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Artist's Reception: Peter Evans at McNamara Gallery

Posted By Administration, Wednesday, February 27, 2013
Updated: Thursday, January 2, 2014
Views from the Peak?

March 1 - March 22, 2013

Reception with the Artist:
Friday 1st March
5:30 pm

A publication accompanies this exhibition


"In 1859 the human race discovered a huge treasure chest in its basement. This was oil and gas, a fantastically cheap and easily available source of energy. We did, or at least some of us did what anybody does who discovers a treasure in the basement, live it up, and we have been spending this treasure with great enjoyment."
- Kenneth E. Boulding

Photographer Peter Evans works with dedication to illuminate all sides of a contemporary dilemma- our dependency on fossil fuel. His images work simply and in layers to engage reflection our societies' thirstless need for fuel sources that are becoming scarcer. Evans' approach is studied and realistic. Without oil and natural gas our modern industrialized society would never have been possible, this much is clear. He notes his own dependance on the resource "Almost every aspect of my comfortable lifestyle is dependent upon the industry from when I brush my teeth in the morning until switching off the light at night," and does not make the work out of critique, rather a desire to explore the reality around this complicated delema.

For the past few years Evans has worked specifically to document the oil and natural gas industry's impact on the landscape in New Zealand. New Zealand is a mass of land that protrudes above sea level from an otherwise submerged continent known as Tasmantis or Zealandia, and we find here the source of the work's title. Zealandia is known to contain large amounts of oil and natural gas, some of which is already being exploited in the Taranaki region. Exploration in other areas of Zealandia are currently underway, with more oil and gas expected to be discovered.

The work itself is frank and clean. In broad and expansive vistas the process of extraction, drilling, transporting, refining fule is obvious, and in other frames there is nearly no hint of man's efforts to mine fuel. The work indeed inspires reflection at our current state- our needs and the means by which they are met. Through this work we can see a foreshadowing of inevitable truth, and we begin to wonder what a futre will look like when the well does run dry.

For more information on the exhibition, please visit McNamara Gallery

Essay from the artist's book with further information on the research and foundation behind the work here

Boulding, Kenneth E. Ecodynamics: A New Theory of Societal Evolution. Beverly Hills: Sage Publications, 1978.

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Review: Jill Freedman at Higher Pictures

Posted By Administration, Friday, February 22, 2013
Updated: Thursday, January 2, 2014

Circus Days

Through March 9, 2013


Best known for her street and documentary photography Circus Days marks Jill Freedman's third solo show with the gallery. Freedman's style recalls work of masters André Kertész, W. Eugene Smith, Dorothea Lange, and Henri Cartier-Bresson. This selection of over 20 vintage prints takes us back to 1971 and a trip Friedman took with the Clyde Beatty-Cole Brothers Circus.

For two months Freedman traveled the road with the circus troop and worked alongside the performers. She with her camera and they with their acts, animals, and performances toiled at grueling pace with two performances a day five days a week and one performance on Sundays. The body of work reveals the expected- performances with nine elephants under the bigtop, practice with the lion and his tamer, and painted faces of clowns. It is perhaps the unexpected, the unseen and uncelebrated that give a heavy truth to the lifestyle. Tight corners and lonely hours, heavy work and hard conditions. We feel this most litterally in images that catch big cats caged and sardine-squeezed elephants two to a truck. It takes little to make parallel between the animal and

human experience here and we feel the tole of spectacle fall heavy. Freedman's dedication to the troop can be felt most powerfully through candid images. With high-paced schedules there is little time for ones self and to catch a member in their own moment would be rare occurrence, but it is here that we find evidence of the intimacy she achieved with the performers. An image of two seated men below canopy who stare into the distance of their own quiet introflection speaks directly to this established rapport.

The prints themselves are dramatic- rich with sinking shadow and sharp with light. One of the most dramatic examples is at first hard to define- the main support of the bigtop where daylight pierces the tar-black interior illuminating only a few threads of light- the ropes and rigging of the temporary structure. Looking closer we see the hand and then visage of a worker adjusting the lines. All of the work is infused with a sense of honor and dignity; we see ourselves, the drama of our own lives, in parallel with these heroic figures.

For more information on the exhibition, please visit Higher Pictures

Review in Le Journal de la Photographie

New Yorker Review

About the artist:

Freedman has published seven books in her career and her work is held in such notable permanent collections as The Museum of Modern Art, the International Center of Photography, George Eastman House, the Smithsonian American Art Museum, the New York Public Library, the Museum of Fine Arts, Houston, and the Bibliothèque Nationale, Paris, among others.

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Artist's Reception & Book Signing: Cig Harvey at Kopeikin Gallery

Posted By Administration, Wednesday, February 20, 2013
Updated: Thursday, January 2, 2014
You Look at Me Like an Emergency

Exhibition Dates: February 23 - April 6, 2013

Reception & Signing:
Saturday, February 23

6:00 - 8:00 pm


For the past 12 years Cig Harvey has allowed her personal life to inspire her photographic work. Through self portraiture and images of family and friends she meditates on moments of celebration, lingers in moments of uncertainty, and explores relationships between people. The every day experience, the pattern of life is unique but it is shared. We have all experienced moments of elation and frustration, of love and loss, hope and disappointment. There is indeed something familiar and open-ended to the work. In frames where the figure is turned from us we enter with particular ease to the moment. The scenes too often have a universal quality, where diners, stairwells, fields, and waterways could be just down the road from our own home. It is the essence of human experience that is woven into the frames of Harvey's work. With beautiful light, rich color, and sensual curiosity, pose, or framing the works invite.

The new text as Harvey puts it is "A book of photographs and text about a life being lived, it's a map about one women's life but made up of the stuff that is all of our lives. An archetypal quest, a love story, a book of secrets."

Harvey will be present for the opening reception and be available to sign copies of her book.

For more information on the exhibition, please visit Kopeikin Gallery

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Artist's Reception: Arnold Kramer at Joseph Bellows Gallery

Posted By Administration, Wednesday, February 20, 2013
Updated: Thursday, January 2, 2014
Interior Views

Exhibition Dates: March 2 - April 13, 2013

Artist's Reception:
Saturday, March 2

6:00 - 8:00 pm


Joseph Bellows Gallery to hold the first West Coast exhibition of the work of established East Coast photographer, Arnold Kramer. This exhibition also marks Kramer's first gallery exhibition in 25 years. Kramer's interiors are crisp and clean. The banality of his subjects is easily trumped by Kramer's skillful framing and attraction to pattern; the images become fascinating reflections on social nuance.

Images first appear frank, direct, even plain; the formal approach Kramer takes works to enhance these qualities as it undoes them. Pattern and texture partitions and segments the images, but work a dual role to give a collage-like quality to the frames that pushes and pulls our eye. Kramer is able to find views that continue to vacillate between flatness and depth. This visual play gives an almost undetectable tension to the work that causes us to pause, and we engage deeper. Images begin to expose more than what meets the eye; we begin to make judgements on the interiors' owners and we identify cues of means and status or their lack. The inhabitants of livingroom, Randallstown, Maryland, 1977-1978 enjoy a plush lifestyle, where bed, Washington DC, 1977-1978 is bare even stark. Titles often help to drive our desire to describe unseen owners and give more rounded views with hints like woman's room or boy's room, and where definition is not given by gender- game room, entry hall, dressing table we can form more elaborate descriptions.

Arnold Kramer has had a fruitful career in the arts. In both 1975 and 1979 he was awarded fellowships from the National Endowment for the Arts. He was on the faculty of the University of Maryland for 11 years where he taught both undergraduate and graduate courses in still photography, and since 1987 has served on the staff of the United States Holocaust Memorial Museum. Kramer's work in in notable collections that include the Birmingham Museum of Art, Corcoran Gallery of Art, National Museum of American Art, Addison Gallery of American Art, and The Baltimore Museum of Art.

For more information on the exhibition, please visit Joseph Bellows Gallery

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Artist's Reception: Sally Gall at Julie Saul Gallery

Posted By Administration, Saturday, February 16, 2013
Updated: Thursday, January 2, 2014

Exhibition Dates: March 14 - May 4, 2013

Reception for the Artist:
Thursday, March 14

6:00 - 8:00 pm


Julie Saul Gallery has been working with and representing the work of photographer Sally Gall for nearly 30 years, and this exhibition marks the artist's 11th show at the gallery.

Sally Gail continues to show dedication to the subject of the natural world, and her world is magic, beautiful, and awe-inspring. Though described by the gallery as a classic photographer one thing usually found in traditional visions is left out by Gail, the horizon.

Unbound moves and shifts view- areal, terrestrial, waterscapes, and underwater images all escape division by the horizon line. These visual experimentations engage the world in a playful, joyful, light sort of way. We are indeed unbound, but rather than sense instability we find ourselves liberated. We float on the breeze, flicker on a ray of sunlight, flow with the water in a pool, and feel no effect of gravity. In black and white and color frames, at times multi-paneled, we engage a new spiritual plane not only in ourselves but in the limitless space around us.

For more information on the exhibition, please visit Julie Saul Gallery

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