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New Yorker Review: Rodrigo Moya at Throckmorton Fine Art

Posted By Administration, Sunday, January 27, 2013
Updated: Thursday, January 2, 2014

Ojos Bien Abiertos
(Eyes Wide Open)

Through March 2, 2013

Rodrigo Moya, a photographer who's career lasted only 12 years, is an obvious force in Latin American Photographic history. The chapter written by Moya far exceeds journalism; the work is anthropological. The social and political unrest in Mexico, Cuba, and throught Latin America was the core of the work. From candid even familiar images of known and unknown subjects to more tightly documentary style work Moya's work satisfies in layers. Ever dynamicly constructed frames speak with honor and dignity, truth and grit. There is a balance to visiion that sees without judgement or hierarchy. The working hands of a pesant, the shining eyes of young children and even the grins and glances of notorious historic figures like Che Guevara and Diego Rivera seem evenly weighted in the fabric of Moya's visual historic record. Beyond the portrait are samples of extended journalistic coverage including the US invasion of the Dominican Republic and the Battle for Santo Domingo.

The works seem familiar and engrained in our memory weather or not we have seen them before. The real surprise about this show is that it is only the second dedicated to the Mexican photographer in the country. When the images were "current" the work was included in important periodicals including Impacto, El Espectador, Politica, Sucesos and Siempre! Moya abandoned the field of photography for years, only returning to old negatives after a bout with cancer inspired a revisiting of the weight of his accomplishments. Moya has been quietly collected privately and celebrated by museums; his images can be found in the permanent collections of the Museum of Fine Arts, Houston, the San Francisco Museum of Modern Art, the Nelson Atkins Museum of Art and the Santa Barbara Museum of Art, among others. In 2007, Moya was awarded the Medal of Photographic Merit by Mexico's National System of Photographic Archives. Two years later, his work was highlighted in the documentary film Conciencia de Luz: Rodrigo Moya,, Fotografo.

The gallery exhibition was staged to coincide with the prints participation in the prestigious Winter Antiques Show. This is the first New York show dedicated to the work of Rodrigo Moya. For more information on the artist and his work, please visit Throckmorton Fine Art

New Yorker Review

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New Yorker Review: George Tice at Nailya Alexander Gallery

Posted By Administration, Saturday, January 26, 2013
Updated: Thursday, January 2, 2014


Through February 16, 2013

George Tice, Woods, Port Clyde, Maine, 1970, Palladium Print, Edition 1/30, 20 x 24 inches, Courtesy of Nailya Alexander Gallery
Throughout his career George Tice has challenged the every day, capturing the almost extinct, the nearly forgotten, the remains of American culture.

"It takes the passage of time before an image of a commonplace subject can be assessed. The great difficulty of what I attempt is seeing beyond the moment; the everydayness of life gets in the way of the eternal," George Tice (Getty).

Tice's images work as documents, becoming both record and artifact. Their rooting in time is strengthened through frequent dedication to formal balance. Urban scenes are darkly Hopperesque where light sharp or flooding becomes flickering beacon, as in Telephone Booth, 3 A.M., Railway, NJorPetit;s Mobil Station, Cherry Hill, NJ. We do not trust their perminance, though we are drawn to their flame. Indeed lights of the Strand Theater, Keyport, NJ seem to be fading and the sign going to rust. There can be a roughness and grit to the work, a gargoil in a view from the Chrysler Building seems ominous.

Tice's landscapes are painterly and elude time completely. Water lilies speak to the famous theme of Monet, and even perhaps too do the arches of Ferry Slip, Jersey City; long before these works, it was certain the artist was studied, but these work to solidify him in a variety of historical dialogue. His landcapes, as the cityscapes, manage a heavy concreteness of reality that is uniquly his own.

In the 60 years Tice has worked with photography he has been widely celebrated; some of his many accomplishments include seventeen publications and notable fellowships from the Guggenheim Foundation, the National Endowment for the Arts, the National Media Museum, and the New Jersey State Council on the Arts.

For more information on the artist please visit Nailya Alexander Gallery

New Yorker Review

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Artist's Reception: Laurence Demaison at Esther Woerdenhoff

Posted By Administration, Friday, January 25, 2013
Updated: Thursday, January 2, 2014

Recent Works

January 30 - March 9, 2013

Opening with the Artist
Wednesday, January 30
6:00 - 9:00 pm

Since the 1990's the photographs of Laurence Demaison have worked around the genre of the self-portrait to offer a vision that is profound and original. In the same moment we discover that the work is both multiple and coherent, fluid and concrete. The work is shadowed and haunted, layered with versions of the self. There is an undeniable surrealist frame around the work, and we are effectively left to wonder at reality bent, and if it is perhaps more concrete, even more true than what we think we perceive. Through in-camera techniques like exposure time, motion blurr, pushing of contrast, and manipulation of the negative the results of Demaison's technique is achieved. There is indeed an argument to be made for the work that it goes beyond photography's bounds and teeders on performance. The process is extraordinary and while the work is technically an achievement of formal exploration and manipulation one should not deny that the negative itself becomes stage for performative action.

Since 2010 Demaison has begun to explore a new theme that strays from the concept of the self-portrait but not completely from the self.Noires Soeurs(Black Sisters) andSi j'avais Su(If I had Known) engage projection; with these works it is through the model, the mannequin, the doll, the pupet or the cloaked figure that we and the artist experience visions. These works allow for self projection and free association.

For more information on the artist and her work, please visit Esther Woerdenhoff

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Robert Klein Gallery & Arts Libri Present

Posted By Administration, Friday, January 25, 2013
Updated: Thursday, January 2, 2014

Bruce Davidson:Witness

Opening Reception at Ars Libri
500 Harrison Ave
Friday, February 1
5:30 - 7:30 PM

Opening Reception with the Artist at the Robert Klein Gallery
38 Newbury St
Saturday, February 9
4:00 - 6:00 PM

Modern and vintage prints by one of the most influential photographers of the twentieth century, Bruce Davidson, to be included in this dual-venue exhibition. The exhibition features work from the artist's most notable series including Brooklyn Gang, East 100th Street, and Time of Change. Work from all three notable series will be shown simultaneously at both venues. Beyond these are parallel exhibitions at the Museum of Fine Arts, Boston and the Addison Gallery of American Art at Phillips Academy, Andover. This is marks another pinnacle moment in the fruitful career of an artist who began in a home-made darkroom as a child.

At only 25 Davidson first gained serious notoriety for his work that focused on a group of teenagers in 1950s New York City. This and other work earned his way into Magnum Photo; in 1959 Davidson climbed the ranks to become a Magnum Photographer. Success continued to find Davidson and in 1961, Davidson received a Guggenheim Fellowship to document the American Civil Rights Movement. The Civil Rights work proved to be lasting and provided the foundation for his 2002 monograph Time of Change. Later in the 1960s, Davidson met and photographed the residents of one block of East 100th Street in East Harlem, producing a portrait of hope and dignity in one of the most dangerous neighborhoods in America.

For more information, please visit Robert Klein Gallery

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Art in America Review: Paola Ferrario at Rick Wester Fine Art

Posted By Administration, Sunday, January 13, 2013
Updated: Thursday, January 2, 2014

Signs & Remains

Extended to February 2, 2013

The crumbling, deteriorated, and forgotten fragments of the every day have become Paola Ferrario's dedication. They are without doubt vernacular, but sincerity, inspired by grouping, invests our perception. Intention emerges though the sequences and grids that Ferrario organizes her images into. Grouped formally by color, rhythm, form, shape, or texture each frame becomes enriched. There remains a spontaneity to each image, as if it were a note quickly jotted down, but still a sense that each little thing- the bark of a tree, a tile of the floor, a doormat, toorn sign, a few fallen q-tips, balloons snared by tree branches have an importance. For Ferrario capturing and memorializing these finds seems to prove, even preserve some worldly truth. The works have affirmation- yes- this, yes- that. We pass these findings ourselves if we watch our world closely enough, and the proud showing hand of the artist proves her and encourages our own finding. In several works Ferrario displays discoveries in her palm- a shell-cracked egg, a lizard, a dish of soap, a lump of debris in a rubber glove, a strange mushroom. We find ourselves making our own selections and attaching our interest to particular proposed frames.

For more information, please visit Rick Wester Fine Art

Art in America Review

Photograph Review

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