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Artist's Opening Reception: William Greiner at PDNB Gallery

Posted By Administration, Thursday, November 21, 2013
Updated: Monday, December 2, 2013
Leaving Love Field

Exhibition Dates: November 23 - January 4, 2014

Opening with the Artist:
Saturday, November 23
5:00 - 8:00 pm

 

The work of William Greiner is super-saturated with color and emotion. His frames are graphic and cinematic and charged with memory, history, and loss. While there is something new to the frames they have a strange haunted nostalgia and its not long before we place the scenes. All of the work in this series is a look at Dallas on the 50th anniversary of the assassination of JFK. While Dallas may not want to be in the spotlight, preferring to slip back into its association with ranchers and cowboys, it is undoubtably at the center of this historical tragedy. 

This series by Greiner addresses this space so heavily marked by tragedy, and actually follows the entire route JFK took in the city, planned and otherwise. Some of the images serve as visual memorials, like the flower-lined planter in the plaza Facing School Book Depository (Tulips), Houston Street, Dallas, TX, 2013. Other images are metaphoric transitions, Emergency Entrance - Parkland Memorial Hospital Dallas, TX, 2013 is an eerie only half-light entry; a portion of the frame moves into shadow so dark that it seems to slip into a void. There are images that if not for their charge would seem mundane; some of these feature fountains, trash, the overpass, and the hill beside it. 


For more information on the exhibition, please visit PDNB Gallery

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New Yorker Review: Sarah Anne Johnson at Julie Saul Gallery

Posted By Administration, Friday, November 15, 2013
Updated: Monday, November 18, 2013
Wonderlust

Through December 14


The new work by Canadian photographer Sarah Anne Johnson is full of play and jest but also a surprising truth and grounding. Johnson's photography is hybridized and images of nudes alone or in pairs are worked digitally or altered post-production through scratching, painting, or even the application of gold leaf or glitter. The visual treatment is as various as the figures in intimate actions; some images represent the desire "for romance, ecstasy and emotional connection, while others depict boredom, self doubt and personal disappointment" (Saul press). The imagery always satisfies, and while we grapple with what at first seems a disjointed visual aesthetic it is soon reveals itself as samples of pure reaction to the potency and rawness of the images. Contradiction is what enhances these images too. Beyond the various quality of aesthetic we are also caught between a sense of voyeurism and the knowings of our own personal experiences.

New Yorker Review

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

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A Trio: Artists' Opening Reception at Verve Gallery

Posted By Administration, Wednesday, November 13, 2013
Updated: Monday, November 18, 2013
Susan kae Grant
Night Journey: Theatrical Realms of the Whimsical & Tragic

Kamil Vojnar
Elsewhere

Krzysztof Wladyka
Animalies

Through January 11, 2013

Artists' Opening Reception:
Friday, November 15
5:00 - 7:00 p.m



Three simultaneous exhibitions of gallery artists Susan kae Grant, Kamil Vojnar, and Krzysztof Wladyka challenge the belief in photography as fact, as anything true or concrete, or as anything real as we would find it in the world. In the freedom of exploring the imagined, however, these artist's reveal secret truths that hide in the shadows, in the memories, and in the haunted crevices of our imagination.


For kae Grant shadows are metaphors used to explore dreams and memory; childhood tales particularly seem a source for inspiration. The stories seem both open and familiar, and at the tip of our tongue are tales about the depicted cages, nightgowns, fawns and ferries. The spaces of Vojnar are, as he says- drawn from "elsewhere." Elsewhere seems to be someplace between premonition and memory. The space crystalized in Vojnar's frames is haunted by layers of truth and memory that filter through each other in an enchanting but somber sepia haze. In Animalies we learn to see animals as more than creatures of the Earth but as symbols, or at least they seem to be in the work of Wladyka. These digital renderings may even be viewed as the art of protest in the artist's view, and a reminder that money is more important than the soul's needs for too many.


These artists lift the veil on the mind's eye to reveal enchanting even playful images that challenge as much about the reality of the photographic image as they invent.


For more information on the exhibition, please visit Verve Gallery

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SFAQ Pick: "Diane Arbus 1971–1956″ at Fraenkel Gallery, San Francisco

Posted By Administration, Tuesday, November 12, 2013
Updated: Monday, November 18, 2013

Exhibition on view through December 28, 2013

 

This exhibition reveals in the title alone its intent: to trace the thread of the potency in Diane Arbus's work back to its very beginning. We move through imagery from end to beginning and lean that even in the early years of making there was a fascination with the figure, often singular and in private spaces. Here in the surroundings of their own worlds Arbus framed her subjects to unravel the story around each and learn the secrets of their life and means they employed to form their community or even alienation. It is hard to believe even now that Arbus' work gained as much lasting power as it did in only 15 years of working. Through 15 images, one per year, Fraenkel Gallery will inspire perspective on the life and work of this photographic legend.

For more information on this story, please visit San Francisco Arts Quarterly (SFAQ) Review

Learn more about the exhibition at Fraenkel Gallery

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Artist's Opening Reception: Simon Roberts at Klompching Gallery

Posted By Administration, Thursday, November 7, 2013
Updated: Monday, November 18, 2013
Pierdom

Exhibition Dates: November 8 - December 21, 2013

Opening with the Artist:
Thursday, November 7 
6:00 - 8:00 pm

 

Photographed over the course of the past three years, Pierdom is a comprehensive and stunning survey of Britain's 19th Century pleasure piers. With Pierdom, Roberts has turned his camera to the specific architectural remnants that bear witness to leisure of the past. Built along the coastline of Britain, these piers were originally constructed as landing docks for pleasure steamers, but progressively catered to the needs of seaside day trippers, who were escaping the grime and smog of the cities. In their heyday, the 'pleasure piers' incorporated cafes, casinos, theaters and even tramways. The large-scale color photographs are often made from elevated positions—a trademark of Roberts' oeuvre—and with the use of large format sheet film. The photographer has meticulously utilized formal devices associated with the picturesque—asymmetry, perspective and juxtapositio —resulting in an outstanding body of work that celebrates color, form and detail. From minimalist photographs such as Weston-Super-Mare Grand and Clevedon B, that demonstrate a quiet palette, photographs that pop with color such as Blackpool South, Teignmouth and Paignton, to those such as Saltburn-on-Sea, that provide an important social and historical context, the Pierdom series is a truly accomplished body of work that speaks to a wide audience.

This is a must-see exhibition, and is accompanied by the publication 
Pierdom (Dewi Lewis, 2013). 

Simon Roberts (b.1974), lives and works in Brighton, UK. He was 
awarded a BA Hons Degree in Human Geography (1996), which has 
informed much of his photographic practice. He has won numerous 
awards for his work, which explores important social, economic and 
political issues. His photographs have been exhibited widely, including 
solo exhibitions at the National Media Museum (UK), Museum of 
Contemporary Photography, Chicago and Museum of Contemporary 
Art, Shanghai. His first two significant bodies of work, Motherland and 
We English, were received to critical acclaim, published as monographs 
by Chris Boot Ltd. and shown as solo exhibitions at the Klompching 
Gallery in 2007 and 2009 respectively. His work is represented in major 
public and private collections, including the Deutsche Börse Art 
Collection, George Eastman House, Pallant House and Wilson Centre 
for Photography.

For more information on the exhibition, please visit Klompching Gallery

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