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Artist's Reception: Murray Lloyd at McNamara Gallery

Posted By Administration, Saturday, February 9, 2013
Updated: Thursday, January 2, 2014
Bodies of Water

February 12 - May 10, 2013

Reception with the artist
Tuesday, February 12

5:15 - 7 pm


Bodies of Water, an uneasy collection of New Zealand rivers and lakes provides the subject of a new exhibition by Murray Lloyd examining the deceptive nature of picture postcard images. This work continues in a vein that Murray Lloyd has been exploring for some time. Previous works have a very old and sentimental feeling, a nostalgia. This new work will be presented through ten images of apparently pristine environments in postcard and large format, with accompanying texts draw the viewer in for closer inspection. Beneath the surface is a darker story found buried in academic and scientific papers and websites of regional councils, crown research agencies, and universities.

"Unchallenged and light hearted, photography and postcards conspire to hide the truth." says Lloyd. "These were and still are beautiful places. But driving past we would never know how afflicted and degraded these places have become. "

Lloyd balances a photographer's detachment with a passionate desire to present and confront his viewers.

For more information on the exhibition, please visit McNamara Gallery

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Review: Michael Kenna at PDNB Gallery

Posted By Administration, Saturday, February 9, 2013
Updated: Thursday, January 2, 2014

Through February 16, 2013

Michael Kenna is known for his idyllic vistas, his tranquil landscapes. His work in Asia has been particularly celebrated. This exhibition does well to include these works: mirrored lakes in Guilin, China; mountain peeks in Anhui, China; and the Sadakichi Docks of Hokkaido, Japan, but we are pleasantly surprised to see that the exhibition goes beyond. Works that pre and post-date the Asian imagery give context to the breadth of Kenna's work and process. Many images are architectural and we experience Kenna's dedication to structure and balance with more awareness. His focus on cities, buildings, bridges, and other known landmarks allows us to appreciate the length Kenna goes to to create his images. While the quiet serene affect achieved by Kenna seems almost inherent in the landscapes of Asia, it is the contrary with more inhabited, even charged local like the Golden Gate Bridge, San Francisco; the main hall of Grand Central Station, NYC; the gardens of Versailles, France; or the waterways of Portofino, Italy. These images are gems indeed, and perhaps actually speak more to the practice and working philosophy of Kenna than the pinnacle work in Asia for which he is most renowned. True, poetics are at their peek, but to see these usually bustling local so calm, so quiet, so serene makes us experience Kenna's work anew and look back through his entire oeuvre with refreshed eyes. We desire to see our own world through chaos. We seek to recline into the calm poetic space Kenna's long exposures allow and even pause in an effort to slow the space we find ourselves in.

More information at PDNB Gallery

Review in Dallas News

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New Yorker Review: Kenneth Josephson at Gitterman Gallery

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

Through March 16, 2013

This exhibition, the second feature of the artist at Gitterman Gallery, features many works that are rarely seen and focuses on two themes that run through Josephson's work- abstraction with light and dialogue with nature. The closely allied themes have been critical for the artist since his early years at the Institue of Design in the late 1950's.

The conceptual aspect of the work is edged with humor, but formal issues have always been a crux. The quality of light in Josephson's prints is crisp, almost electric. There is a rhythm to the pattern formed through tone that is easily appreciated in fall's leaves in Chicago, 1973; the long shadows of tree trunks in Indiana, 1972; and silvering in the birch bark of Wyoming, 1971 that seems alive and pull us closer and deeper almost hypnotically. Some city

shots speak most directly to the school of training Josephson came from;Chicago (Peoples Gas Building), 1969 and Chicago, 1970 are prime examples. More fragmented shots find structure in detail; a small series of images of Wisconsin leaves from 1980 glow through the shadows, and again it is the quality of light and shadow that allure. And of course there are his most famous examples of pictures in pictures; these works continue to speak with poignant humor to truth and illusion and to the veracity of the medium itself.


For more information on the exhibition, please visit Gitterman Gallery

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Artist's Reception: Sirkka-Liisa Konttinen at L. Parker Stephenson Photographs

Posted By Administration, Thursday, February 7, 2013
Updated: Thursday, January 2, 2014


Exhibition Dates: February 15 - May 11, 2013

Reception with the Artist
Thursday, February 14, 2013
6:00 - 8:00 pm

The works of the Finnish-born photographer Sirkka-Liisa Konttinen are embedded with drama, truth, and grit. Dynamic compositions make times past stand still. Konttinen has lived and worked in Northeast England since the late 1960's and in 2011 Konnttinen and her collective, Amer's films, were recognized by UNESCO as being of "outstanding national value and importance to the United Kingdom" and added them to the UK Memory of the World Register.

This Byker exhibition marks the first time Konttinen's work has been shown in a commercial gallery. The works are powerful visions of a disappearing way of life- the disintegrating social fabric of the working class. We see the terraced town of Byker in stark light-Kendal Street, 1969 with its row-homes repeat roof lines as far as the eye can see. This image only begins to set the stage for the unfolding drama that ripples through generations of people who have belonged to a place. These are the last days of Byker, for it would soon be raised in the name of urban redevelopment. And in this contemporary sweeping out of a neighborhood we see tensions rise as youths quarrel in Young couple in a backyard, 1975; desperation and uncertainty skirt every corner of the tight but well organized home of William Neilson in St Lawrence's Square, 1971. The assemblage of broken things in Children with collected junk by Byker Bridge, 1971 comes together in what seems to be the gathered contents of a home; this image is bare, skeletal but shows resilience in the hearts and minds of the children portrayed. Their eyes are calm and watching, even heroic; we know from their collection of things that there is hope within them, there is some sense of normal or at least its shadow. Fear these children may have, but they dare not show it on their faces. Still, we wonder what drama plays out on this stage of theirs.

Konttinen continued to work in Byker from 1969 - 1976. Konttinen was close to the story and herself lived in Byker; she continued working- photographing and interviewing residents even after her own home was demolished. The work eventually came together in her first published book of photographs, Byker (1983). Konttinen would eventually return to Byker 30 years later to revisit the topic and new population. This second view of Byker was shot in color.

For more information on the exhibition, please visit, L. Parker Stephenson Photographs

Sirkka-Liisa Konttinen at the International Center for Photography
Also speaking as part of the ICP Photographers Lecture Series
Wednesday, February 13
7:00 pm
More information at the ICP

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Review: Holly Roberts at Catherine Edelman Gallery

Posted By Administration, Wednesday, January 30, 2013
Updated: Thursday, January 2, 2014

Through March 2, 2013


Holly Roberts lives and works in New Mexico and grew up there as a child. New Mexico and the broader region is a place of intersections- of culture, heritage, and belief between Western and Indigenous populations. Ideologies and histories mingle and bleed together, and we can't help but wonder as we look at her work if her environment played part in the hybridization that occurred in her practice. Robets has been integrating photography and painting since 1980. What began as an experiment that pulled images of family, friends, animals, textures, and objects together with paint developed into a style all her own. Robert's style is hard to mistake- images are intuitive, bizar at times, but always convincing. Emotion, symbol, and metaphor engage in what at first glance could be mistaken for simplistic frames. The works are playful but serious. There is a consciousness to the work that attentive viewers can read into and begin to unfold.

Human features weave into and out of works with enough repetition that we start to feel a sense of implication; the human eye in Bird with Storm or Road Rabbit or teeth that make the hoofs of Trojan Horse have us immediately looking closer- at everything. We identify manmade surfaces too- concrete, newspapers, roadsigns and more that become components of animal bodies or environments. The implication runs both ways- the dress of the figure in People that are Trees II and bark that makes almost the entire form of Hard Ride I makes us realize the connectivity of the world. The summ of these sentiments point towards a responsibility of each to the other. Though drawn from pieces each work comes together with success as a whole and more broadly the whole body of work speaks to a philosophy of living, a view on the world.

For more information on the exhibition, please visit Catherine Edelman Gallery

Newcity Review

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