds — all of it.
Edwynn Houk Gallery announced their inaugural solo exhibition of recent works by Michael Eastman (American, b. 1947). The exhibition opened on Thursday 19 February and will run through Saturday 4 April 2015.
The selection of large scale architectural photographs on view were taken during Eastman’s extensive travels throughout Cuba, Europe, Asia and the United States. The exhibition explores the artist’s distinctive use of color and pictorial structure to illuminate disparate cultures and time periods.
It’s an exciting moment for artist Mona Kuhn. She has two new series coming out at the same time. “Acido Dorado” opened last week at Flowers Gallery, Kingsland Road in London. And this week during AIPAD in NY, two galleries will be previewing her upcoming series titled “Private”, Jackson Fine Art and M+B. Steidl is printing the accompanying book in May, to come out in early Fall as part of Paris Photo.
In the spring of 2004, Gerhard Steidl, the German publisher came to LA to work with my brother Ed Ruscha on a book project documenting Hollywood Blvd. After a full day of shooting that street, we all went to Musso & Frank’s Grill, Hollywood’s oldest restaurant. Gerhard told me that we should allow an extra chair at our table as he was expecting to have the photographer of a new book he was publishing to come from San Francisco and join us. Gerhard is a multi-tasker who meets with many artists who are preparing to print their books with him in Steidlville – his publishing empire in Göttingen, Germany. He allots specific times to discuss ideas with the artists, usually during the production of his many other projects, so his timing is always short and precise, and one is lucky if given more than a few concentrated moments to clarify their presentations with him. I ordered my meal, and a bit later a beautiful woman appeared behind me. Gerhard stood up and they spoke German briefly as he embraced her, and I got up and hugged her, too, as it seemed like we’d known one-another for a long time. Gerhard repeated her name – Mona Kuhn – and she sat down next to me and from then until we finished dinner, we never stopped talking. She was a force of energy I hadn’t experienced in a long time, and I therefore welcomed our initial acquaintance, and said I truly hoped to see her again. Then we all bid a reluctant goodnight to her.
The work of photographer Lalla Essaydi sits somewhere inside the gaps Said felt so keenly. Part of a new wave of Moroccan artists enjoying success under the liberalized reign of King Mohammed VI (who holds some of Essaydi’s pieces in his private collection), she lives in New York City and works from her family home in Morocco, a large and elaborate house dating back to the 16th century. The portraits she shoots inside — always of women — recall 19th century French depictions of Arab concubines, popularly known as odalisques.
In Essaydi’s portraits, you can see the ghost of the naked odalisque — objectified even in being termed. But Essaydi’s women show little flesh. They gaze into the camera, as if challenging the viewer directly. Some look positively regal, like the women in her “Bullet” series, who wear a sort of chain metal she fashioned out of flattened bullets.
Arno Rafael Minkkinen has been making amazing, mind-bending photographic self portraits for more than 40 years. Always black and white. Always film. Almost always nude and in nature, with only a small portion of his body exposed. His photographs often look physically impossible, yet each is real, made with one exposure in the camera, with no retouching.
As this year’s edition shows, the Paris Photo fair is displaying an evermore panoramic view of the photography art market.
Since the world’s largest photography fair moved to the glass-domed Grand Palais in 2011, Paris Photo has shifted from what was once seen as a pure photography event to a fair that attracts more well-known contemporary art galleries and shows works that aren’t always defined as simply photography.
How do you make friends in a big city? Despite brushing shoulders with hundreds of strangers every day, it’s easy to feel like a ship at sea. Anonymity can be comfortable, though, which is why — for many of us at least — the desire to connect rarely propels us beyond a voyeuristic curiosity about the neighbors. The lit, open window quickly becomes a lozenge for loneliness.
This suspended state of communion is something we can all identify with. It simmers through the paintings of Edward Hopper, films like Rear Window and Amelie, and the writings of people like Charles Baudelaire and Paula Fox. More recently, photographer Gail Albert Halaban has mined it to great effect in her series VIS-à-VIS, Paris, which features cinematic scenes of domestic life frozen within the city’s bright window frames.
This is the first US solo exhibition of German photographer Mona Kuhn’s newest large-scale colour series, Acido Dorado. These photographs of nudes aim to show the human body in its most natural state, timeless and free from cultural and generational stereotypes.
A sense of comfort permeates each photograph; the subjects feel safe and at ease, allowing a genuine conveyance of emotion. She begins each series with a specific colour palette and emotion in mind, then she chooses a location, and lastly her subjects. Working intimately with a group of friends, Kuhn considers each photograph a collaboration whereby postures mirror environments and open up a dialogue about the human body’s interaction with the setting.
Mona Kuhn's latest series Acido Dorado takes its name from the high altitude desert at Joshua Tree in which the pictures are taken. The work is saturated with the light that is particular to SoCal. Kuhn's main focus is on the beautiful Jacintha who she has been photographing for the past ten years. This special relationship is evident throughout the exhibition. The tranquil ambience and Jacintha's sensual body add more mysteries to the photographs, which create a pathway for the viewers to reach a contemplative mental state. In addition, Mona's new book, Private, has just been published and the first print editions arrived at Edwynn Houk Gallery during the opening night. The book will be available at Amazon soon.
The Brazilian photographer Vik Muniz recreates famous images using unlikely materials such as chocolate, diamonds, dirt, string and sugar. (He has, for example, made a Mona Lisa from peanut butter and jam.) He then photographs his creations, before destroying them, leaving the photogrpah as the final artwork.
Mona Kuhn's first studies in art were charcoal drawings, and her photographs retain a loose, freehand feel, often forming meditations on light and shadow. Influenced by the frank intimacy of Nan Goldin, she uncovers vulnerability with a tenderness that mutes its dangers.
For the past six years, Moroccan-born photographer Lalla Essaydi has labored over a body of photographs made in a large, unoccupied home in her native country. She splits her time between Morocco and the U.S., transporting materials ranging from fabrics to bullet castings to a property owned by her family. The house is not just a distant studio space, though; it is a vital part of the narrative in Ms. Essaydi’s images that explore the Arab female identity. The vacant family home where her photographs are made once served as disciplinary space, where a young woman was sent when she disobeyed by stepping beyond the “permissible space.” The woman would spend a month alone in the house, where she was not spoken to by anyone, including the servants who were her only company.
Being a mother means holding a naked toddler while trying to go to the toilet. It is a scar the shape of a wide smile across an abdomen. It involves years of tests, injections and regimented scheduling. It gives a grown-up permission to play dead, get mummified in toilet paper and be eaten by a plastic dinosaur. It is two bare bodies, one tiny, the other enormous, intertwined as if they were always meant to be.
Having children may be the most universal phenomenon after being born and dying, yet it has rarely been represented in all its fullness through the history of art or popular culture. "Home Truths: Photography and Motherhood," a gorgeous and brave group show on view at the Museum of Contemporary Photography, feels as if it has been a long time coming. Organized by independent curator Susan Bright, the exhibition presents photographs and video by Janine Antoni, Elina Brotherus, Ana Casas Broda, Elinor Carucci, Tierney Gearon, Fred Huning, Hanna Putz, Ann Fessler and Katie Murray. Together these artists move the image of motherhood far beyond the Virgin Mary, Demi Moore and Kate Gosselin.
New York-based photographer Gail Albert Halaban first began peering into people's windows many years ago, and her fascination with the public versus the private in urban life inspired a voyeuristic photo project and then a book, Out My Window, in fall 2012. It caught the eye of Cathy Remy, photo editor for Le Monde's M magazine, who invited Halaban to take her show on the road to Paris a few weeks later. The initial process went the same in Europe as it did in New York, with a few exceptions: Remy and Halaban found participants through Facebook, friends of friends, and word of mouth, and all gave permission in advance, though reactions toward the nature of the shoot were a bit polarizing.
Starting with her pregnancy more than a decade ago and continuing on through the birth of her twins and the subsequent early years of their lives, Elinor Carucci has made a body of work that has pulled back the curtain on the joys and frustrations of motherhood. I reviewed an earlier incarnation of this project that was shown at Sasha Wolf Gallery in 2011 (here), and found it full of raw personal emotion, alternating between the harsh and the tender with the intensity of a high strung, overtired caregiver. At that time, the photographs felt very centered on Carucci herself, a constant and often indirect reflection of how she was feeling and how the actions of her growing children were seen through her eyes.
It's unlikely that any single artist has ever been -- or ever will be -- as intimately associated with Paris as the Hungarian-born photographer, writer and filmmaker Gyula Halász, known to the world as Brassaï. Through his gorgeous black-and-white portraits of Parisians in cafes, gardens and dance halls, Brassaï defined, and continues to define, an ideal of the City of Light that has lasted for generations. Countless people around the globe -- when they think of the Paris of the 1930s and 1940s -- envision the great, ancient city as Brassaï captured it through his artful lens.
The Israeli-born photographer Elinor Carucci made her name by training a lens on herself and her husband, parents, and siblings—a theme first brought to public attention with her monograph Closer. The body of work featured in this forceful new series began approximately a decade ago, when she was pregnant with her now nine-year-old twins, Eden and Emmanuelle. She has always photographed the substance of daily life, and this work is no exception, inviting us to participate in the most tender interactions between a mother and her children. From candid depictions of pregnancy to captivating images of her son and daughter at rest and at play, Carucci’s photographs display an intimacy that can be startling. Yet the emotions they reveal are universal, familiar to anyone who has experienced parenthood or spends time with young children. She records her family’s routines and crises with profound honesty: an infant’s fragility; fleeting childhood pleasures; a parent’s hollow-eyed fatigue; tears, runny noses, and scars. The drama of these domestic scenes is heightened by Carucci’s nuanced use of chiaroscuro, direct light, and extreme close-ups.
Valentine’s Day, though originally associated with romantic love, has grown to celebrate not only the love shared between couples, but also the relationships between friends, parents and their children, old love, young love, sibling love, you name it.
Two photographers who have turned their cameras toward this all encompassing notion of love are Elinor Carucci and Gillian Laub, friends who share a fascination and inspiration in – to use a hackneyed phrase – the power of love. Both photographers have built formidable bodies of work photographing their families.
In the January 26, 1998 issue of the magazine, Paul Goldberger reported on the declining state of Havana’s architectural heritage, as well as on the Cuban preservationists who were attempting to salvage it. Robert Polidori, The New Yorker’s staff photographer at the time, accompanied Goldberger to Cuba. The two men travelled around Havana in a red-and-white 1953 Chevrolet and knocked on the doors of the city’s crumbling mansions. Polidori’s photographs of the buildings’ interiors, which he shot with a large-format camera, are vivid depictions of Goldberger’s observation that decay had not yet destroyed the “majestic presence” of Havana’s grand villas.
For the full article and a slideshow of Polidori's work, please visit The New Yorker.
Since photography became accessible to the mainstream there’s been no shortage of baby photos. And now more than ever you probably cruise by a friend’s stumbling, growing child on your social media feeds, getting these seemingly intimate glimpses of both parents and people forming. Yet it’s rarely revealing about what it really means to be a parent — the tantrums, the moments of peace, and the daily dramas both good and bad.
Youths of my generation learned about Brassaï from his eye-opening Secret Paris of the 30s (1976). There were pictures of thugs, bums, prostitutes, brothels, drag balls, lesbian bars, interracial dances—who knew such things even existed forty years earlier? But then our fascinated naïvety was rewarded by further contemplation of the photographs, which were humane, sympathetic, endlessly inquisitive, beautifully composed, and drew every possible bit of poetry from the enveloping cloak of night—not more than half a dozen pictures were taken in daylight.
Middle Eastern women, supposedly powerless and oppressed behind walls and veils, are in fact a force in both society and the arts. They played a major role in the Arab Spring and continue to do so in the flourishing regional art scene — specifically in photography — which is alive and very well indeed. Some Middle Eastern photographers have taken their cameras to the barricades, physical ones and those less obvious, like the barriers erected by stereotypes, which they remain determined to defy. The Museum of Fine Arts, Boston, takes note in “She Who Tells a Story: Women Photographers From Iran and the Arab World,” an ambitious and revealing exhibition of work by 12 women, some internationally known.
Beginning with her pregnancy and spanning nearly a decade, Elinor Carucci photographed herself and her family in a deeply personal series. Carucci takes the most familiar subject matter — a missing tooth, a first haircut, a brother and sister fighting — and infuses it with mystery and danger. Carucci photographs motherhood as we have never seen it before.
Scotch whisky producer The Macallan announced the latest release in its “Masters of Photography” series—a book of photographs Elliott Erwitt made on commission in Scotland. The book, Elliott Erwitt’s Great Scottish Adventure, features 158 images the Magnum photographer made during an open commission to photograph in Scotland.
Erwitt is the fourth photographer to work on “The Macallan Masters of Photography” series; Rankin, Watson and Annie Leibovitz preceded him.
Under and among layers of scratches and paint in these mostly black-and-white mixed-media works lurk figures and glimpses of an artist’s studio. A close look revealed that the 16 pieces in this show were actually photographs that had been artfully altered and obscured through digital means. The chromogenic prints contain imagery pulled from such artists as Picasso, Matisse, Brassaï, and Bill Brandt. The photos consist of combined fragments and whole paintings whose color Bremer darkened and desaturated. He
then either “etched” the images, scratching the dark photo emulsion to leave white lines or he cut away larger white shapes. Tiny white dots of paint were applied to some images, covering the flesh of a rounded female form, for instance. Other works here included brush marks in blue or black, and a few featured color in the photo itself, as in one peachy image of a woman’s back.
The work of Elinor Carucci is concerned with the most intimate moments of life; turning a lens on her family and herself, she is endlessly fascinated with relationships and the human body. Her latest book, "Mother", is a dreamy but unromanticized record of her pregnancy and early motherhood, continuing a lineage of evocative photography of childhood that includes Sally Mann's groundbreaking 1992 book "Immediate Family."
Elliott Erwitt prides himself on taking pictures of things that are real. He loathes Photoshop, and he thinks the best thing about photography is that ‘it’s about what you see, not what you construct’. But for his latest project, a photographic study of Scotland, he made an exception: he took a picture of the Loch Ness monster. ‘It’s a real photograph – your basic monster,’ Erwitt, 85, insists. ‘It’s not digital manipulation.’ But isn’t he capturing something that isn’t there? ‘No. It’s the real Loch Ness. And magic, of course.’
This strong show of 16 altered C-prints by Amsterdam-born, New York-based Sebastiaan Bremer (his third with Edwynn Houk) finds the now-middle-aged artist's oeuvre growing in sophistication. Known for his unique mashups of hand-limned patterns on personal, snapshot-style photographs with a nostalgic if trippy, psychedelic air, Bremer seems bent on perfecting a kind of formal mastery.
To capture the essence and character of Scotland, photographer Elliott Erwitt traveled the country, shooting people, places, and even Scottish dog breeds for Macallan’s “Masters of Photography” series.
All great American photographs have one thing in common: power lines. This is not, strictly speaking, true. But it often feels true, especially when you look at street photography. Electricity tends to follow our roadways, just like documentary photographers. So power lines inevitably appear in their pictures. And the way an individual photographer confronts them can illuminate his style of seeing. You can observe Walker Evans’s mastery with the camera, for instance, in his treatment of power lines. He admitted them into photographs not, like most of us, by unhappy necessity, but with formal artistic intention. No one was better at it than he was—except for maybe Stephen Shore.
In one of Elinor Carucci’s photographs in her new book, Mother, she is nude, breast-feeding her newborn twins. She looks beautiful yet exhausted, a baby in each hand, neither of them appearing to suckle that effectively. She seems resigned, frustrated, maybe.
It’s an arresting image that goes beyond the nakedness of the mother and the babies. It’s almost possible to know what she is thinking, the stresses of parenting newborn twins weighing on her mind, perhaps. This is the trademark of the 42-year-old Carucci’s work: an unflinching gaze that documents life with all its vicissitudes.
The morning rush in a Manhattan neighborhood like Elinor Carucci's is the occasion for a hundred dramatic goodbyes. Hurried parents, late for work, burst onto the sidewalk with their children, headed to school or day care. While eager young ones shoot ahead on scooters, the truculent linger behind, to be hoisted onto hips or swung upon shoulders.
This project, the third monograph by Elinor Carucci, follows a logical trajectory from her earlier work. Closer (2002), chronicled her tumultuous relationship with her husband and parents through incidences of infidelity (hers), too much dope (her husband's) and her parents fractious relationship and eventual divorce. The mood was gentle, though, with plenty of high notes; the everyday ebb and flow of relationships were lovingly and lavishly documented, while the larger narratives played out in the background.
This Dutch photographer transforms ordinary snapshots into surreal visions through the application of painted dots and etched motifs.
Abelardo Morell went from a small Cuban beach town to New York City in 1962. The streets and its people were chaotic, unfamiliar and overwhelming to a 14-year-old exile who barely spoke English.
“Suddenly, I’m in the biggest city in the world and it’s crazy,” he recalled. “I remember feeling this is more than I can ever comprehend.”
''She Who Tells a Story," at the Museum of Fine Arts Boston, is unlike any contemporary art show at the moment. Bringing together photographs and videos by 12 women from Iran and the Arab countries, it introduces issues and names that will be unfamiliar to audiences in the U.S., even among the highly informed.
Opening the show is Ms. Essaydi's three-part photograph of an elegantly dressed woman lying on a bed in a tiled room. Only on close inspection is it apparent that the golden tinge of the image, with its air of luxe et volupté, comes from hundreds of metal bullet casings used to construct the mosaiclike décor. Relying on the illusion of trompe l'oeil, and poses that refer to icons of Western painting by Ingres and Klimt, she has cleverly—maybe too glibly—asked her audience to question the supposed truth of photographs.
There is a palpable intimacy to the phantasmic and fantastical photographs of Dutch artist, Sebastiaan Bremer, who has been working out of NYC since 1992, exhibiting internationally at such venues as Hales Gallery, Galerie Barbara Thumm, and PS1 MoMA to name a handful. The multimedia works present rich visual palimpsests wherein Bremer draws appropriated images, private symbols, and expressive patterns directly onto photographs. To hear him describe the intricate process of finding a photo (often stashed away in his personal collection for years) and “caressing” it with the X-ACTO knife, is akin to listening to a surgeon recite the details of an operation, and if a surgeon’s science is the body, then Bremer’s craft is a psychological study in how the mind processes art.
Even in the 21st century photography is a powerful medium for perceiving the world and reflecting on it. Our aim with the exhibition is to explore what characterizes the medium of photography in its essence today, i.e. what is “high-dosage” photography, as the title suggests? At a time of dramatic technological changes in image production and the use and presentation of the medium, we are interested in examining both the constants and the variables of the photographic apparatus, or dispositif.
Many of the houses Hopper painted when he summered in Gloucester in the 1920s are still here. Photographer Gail Albert Halaban has revisited them, photographing them from the same perspective from which Hopper painted them. “Hopper Redux, Photo-graphs by Gail Albert Halaban,” now up at the Cape Ann Museum, looks at these homes, their inhabitants, and their history, through a contemporary lens — although one clearly shaped by Hopper.
This exhibit is not, by any means, an Edward Hopper show. There is one drawing by Hopper on view, from the museum’s collection. Otherwise, it’s all Halaban’s photographs, which have their own poetry: startling clarity, luminous, whiskey-rich tones, and a certain melancholy that adds gravity to the visual bravura.
One day in 1991, the photographer Abelardo Morell turned his Quincy, Mass., home into a camera. Employing an optical principle discovered two millennia before film, he darkened his living room with sheets of black plastic and cut a small hole to make a rudimentary lens. A view of his neighbors' white-sided colonials, rendered upside-down and fuzzy-edged, sprang up on the far wall. Capturing the faint image created by this fully furnished camera obscura ("dark chamber") with a regular camera proved difficult—an exposure of five to 10 hours proved to be the key—but this unusual technique eventually yielded the most striking photos of a superb career.
Over the course of the past 25 years, Cuban-born American artist Abelardo Morell has become internationally renowned for works that employ the language of photography to explore visual surprise and wonder. This exhibition of over 100 works made from 1986 to the present is the first retrospective of Morell’s photographs in 15 years. Showing a range of works and series—including many newer color photographs never exhibited before—the exhibition reveals how this persistently creative artist has returned to a photographic vocabulary as a source of great inspiration.
For more information please visit The Art Institute of Chicago website.
"The Everyday Absurdist's Upper West Side Apartment Reveals a Seriously Playful Life in Photo"
“The only essential thing to have if you’re going to be a reasonable photographer is a visual sense—the rest you can learn,” expounds Elliott Erwitt in this new short that takes a peek into the photographer’s effervescent career. Born in Paris to parents of Russian origin, his family moved to the United States in 1939, which meant that Erwitt was able to meet the leading lights behind the camera in New York in the early 1950s, including Robert Capa and Edward Steichen. Upon joining the seminal cooperative photo agency Magnum, Erwitt developed his signature, surrealist penchant for storytelling, even in the documentary medium. The resulting body of images distilled the uncanny in both mundane and celebrity culture. Director Hudson Lines, who has also worked on a series of videos at Philip Johnson’s Glass House in Connecticut, gained access to Erwitt’s Upper West Side apartment to trawl through the photographer’s extensive archives and discover what he holds dear—and what he holds in contempt. The new film is set to screen this week at the Royal Institute of British Architects in London as part of the POINT conference, devoted to exploring the theme of Authenticity.
Every year, the Association of International Photography Art Dealers—or AIPAD for short—brings together more than 80 blue-ribbon galleries from all corners of the globe to showcase some of the most iconic, arresting, and progressive photography, video and new media from around the world. The show, now its 33rd year, filled the Park Avenue Armory last weekend with works from the likes of Irving Penn, Bill Brandt, Hendrik Kerstens, as well as W contributors like Alex Prager and Rineke Dijkstra. Though the show wrapped on Sunday, there are still a few images that we can’t get out of our heads. Here is a selection of the most striking.
The Swiss newspaper Tages-Anzeiger via its weekly cultural insert Züritipp reviews our current Zurich exhibition "The Ruins of Detroit" by Yves Marchand & Romain Meffre under the heading "Prächtig Ruiniert": Motor City? That used to be. Two Frenchmen have photographed Detroit's remains. Amazing! (in German)
The Swiss magazine Bolero reviews our current Zurich exhibition "The Ruins of Detroit" by Yves Marchand & Romain Meffre (in German).
For more information check out the PDF attached
BlackBook reviews Sissi Farassat's solo show is a Must-See in New York!
Photographer Gail Albert Halaban spent her childhood summers in Gloucester, Mass., a small seaside town where her father was born. "I never thought it was that interesting of a place," she says. "The beach was beautiful, but I was interested in getting to know it better."
So she was somewhat surprised to learn that Edward Hopper, the beloved American realist painter, had also spent his summers there decades earlier; for whatever reason, Halaban says, people in town rarely talked about it when she was growing up. Still more curious was that although Gloucester is a town of picturesque coastal scenes, Hopper mostly painted houses.
It’s not often that on loading someone’s website we let out a gasp but the first full-page photograph on Sebastiaan Bremer’s did just that. Looking through the long grass somewhere in the mountains colour rises like pollen from a meadow and you can almost hear the feint hum of high summer as a small child peaks through the wild flowers.
French magazine En Direct de New York speaks highly of Gail Albert Halaban's "Hopper Redux".
"...Thanks to a dramatic lighting and meticulous placement of accessories and people put in these houses stage act as full-fledged characters, moving on the passage of time. The formal composition of each image - rigorous, highly structured and deliberate - and isolated homes recall the melancholy paintings."
Die Kunstkritikerin Deborah Keller nennt Kanders Fotografien in ihrer Rezension in Züritipp, der wöchentlichen Kulturbeilage des Tages-Anzeigers, "eine Art Reisetagebuch, das Chinas Wandel und Wachstum illustriert; diese Maschinerie von architektonischer Veränderung und technologischem Zukunftsstreben, denen das Individuum machtlos und etwas nostalgisch begegnet."
The art critic Deborah Keller in her review in Züritipp, the weekly cultural supplement of Tages-Anzeiger, calls Kander's photographs, "a type of travel journal that illustrates China's change and growth; this machinery of architectural transformation and technological aspiration, which the individual encounters powerlessly and somewhat nostalgic."
The life of a city is revealed through its windows. All human life is there, and a poetic slice of it has been captured by Gail Albert Halaban's ever-observant camera. Her photos in Out Of My Window (powerHouse Books, $50) are revelatory and yet somehow melancholy as the figures appear silent, and often alone.
In a week where the lights went off in skyscrapers all over Manhattan, and people either left or sat, candlelit, in their apartments, these images have an increased poignancy.
The award winning photographer did produce plenty of work during the following few week's convalescence, even though she couldn't move far from her own beside. Mann made her photographs on a large-format film camera, so lugging the equipment out of doors and into the countryside surrounding her house was out of the question.
Instead she decided to capture photographs of herself. The resultant images of her own face (Self-Portraits) and her own damaged torso (Omphalos) are curently on show at the Edwynn Houk Gallery in a show dubbed Sally Mann: Upon Reflection until 3 November 2012. These shadowy, beguiling images are glass-plate ambrotype positives straight from the camera, developed using a long-winded process almost as old as photography itself. This dated and intricate process causes imperfections in the printing with scratches on the surface and even parts peeling off. The resulting pictures are suitably bruised and battered, dark exposures with minimal contrast or focus, causing eyes and facial features to rise from the darkness.
Les images sont si semblables qu'on est tenté de jouer au jeu des 7 erreurs. Soixante-dix ans après Edward Hopper, la photographe Gail Albert Halaban a arpenté Gloucester, revisitant les demeures victoriennes immortalisées par l'artiste.
We’re already familiar with Sally Mann’s fascination with trauma, the fragility of life, and anything related to death. Since the beginning of her career, Mann has always turned her gaze toward others: her husband Larry, her children Emmett, Jessie and Virginia, and nameless bodies in various states of decomposition.
For Upon Reflection, her latest exhibition, Mann has taken herself as her subject. In 2006, Mann suffered an accident while horseback riding in the mountains and spent months recovering. She describes the incident as both psychologically and physically traumatic. Over the course of a year, she took more than 200 self-portraits—mainly of her face and torso—as a kind of art therapy.
What is new here is that after a riding accident laid her up with serious injuries in 2006, she boldly turned the camera on herself, making countless head shot portraits and nude torsos. There are no smiling, happy faces in this parade, however; her expressions cover the territory from deadpan to grave, with a few stops for steely, weary, wise, zombie-eyed, and almost meditatively ecstatic in between. The tonalities shift from washed out grey to brown to bronze to shadowy black, and the chance movements of the chemicals create unexpected spectral drips, swirls, and highlights that often obscure the image. Some of the works have also been scratched and abraded, with the emulsion flaking and chipping off, exposing areas of crackly black glass. Seen together as grids and typologies, the faces become a taxonomy of subtle emotional states; a wisp of hair or the details of wrinkles make some of the pictures humanly specific, while others drift into silhouette or death mask, the personal features erased and blurred. Mann's torso images are generally more abstract, reducing her body to a sculptural mass of white with a shadowy hint of a belly button or a dark triangle. The classical forms seem smooth and weathered, like fertility symbols from antiquity, at once haunting and timeless. The variation in these images is more subtle, elemental curves repeated with minute changes in brightness and contrast.
In the past, Sally Mann, named America’s best photographer (Time Magazine, 2001), has chosen young girls (At Twelve), her three children (Immediate Family), The South and Civil War Battlefields (Deep South and Last Measure), decaying human bodies (What Remains), and her husband (Proud Flesh) as her subjects. But in Upon Reflection, she has at long last turned her camera toward herself. The results are eerie, beautiful, horrifying and brave.
n the summer of 2006, Sally Mann severely injured most of her torso when thrown from the back of her horse. An email included in the press release from the Edwynn Houk Gallery recounts her experience of watching her beloved stallion die, ending with a promise to get some printing done “if ever [she could] get vertical and move [her] arms.” Given the severity of her injuries, this may have appeared to be wishful thinking at the time, but this promise would not go unfulfilled.
Gail Albert Halaban gets high praise from NY Magazine in August 27th's edition of "The Approval Matrix".
Gail Albert Halaban has identified 16 houses in Gloucester, Massachusetts, that were painted by Edward Hopper over several summers in the 1920s and she reckons there are a few more that have, as yet, escaped her notice. Over the past three years, Albert Halaban, a fine art photographer whose work has appeared in the New York Times and Time magazine, has been tracking down the Hopper houses in Gloucester, a picturesque city on the Atlantic coast, and photographing them from the same vantage points that the great American artist used to paint them from nearly a century ago.
Albert Halaban was not trying to imitate Hopper's watercolours, nor was she the first to discover the houses – the subject of The Mansard Roof (1923), a large, elegant residence in the city's Rocky Neck area, has had homage paid to it by Hopper enthusiasts for decades. Her interest has more personal motivations – her father grew up in Gloucester and she's been spending summers there since childhood, so was intrigued to see how another artist had responded to the city. "It's given me a fresh set of eyes on something I know very well."
Gail Albert Halaban began looking into other people’s windows six years ago, soon after moving to New York. She was living across the street from a 24-hour flower shop, waking up at all hours with a newborn baby, and the shop was the most reliable show in town. Then, when the store changed owners and hours, she said, she needed something else to watch.
“I really wanted to see the whole city, and the only way to do that was from other people’s apartments,” she said.
To New Yorkers, Edward Hopper is likely to evoke visions of moody nighttime urban scenes. But the painter created some of his most famous work in the bright seaside town of Gloucester, Mass., on Cape Ann, where he spent time in the 1920s. The photographer Gail Albert Halaban has been locating the original houses in Hopper’s paintings there and taking pictures of them as they look today. Greta Bagshaw, whose husband’s family has owned the ‘‘Mansard Roof ’’ since 1962, is accustomed to the attention. ‘‘Not infrequently we’ve seen people who set up easels in our backyard to paint it,’’ Bagshaw says. ‘‘We know it’s time to put up the awnings each year when we’re eating on the porch and we turn around and see a big tour group watching us eat dinner.’’
Herb Ritts: L.A. Style—short film documentary brought to you by Lincoln in conjunction with the J. Paul Getty Museumexhibition and catalog, spring 2012. Insightful short documentary on the life and work of the photographer Herb Ritts. Film sponsored by Lincoln. Includes appearances by Naomi Campbell, Chris Isaak, Tatjana Patitz, Matthew Rolston, Greg Gorman, Erik Hyman, and Eric Buterbaugh.
Moroccan-born Lalla Essaydi always knew she was going to be an artist. Her father was a painter, and some of her fondest childhood memories include drawing with colors and pencils in his studio in Marrakesh. It wasn't until a journalist spotted her photographs decades later while she was a graduate student at the School of the Museum of Fine Arts in Boston that she began to gain international attention.
Essaydi, who also lived in Saudi Arabia for many years and now lives in New York City, has had her work exhibited across the United States, Europe and the Middle East. Known for her large format photographs, her work combines Islamic calligraphy and representations of the female body, focusing on the interconnection of faith, culture and gender, and challenging notions within all three.
Her photographs feature women dressed in fabric inscribed with henna calligraphy posing in front of abstract backgrounds that utilize the same cloth and script. She sees her work as "intersecting with the presence and absence of boundaries; of history, gender, architecture, and culture; that mark spaces of possibility and limitation. That is my story as well."
This year marks Lyon’s 70th birthday, a major retrospective of his photographs at The Menil Collection in Houston, and the preservation of two of his most significant films. Anthology Film Archives is thrilled to welcome Lyon in person for a screening of these enthralling works alongside the world premiere of his most recent short video. Expect a lively conversation from an uncompromising artist whose vision only sharpens with age. Happy birthday, Danny!
The young girl growing up in a harem in Morocco is sitting alone in an abandoned house surrounded by olive trees. For one month, the girl will speak to no one and be spoken to by no one. This is her punishment for “stepping outside the permissible space” and rebelling against rules that give her brothers more freedom.
Confined to this lovely but deteriorating house, attended only by servants, a young Lalla Essaydi begins to think about the private spaces that women in the Arab world must inhabit. It is this place of punishment to which Essaydi will return decades later to understand the artist she has become. Her work, she says, will become haunted by spaces she inhabited as a child.
Essaydi, who has risen to international fame for her stunning portraits of women in Islamic cultures, questions the barriers imposed on Arab women and challenges stereotypical Western depictions of women who live in harems.
The photograph of Djimon Hounsou features the model-actor in profile, looking like a classical sculpture—except for the dead octopus on his head, its arms dangling down like dreadlocks.
The striking image by the late photographer Herb Ritts, known for fashion shoots of unsmiling supermodels and magazine portraits of movie stars, will be included in "Herb Ritts: L.A. Style," an exhibit of 87 photographs and other ephemera opening April 3 at the J. Paul Getty Museum in Los Angeles.
The Waste Land
Written by Marta Galli
On the night of 26th April 1986, inhabitants of Pripyat, small town in the Ukraine rural area, found themselves looking out of their windows, wondering about the fire that was filling the sky with light and smoke rising out of Chernobyl. The day after, they retrieved to their regular daily routines, but not for long though. In the meantime, the Kremlin was informed of the extent of the disaster. Shortly afterwards, the evacuation alarm was given and the population of Pripyat was evacuated straight away. 50,000 unaware people, which had been there breathing their own fate for thirty-six hours, were literally torn from their homes, someone managed to bring personal belongings of different sorts: radioactive. Unit 4 reactor of the nuclear power station at Chernobyl cracked during a systems test, resulting in the worst nuclear power plant accident thus far experienced. A further explosion ripped apart the reactor’s heart, its building’s roof was wrecked, releasing large quantities of radioactive contamination in the form of a dense cloud into the atmosphere, then swallowed up by the sky and dropped in the form of rain over Russia, Ukraine, Belarus and much of Europe. The exodus went on for ten days and involved 30 square kilometres around the nuclear power plant. This area is now known as Exclusion Zone, alienation zone, then further divided into four concentric subcategories based on the level of contamination.
Read the full article at Muse Magazine's website.
Sissi Farassat’s sewn photographic art may seem idiosyncratic and in its time-consuming production even anachronistic, but it touches and reflects essential aspects of the perception and the aesthetics of the photographic image per se. For example directing the light, which is not only influenced by the technical aspects of taking pictures and its conditions, but also has a crucial role in the reception of the final images which depends on how shiny the surface of the potographic paper is, but also depends on the size of the image, the places of its presentation, the light in these places, the position of the viewer and last but not least if the photograph is put under glass or not. Photographs under glass are many times exposed to mirroring and breakings of the light. On the other hand their surface seems like under seal, and the imminent eye-contact with the photographs is interrupted by the glass. With her sequined carpets Sissi Farassat adds different kinds of highlights to the photographs while at the same time also introducing corporal and haptic qualities into the visual space …With their glitters and iridescent colors the seqined images recall splendid apartments, but also the glittery world of disco and film shows. All this glamour is, however, contrasted by the commonness or intimacy of the subject.
Some thirty vintage fashion photographs, made between the late nineteen-thirties and the early sixties, establish Blumenfeld’s avant-garde ambitions but only hint at the range and the audacity of his work. As one of fashion’s most inventive photographers, he brought a distinctly European sensibility to Vogue and Harper’s Bazaar, where his pictures often put a surreal spin on classical motifs. Although the selection is uneven, the photographs here include his famous image of a windblown model perched high above Paris on the Eiffel Tower, as well as experimental work involving doubling, shadowing, high contrast, and darkroom techniques that allowed him to frame his subjects in eruptions of gestural abstraction. Through Jan. 7.
"... this well edited, cogent exhibition pairing the two artists at Galerie Edwynn Houk, the new Zurich branch of the estimable photography gallery in New York, shouldn’t have been surprising. Yet it was: the lasting power and startling frankness of Sander’s and Arbus’s oeuvres, dissecting and delineating twentieth-century social mores and postures, left me more than a little moved." (Quinn Latimer, 12/12/11)
See the full post at Art Agenda.
See the full post at DLK Collection.
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On April 2 1957, the Hungarian-born photographer, Gyula Halász, known as Brassaï, and his wife, Gilberte, boarded the liner Liberté to sail from Le Havre to New York. Brassaï was almost 60, and his reputation was already established on both sides of the Atlantic, but this was his first trip to the US. He had made his name in Paris over 20 years before, with his book Paris de nuit, photographs of the city’s demimonde and their night-time haunts in bars, metro stations and backstreets. It was published in 1932, the year Brassaï met Picasso and the writers and artists who would work for Minotaure, the magazine edited by the surrealist André Breton. By the mid-1930s, Brassaï counted among his friends Salvador Dalí, Giacometti, Max Ernst, Man Ray, Georges Bataille, Le Corbusier, Samuel Beckett and, of course, Picasso: “The acquaintance and friendship of the most phenomenal artist of the century,” he wrote later, “were worth a trip to the moon!” He also began a lifelong friendship with the American writer Henry Miller. They met in Paris in 1930, when Miller was writing Tropic of Cancer. “The same Parisian world came to life in his writings and in my pictures…”
Edwynn Houk Gallery will participate in Gallery Night on 57th Street. 44 galleries on 57th Street between Lexington Avenue and 8th Avenue will be open late on Thursday, 13 October 2011, 5 - 8 pm.
Our current exhibition, Hannes Schmid: Cowboy, will be on view.
September 22- October 29, 2011
There has not been a Diane Arbus biography in nearly three decades — which is a startling fact. Like Orson Welles, Alfred Hitchcock or Tennessee Williams, Arbus is the kind of complex, ambitious, taboo-smashing artist whose life and work — and the connection between the two — are endlessly fascinating. Her photographs — particularly those of whom she termed "freaks" — set off a shockwave in the '60s. And they still have the power to cause car-wreck-like disturbances in a viewer's psyche. Her relationship to her subjects remains compelling and hard to resolve. Are her photographs examples of exploitation? Empathy? Self-portraiture? (Tantalizingly, Arbus called photography "a secret about a secret.")
For more information on the Swiss Photo Award, please visit http://www.ewzselection.ch/.
This major retrospective showcases the career of photographer and filmmaker Elliott Erwitt, the recipient of this year's ICP Infinity Award for Lifetime Achievement.
In 2002, Vogue lost of one of its most significant contributors when the photographer Herb Ritts passed away, but his legacy has lived on in photography and film, both of which will be showcased in the Edwynn Houk Gallery’s first Herb Ritts show, which opens today, after being feted last night.
Ritts was born and raised in California, and it was the Western landscape and light of the Mojave Desert that provided the inspiration for his unique vision; two of the best-known images that will be shown, Versace Dress (Back View), El Mirage, 1990, and Versace-Veiled Dress, El Mirage, 1990, make use of both. These images are, at root, “fashion images,” but Ritts was able to create pictures that are essentially geometric abstractions, in some ways recalling the work of the Russian Constructivists Aleksandr Rodchenko and Kazimir Malevich.
“What we see is an elegant and timeless fashion design and a beautiful model, but what is not seen is Herb’s patience and commitment to the image and allowing the moment to happen and not be forced,” says Mark McKenna, who was Ritts’s former assistant and studio manager, and is now executive director of the Herb Ritts Foundation. “Waiting for the wind to lift the fabric to the exact spot in his mind’s eye, and giving it the time to be captured by that one frame while everyone else on the set was frantically rushing to pack things up and move off the dry lake bed before the looming storm would arrive minutes later. Herb knew how to capture the magic of the moment.”
“Herb was the easiest and nicest photographer,” says Charles Churchward, a former Vogue and Vanity Fair design director and a close friend of Ritts’s. “He knew how to get his subjects to perform for his camera, and in that way, he could create these most amazing images.”
Among those amazing images is one of the photographer’s most famous nudes, Stephanie, Cindy, Christy, Tatjana, Naomi, Hollywood, 1989. While both male and female nudes were an important part of Ritts’s body of work, it was this now-iconic photograph of a group of women, seductively seated, that visually defined the era of the nineties supermodel.
Edwynn Houk Gallery is pleased to announce our representation of the Herb Ritts Foundation with an exhibition of photographs drawn from the estate’s collection. The show will take place from 28 April through 25 June 2011.
French photographer Valerie Belin has photographed body builders, potato-chip bags and car wrecks. In her latest series Black Eyed Susan, she turns her lens on a dreamy montage of women who embody the ideal post-war female, interlaid with sharp images of flowers. The work, now out in a new book out by JRP Ringier, show how Belin’s background as a painter, and technical skills as a photographer, continue to create surprising images which toy with the idea of illusion and image.
Starting out in Chicago in 1980, Edywnn Houk Gallery moved to New York in 1991 and expanded to Zurich in 2010. Mixing 20th century masters like Brassai, Bill Brandt, and Man Ray with contemporary practitioners, such as Sally Mann, Victor Schrager, and Lynn Davis, Edywnn Houk Gallery consistently presents adventurous yet poetic work. A survey show of Lalla Essaydi’s Les Femmes du Maroc (Women of Morocco) is currently on view at the Zurich space.
There has been a lot of painted photography in town lately (Sam Falls’s recent outing at Higher Pictures, Sarah Anne Johnson’s current show at Saul), but Bremer’s is the most sophisticated, the most excessive, and the most extraordinary. Working in a variety of scales, from modest to massive, he covers the surfaces of his often appropriated photographs with an intricate network of fine white dotted lines. As clustered dots ape the texture of shagreen, some resolve into figures or objects, and others into pure, if utterly over-the-top, decoration—Art Nouveau at its most psychedelic. Because many of Bremer’s subjects, both photographed and drawn, are female nudes, the atmosphere is especially louche and seductive. It’s every odalisque’s boudoir and every voyeur’s fantasy. Through April 23.
Edwynn Houk Gallery (New York): Maybe it's an unfair way to begin, as this is the booth that greets visitors at the entrance—with a big, dramatic cowboy, colorful in a hot sunset, by contemporary Swiss photographer Hannes Schmid. How could you not get roped in? There are many dealers showing some extraordinary vintage prints, but Houk has two that made us literally weak in the knees...
Galerie Edwynn Houk zur Stockeregg is delighted to present an exhibition of photographs by Moroccan-born artist, Lalla Essaydi. The show will include work from two recent series: Les Femmes du Maroc (2005-2008) and Les Femmes du Maroc Revisited (2010). This is Essaydi’s first solo exhibition in Zürich.
Sally Mann has been invited to deliver the Massey Lectures in the History of American Civilization at Harvard University in 2011. As an invited speaker, she joins a group that includes Irving Howe, Eudora Welty and Toni Morrison.
Opening reception for the artist:
4 November, 6-8 pm
The photographer Vik Muniz often says that while he considers himself an American artist, his use of imagery owes everything to Brazil, where he was born and raised.
“I’m a product of a military dictatorship,” he said recently at his New York gallery, Sikkema Jenkins & Company. “Under a dictatorship, you cannot trust information or dispense it freely because of censorship. So Brazilians become very flexible in the use of metaphors. They learn to communicate with double meanings.”
A scene from Lucy Walker's documentary "Waste Land," about the artist Vik Muniz and his "Pictures of Garbage" series.
Edwynn Houk Gallery is pleased to participate in this special Gallery Night on 57th Street. Sixty four galleries located on 57th Street in New York City will be open to the public on Thursday, October 15th until 8 pm.
Even though the main thread of the 1970s color story is now well known, this vein of photography continues to be an active area for exploration and (re)discovery. Likely due to the predominance of color in today’s contemporary work and the powerful influence of the early color photographers on those working today, there seems to be a consistent interest in going back to the roots of this narrative and revisiting the evolution of the major practitioners. This exhibit focuses on three of the main players (Eggleston, Shore, and Meyerowitz), while the related survey book covers a much broader selection of photographers.
Brassaï's photographs of Paris in the thirties, nearly all of which were taken after dark, have come to define the seamy, seductive glamour of that city's night life. In these marvellous black-and-white images, cafés, night clubs, brothels, and public sidewalks become stage sets for charged, frequently erotic encounters. Among the nearly forty vintage prints gathered here are some of Brassaï's most vivacious pictures, including several little-known shots of couples at dance halls. There are also a few surprises, including three closeups of melted soap and a twist of raw cotton that slip between Surrealism, science fiction, and pornography.
From nude portraits in the 1960s to monolithic landforms in the 1990s, Lynn Davis has always had an eye for form, geometry and simplicity in the architecture of both nature and of manmade structures. Known for her large-scale black-and-white photographs, she was good friends with photographer Robert Mapplethorpe, and was an apprentice to the great Berenice Abbott, who trained beneath Man Ray.
The artist attempts to be removed, and yet she is laid bare. Her work embodies heartache, prayer, the physics of the sun, the womb. Solitude. Unflinchingly and beautifully cruel. Unveiling the monument’s soul, so heightened in isolation, so exposed as art.
Lynn Davis has been one of the most prominent American photographers since the nineteen-seventies. The pictures of natural and architectural monuments she makes on her travels around the world unite minimal precision with formal austerity to create images of meditative beauty. Davis is an artist, adventurer, and a witness of the times: formerly Berenice Abbott’s assistant, Peter Hujar and Robert Mapplethorpe counted among her closest friends. On the occasion of the exhibition “Robert Mapplethorpe and the Classical Tradition” currently on show at Deutsche Guggenheim in Berlin, Cheryl Kaplan visited the photographer in New York to talk to her about her work and her extraordinary friendship and collaboration with Mapplethorpe.
How can we, as modern people, make a genuine connection with the beauty of the ancient world? Lynn Davis faces that challenge each time she visits one of the world’s most sacred sites, revered monuments, or inspiring landscapes. Her life work is to take their photographs, so that those of us who will never go to Egypt or India or Angkor Wat can know their majesty, energy, and decay.
Ms. Davis, 62, is a veteran traveler. For the last 20 years she has circled the globe with her camera, documenting mammoth structures like the Great Pyramids and natural wonders like Wave Rock in western Australia in an austere yet ravishing style. She has photographed icebergs in Greenland; ancient architectural ruins throughout Asia, Africa and the Middle East; and rock formations in the American West, following what she described as an “internal logic” from one continent to the next.
“What I’m looking for,” she said, “are sites that evoke a feeling of inner peacefulness, some quality of contemplation. I don’t always get it, and I don’t always translate it, but I certainly know when the feeling comes over me, and that’s what keeps me going.”
Marking the first anniversary of Hurricane Katrina and the devastating floods that followed, this exhibition features approximately twenty large-scale color photographs that Robert Polidori created during four extended visits to New Orleans between September 2005 and April 2006. These quietly expressive photographs present a candid and intimate look at widespread destruction—an incomprehensible landscape of felled oak trees, houses washed off their foundations, and tumbled furniture.
When Lynn Davis was asked for her thoughts regarding the photographs she took of sites for various space programs, she responded with a quotation from Kant's Prolegomena: "How is it that in this space, here, we can make judgments that we know with apodictic certainty that will be valid in that space, there?" On the face of it, the passage would seem to call into question the cognitive value of space programs as such. For if we can be "apodictically certain" that what is valid here on earth will be valid in teh farthest reaches of space, what need have we of these delicate, expensive pieces of equipment her images display? What can they tell us that we could not deduce from what is available to us near at hand?
The earth and its relationship to mortality are Sally Mann's terrain in this series on the battlefields of the Civil War. It is a subject far removed from the lyrical landscapes of the American South and the intimate glimpses of family life that she has dealt with in previous photographic essays.
Ice can take many forms, from an ingestible cube in a glass to architectural structures of monumental presence. In this, her second show on the subject, the photographer Lynn Davis zeros in on the latter, focusing on huge icebergs in Disko Bay, Greenland. Their majestic formations of cubes, towers, arches and cliffs and their reflections in shimmering water are the subjects of her awesome views.
In the swarm of artistically minded boomers who matured in the 1970s, there were thousands who hoped to become filmmakers or photographers. Many of the photographers--working with sophisticated cameras that can produce an occasional striking image almost without human intervention--won a brief success. But three successive decades have drastically winnowed their numbers, and only a few now stand in the ranks of mastery that include such predecessors as Dorothea Lange and Walker Evans.
Tall among them is Sally Mann.
Lynn Davis has spent much of the past twelve years in remote parts of the world, studying what she calls the "architectural puzzles" of ancient civilizations and making monumental landscape photographs. When she comes home, she produces huge (as big as forty-five by forty-five inches), brooding, elaborately toned prints, which are now available for view at Edwynn Houk Gallery in a show called "Africa."
Edwynn Houk built his reputation as the owner of the premier gallery in the Midwest. Based in Chicago, he became the country's acknowledged expert on Bill Brandt's work. In 1991, Houk teamed with Barry Friedman, an influential dealer specializing in Art Deco and avant-garde art, to open the Houk Friedman Gallery in New York. Last fall, however, Houk, 46, split with Friedman and opened his own gallery in Manhattan. "An art gallery is a single proprietor, a single entity, and it turns out we both had separate ideas of how it would function," he says. Houk now exclusively represents contemporary artists Sally Mann, Lynn Davis, Andrea Modica, and Elliott Erwitt and historical names like Bill Brandt, Brassaï, and Dorothea Lange. If there were any doubts about how Houk would do on his own, they were put to rest with his opening exhibition, featuring the latest work by Mann. (He has estimated that he sells one of Mann's prints a day.) At the same time, he premiered her work on the West Coast at the prestigious Gagosian Gallery in Los Angeles, once again forging an impressive alliance.
At the opening last spring of “Immediate Family,” Sally Mann’s show at the Houk Friedman Gallery in New York, the winsome young subjects of the photographs aroused as much curiosity as the artist herself. Motoring among the spectators like honorees at a testimonial dinner, Mann’s three children — Emmett, 12, Jessie, 10, and Virginia, 7 — looked completely at ease with the crowd’s prying adoration. While her mother and father conversed with friends and admirers, Jessie orbited the four rooms in her red dress, fielding questions from strangers eager to know more about her parents. Beneath a portrait of himself in the water, Emmett shrugged off the stares and expressed a typical teen-age frame of mind. “These shoes cost $70,” he boasted about his opening night footwear. All three seemed unconcerned by the fact that on the surrounding white walls they could be examined, up close, totally nude.