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, 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.
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.
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.
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