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Review: Everyday America at Kasher Gallery

Posted By Administration, Saturday, March 23, 2013
Updated: Thursday, January 2, 2014

Through March 23, 2013

 


The selection of works from the Bruce Berman Collection are what remains after museum donations and auction sales, but are no means the bottom of the barrel of the work amassed by this prominent motion picture executive. Over 100 works are on view by an impressive list of 31 artists, including mid-century legends Walker Evans, Dorothea Lange, Robert Frank, Helen Levitt, as well as more contemporary masters William Eggelston and Mitch Epstein. What unifies the work and defines the collection on view is the documentary approach to the American social-cultural landscape. These are not the elevated visions of a country and its people, rather realistic gritty views. These are the visions of the every day. There is truth to the mundane images of farmsteads and subdivisions; bakery shelves and warehouse storage spaces; conveniant stores, fairgrounds, and 

abandoned schools. There is an integrity to citizens of all walks- couples, children, families, and transients. This is a vision that reveals much about the American condition and spirit. The images are often weighty even downtrodden but ever honorable proof of the struggle for survival. Through the whole of the show we can appreciate how the passage of time can bring both change and stagnation. Through the lens of 31 photographers we see that, though it is fought for daily by generations of Americans, the flicker of the American Dream has never gone out.

For more information on this exhibition, please visit Steven Kasher Galler

New Yorker Review

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Review: Mike Brodie at Yossi Milo Gallery

Posted By Administration, Friday, March 22, 2013
Updated: Thursday, January 2, 2014
A Period of Juvenile Prosperity

Through April 6



Photographer Mike Brodie doesn't just document youthful train-hoppers and squatters, he has been one. In an adventure that began at the age of 17 Brodie spent five years riding the rails with other adventure-seeking youths. In that time he covered over 50,000 miles of track through 46 states.

One wouldn't know it to look at his spirited and well-composed prints but Brodie is self-trained. After discovering a polaroid camera on the back seat of a friend's car he began shooting and used exclusively polaroid for two years. In this time he earned the title Polaroid Kid, a name he tagged on walls and boxcars throughout his journey. Brodie has since traded the polaroid for 35mm film, but a warmth and nostalgia still infuses the work.

Brodie is close to his subjects- they are his travel companions, friends, and lovers. Brodie, as Nan Goldin or Larry Clark is part of the fabric of the work; since we are not looking out we are looking in our vantage is intimate. We feel a surge of energy as we look over the shoulder of a young girl, her hair blowing in the wind, and feel the a warm glow evening sun spread over our skin as it does the the golden plain behind her in #0924. We lean over a map and plan our route with two other companions in #3025. We sense a moment of calm and pleasure in just watching the landscape pass, the the unbridled thrill of the open road bubbling in our spirit in #5060. We remember moments in our lives when we had no strings but our own, no attachments, no responsibility and we feel again the fright and freedom that come with belonging to nothing but the moment.

For more information on this exhibition, please visit Yossi Milo Gallery

New Yorker Review

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Review: BUNNY YEAGER at PDNB Gallery

Posted By Administration, Friday, March 8, 2013
Updated: Thursday, January 2, 2014

Through May 11, 2013

 

Bunny Yeager began her foray into photography casually as a way to cut corners early in her modeling career. Prints were expensive and Yeager figured that if she could learn to print her own photos that she could cut down on her costs. In the beginning the craft was less important than the process of making. Early on Yeager simply used the prints to facilitate and push her modeling career, but her photographic work began to open opportunities for her. Before long Yeager's own images of model friends were being snapped up and published by men's magazines.

A pin-up legend was born of collaborative effort between Yeager and Bettie Page when, in 1955, Playboy bought a topless shot of Page winking in a Santa hat for their holiday issue. Yeager's work has since become iconic; what had been seen at the time as part of a popular "cheesecake" class of photography has gained attention for its revolutionary approach. Unlike her male counterparts Yeager took many of her images outside rather than in the studio; this added a vibrancy and life to the work that was unmatched. There was a more natural quality to the prints, a looseness, an immediacy and, if you were in the world of men's magazines, one would go far enough to say more spontaneous and seductive than the stiff studio poses being made by others. Yeager pushed the envelope and further refined her style with costume choices; she designed bathing suits and lingerie for her models. This worked further to refine and identify her work and style.

This compilation of work now on view at PDNB Gallery takes us back in time but remains immediate. Contact sheets speak to process and the relationship she built with her models. We see many prints of her favorite muse Betty Page, including the infamous image of Page in her Santa hat that started it all. Even years after these works were taken Yeager's women are striking temptresses. There is something undeniably classic to the work, something that though seductive is honest, clean, and playful. The women are dynamic, confidant, and empowered; we don't leer, we desire.

For more information on the exhibition, please visit PDNB Gallery

CultureMap Review

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Artist's Reception: Ilit Azoulay at Andrea Meslin Gallery

Posted By Administration, Thursday, March 7, 2013
Updated: Thursday, January 2, 2014
Room #8

Exhibition Dates: March 7 - April 13, 2013

Artist's Reception:
Thursday, March 7
6:00-8:00 pm

Artist talk with Christopher Phillips:
Saturday, March 9th

12:00 - 2:00 pm

 

Ilit Azoulay's second exhibition at the Andrea Meslin Galelry is as interesting as the first. This new series draws on field work. As before, the process is king, and Azoulay engages collecting, archiving, organizing, and arranging in her work. Azoulay begins through visits to buildings in Tel Aviv that are soon to be demolished; while in these places she is attentive to the organization of space, materials, and surfaces. Once the building is raised Azoulay returns to the site where she digs through the rubble and refuse to uncover fragments large and small. Azoulay takes only photos with her when she leaves, so these found bits of important material are well documented. Back in the studio, Azoulay works to reconfigure, reinvent, and reorder what she has accumulated. The result are inspired imagined spaces, some of which are massive in size- nearly 30 feet long. The scale draws us not only in but into; we trace the steps of passages lost. Some scenes allow us to rest and seem plausible, at least in part, while others are so perfectly disjointed that after we fail to stabilize self or rationalize plane we give up and engage them as they are- upturned.

The works are curious- both secretive and revealing, and in the end it iswewho negotiate and rationalize new combinations. Azoulay explains the work as being "Like a cabinet of curiosities (wunderkammer)" where "the display is intended to create interferences in the place where our brain is conditioned to create connections and meanings between the objects."

For more information on the exhibition, please visit Andra Meslin Galelry

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Exhibition & Closing Artist's Reception: Laura McPhee at Bonni Benrubi Gallery

Posted By Administration, Wednesday, March 6, 2013
Updated: Thursday, January 2, 2014

Desert Chronicle

Exhibition Dates: March 7th - April 13th, 2013

Closing reception with the artist:
Friday, April 5th
6:00 - 8:00pm


The large-scale images of Laura McPhee are broad and sweeping views of the Western United States. From 2010 - 2012 McPhee traveled and worked to photograph through Idaho, Utah, and Arizona; her large-format color photographs engage layers of time, both geologic and human. Through thirteen prints, some double or triple paneled pieces we see the land spread out before us far and wide. The lush color and rhythmic frames of forests and flats, rivers and peaks, brush and forests, canyons and mines and more speak indeed to layered history- a natural history and an altered history. Some of these spaces reveal subtle shifts and through distance or framing the impact of man is at first masked. We may indeed find only beauty in these places in the beginning, but works like Jungo Flats, Humbold county, Nevada shows cracked earth littered by man's refuse- glass, wire, nails, springs, and more are scattered like confetti in the scene. This interruption of man on the natural space causes us to look again through the work to discover the depth of human intrusion. The work at once proves human impact on the landscape and opens the door for dialogue on this truth.

For more information on the exhibition, please visit Bonni Benrubi Gallery

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