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.
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.
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.
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.
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.
With her long, black hair, she more looks like an Israeli-bohemian-mama-Venus-goddess than a photography powerhouse. She is also nicer and more gentle than probably anyone else in New York City—let alone anyone in the art world, let alone anyone in the art world in New York City—who has achieved this level of success.
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.
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.
A series about Evan’s journey of becoming a father as a transgender man for the feature “My Brother’s Pregnancy and the Making of a New American Family” in TIME magazine.
Sanctuary 21c is an immersive work that will transform a guest suite, combining components of a music-recording studio with antique mirrors, tile work, urban signage, and Bremer’s own artwork. The resulting ‘sanctuary’ will break down barriers between art and music, art and life, and the artist and the audience, as guests become participants, able to make and record music. Sanctuary 21c is the latest evolution of Bremer’s installations in which he and his collaborators create studio space to make art and play and record music.
The story of Evan, a trans man who gave birth. My Brother's Pregnancy and the Making of a New American Family, September 2016. Evan’s journey to parenthood was chronicled by his sister, the writer Jessi Hempel. Hempel writes about the growing number of transgender Americans who are founding families as well as the challenges they can sometimes face.
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.
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.
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, for example, one of Robert Frank’s insightful images of Americans shares walls with Lillian Bassman’s innovative fashion photography andAbelardo 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.
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.
Sanctuary is a multi-media arts festival celebrating community, spirituality and creative expression. Spanning 20 days of installations, performances and events, Sanctuary will feature works from a variety of creative disciplines, including fine art, music, choreography, literature, comedy, film, sociology and more.
Beauty is in the eye of the beholder, the saying goes, but where do you start when defining this elusive ideal? ZEALnyc gives you some pointers on where to begin. This week we’re interested in Valérie Belin and her take on women, image and reality. Look for a bonus tip to learn more about her work. As always, all listings are free admission.
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.”
French artist Valérie Belin has an intuitive gift for the space where beauty, glamour, artifice, surface, and disorder meet and fuse into a riotous blend of energy. Her newest series, All Star, features a selection of eleven large-scale color photographs that pull you into their spell. Combining portraits of feminine glamour with iconography taken from vintage comics, Belin weaves a wonderland of psychological complexity that moves between the sunshine of the fashion photograph and the mystique of film noir to create a new genre where the polarities of good and evil and joy and despair merge with endless ambiguity. Valérie Belin: All Star is on view at Edwynn Houk Gallery now through March 4, 2017.
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.
The Museum of Modern Art in New York will be hosting an exhibition on the works of artist Stephen Shore that will be on view from November 19 through the spring of 2018.
The exhibition is the first U.S. survey to encompass the career of American photographer Stephen Shore (b. 1947, New York), from the gelatin silver prints he made as a teenager to his current engagement with digital platforms. The exhibition will both establish the artist’s full oeuvre in the context of his time- from his days at Andy Warhol’s Factory through the rise of American color photography and the transition to large-scale digital photography and argue for his singular vision and uncompromising pursuit of photography’s possibilities. The exhibition will include hundreds of photographic works, along with additional materials including books, ephemera and objects- created by the artist in many formats and mediums of photography, allowing the viewers for a fuller understanding of the diversity of his output. The exhibition will feature historic and recent prints of black-and-white and color photographs, books, periodicals, films, portfolios and digital works, including many that have never been published or exhibited, 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.
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.
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.
ENDANGERED! the exhibition and its related programming is an emergency call to save the imperiled creatures whose precarious state is completely human caused. The endangered species crisis is growing at an alarming rate due to wildlife trafficking for animal parts and the exotic pet trade; habitat loss, degradation and conflicts due to the mining, logging, drilling, dams, agriculture, and livestock grazing, and further exacerbated by climate change.
Valérie Belin book signing at Paris Photo 2016, Grand Palais, Damiani booth, H09.
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...
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.
Message to the Future brings together vintage prints and never–before-seen films from the artist’s collection
Danny Lyon: Message to the Future, which opens at the Whitney Museum of American Art in New York this weekend, collects 175 pictures, vintage work prints, never-before-seen films and ephemera from Lyon’s archives to take an in-depth look at his work as an immersive documentary storyteller who is just as engaged in writing, filmmaking and collage as is he in photography.
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...
Internationally renowned photoggrapher Sally Mann stays close to home. Since the early 1980s, Mann has used her farm near Lexington, Virginia, as a home base for taking photographs and painstakingly developing negatives by hand. When the intimate photographs of her children in 1992's Immediate Family brought her a notoriety she didn't expect, Mann didn't give in. Nearly twenty-five years later, she continues to confront themes as knotty as they are universal: the bodies of children and of the dead, the South and its legacy of violence and racial discrimination. In her memoir, Hold Still, which she brings to the Triangle this week, Mann uses her family history to excavate her personality, work ethic, and obsession with photography's ability to stop time and reveal the timeless.
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.
TIME asked 12 photographers who’ve dedicated themselves to making extensive work about their families to reflect on their experiences with their mothers—and to describe which of their own photographs moved them most.
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.
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.
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.
To read the article and view the slideshow, please visit PDN Photo of the Day
To read the article and view the slideshow, please visit NY Mag
Abelardo Morell: The Universe Next Door opens on June 1st at the Art Institute of Chicago.
To read the full article, please visit The NY Times.
To read the full article, please visit The W Magazine Viewfinder.
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).
Valérie Belin will present her recent photographic series at a conference (in French), organized during a workshop led by the artist in the department of higher education at the school of photography in Vevey, from 11 to 15 March 2013.
For more information, please visit NEXT48, or see the PDF of NEAR Magazine.
For more information check out the PDF attached
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 great photographer, famous for documenting the civil rights struggle and riding with bikers in the 60s, grants a rare interview.
For the full article, please see The Guardian's website.
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!
This World Is Not My Home: Danny Lyon Photographs, an exhibition of approximately 45 photographs and photographic montages, traces the evolution of the New York and New Mexico-based artist’s career from 1962 to the present. A leading and explosively creative figure in the American street photography movement of the 1960s, Lyon distinguished himself from peers like Robert Frank, Garry Winogrand, and Lee Friedlander through his exceptionally strong political consciousness and concern for those on the margins of society.
"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...."
See the original post on The New Yorker's website.
"... 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.
Check out the artist's blog and his recent photographs taken at the Occupy LA protest on his website.
Renowned American photographer Danny Lyon will be signing copies of his two most recent publications with Phaidon: the limited edition "Deep Sea Diver" (2011) and his book of photo-essays "Memories of Myself" (2009).
See the full post at DLK Collection.
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
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.
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.
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.
Goings On About Town: Art
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.
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...
Opening reception for the artist:
4 November, 6-8 pm
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.
Opening reception for the artist:
Thursday, 16 September, 6 - 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.
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.”
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.
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."