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Artist's Opening Reception: Elaine Stocki at Stephen Bulger Gallery

Posted By Administration, Thursday, October 24, 2013
Updated: Thursday, October 31, 2013


(Public Address)

Exhibition Dates: October 26 – November 23, 2013

Opening Reception for the Artist:

Friday, October 25

6:00 - 10:00 pm

This exhibition draws from two types of work by the artist: images of models in contrived scenes and assemblages of people at events. The pairing of work from these seemingly polar opposite scenarios allows Stocki to raise critical questions about the truth to image, particularly the directed image, and underline the deception of documentary photography. In challenging the media in this way she shakes at its very foundations.

The hand-colored silver and chromogenic prints are meticulously rendered. The act of painting on the prints adds layers of drama, and engages cinematographic tropes that both illustrate and poke fun at reality. The works themselves are odd and quirky but curious. We can not turn from them, from their unique construction,

particularly the painted frames. Long shadows often heighten

the mood and intensify the theatrics of the moment and we become keenly aware of a certain human desire for staging weather the event is choreographed or spontaneous.

Stocki received her MFA from Yale University and her work has been exhibited internationally at the Art Gallery of Ontario, Toronto; the Philadelphia Museum of Art, Philadelphia; Zach Feuer, New York; and at the Deustche Guggenheim, Berlin.

For more information on this exhibition, please visit Stephen Bulger Gallery


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Opening with the Curator: Apocalypse by Björn Abelin at Swedish Photography

Posted By Administration, Wednesday, October 23, 2013
Updated: Thursday, October 31, 2013

Exhibition Dates:

October 26 - December 14, 2013

Opening with Mark Gisbourne, international curator & critic

Friday, October 25

7:00 - 9:00 pm

Nature has been a recurrent theme for the Swedish artist Björn Abelin. In a 2006 project Abelin dealt with the absence of man in the landscape; the series Escapes is deserted black and white scenes where the only remaining visitor to the space is the viewer. We experience an innocence with these works as if a child seeing its mother earth for the first time.

In a new body of work, Apocalypse we see the other end of this polar experience between man and nature. Again we find barren landscapes, but these are more full of arrogance than wonder. These critical images deal with hubris where man has become Godlike and his desire to control nature overwhelms. Abelin draws on landscapes that reference video games and fantasy movies- these are the apparent landscapes we strive for where man's dominance on the environment has overrun the natural state of evolution.

For more information on the exhibition, please visit Swedish Photography

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New York Magazine Review: Angela Strassheim at Andrea Meislin Gallery

Posted By Administration, Tuesday, October 22, 2013
Updated: Thursday, October 31, 2013

Story Telling


Through October 26

Story Telling is a gripping set of images drawn from several series by Sngela Strassheim, including Evidence, Left Behind, and Hearts. Something seems to crawl beneath the surface of these works; they are full of uncanny and drama. Works from Left Behind are the most subtle but still have an undercurrent of theater- a young girl seems to present her own ferry tail kingdom of toy horses and robots with herself at the crown; and in another work a young boy is getting his hair combed but it would seem beyond this he is being symbolically controlled by is father.

Evidence and Hearts open doors on dark even dangerous narratives. Evidence shows the effect of Strassheim's past career in forensics, and these images are of luminol in domestic homicides. These are eery and haunted; the mark of actions in these images are told through spatters and of blood. Hearts too instills a fear- five hearts, one healthy the others from victims of disease, overdose, or attack act as strange inner portraits of critical organs; we can not help but imagine their owners' lives and stories.

Strassheim's work is unsettling but does hit on a human urge to recount and entertain. Though these stories are frightening we do want to see more. It is from places of fear, terror, unknown, and disbelief that many good story emerge, so with these works Strassheim dangles the visuals to inspire entire narratives in a single frame.

For more information on this exhibition, please visit Andrea Meislin Gallery

New York Magazine Review

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Dual Exhibition & Book Signing: Vietnam at Steven Kasher Gallery

Posted By Administration, Saturday, October 19, 2013
Updated: Thursday, October 31, 2013

Dual Exhibitions:

Vietnam: The Real War

A Photographic History from the Associate Press

Beyond the War: Leo Rubinfien

Seven Photographs from Southeast Asia 1984 - 1987

Exhibition Dates: October 24 - November 30

Opening Reception & Book Signing

with Pete Hamill and Nick Ut

Thursday, October 24

6:00 - 8:00 pm


This dual exhibition raises the stories not only from a dark moment in history but, as the Steven Kasher Gallery describes it, "the war that has left a deep scar on the world." The Real War is a selection of images from the Saigon bureau of the Associated Press, which at the time was the most significant news service documenting the Vietnam War. These images cut us as quickly now as they did in the days they were made. Sentiments are raw in these frames and feelings are visceral. We see terror in the eyes and on the faces of Horst Faas's Women and Children Crouch in a Muddy Canal as they Take Cover from Intense Viet Cong Fire; feel the pierce of pure loss and grief in his A Woman Mourns Over the Body of her Husband After Identifying him by his Teeth, and Covering his Head with her Conical Hat and; anguish in Hugh Van Es', A U.S. Paratrooper Wounded in the Battle for Hamburger Hill Grimaces in Pain as he Awaits Medical Evacuation at Base Camp Near the Laotian Border.

With the passage of time we find it is somewhat easier to linger in these images; some displacement has occurred, but the images remain urgent and difficult to take. In this space and moment we find a new power in the work. The tension that emerges between the rawness of the subject and their legacy gives them renewed strength. One would hope this may translate into a more universal reading of their content and desire to eradicate war globally. Certainly we hope for this as we move towards other works, arguably some of the most identifiable Vietnam images including Eddie Adams' Gen. Nguyen Ngoc Loan, South Vietnamese Chief of the National Police, Fires his Pistol into the Head of Suspected Viet Cong Official Nguyen Van Lem on a Saigon Street Early in the Tet Offensive; Malcolm Browne's Buddhist Monk, Thich Quang Duc Burns Himself to Death on a Saigon Street to Protest Persecution of Buddhists by the South Vietnamese Government; and Nick Ut's Severely Burned in an Aerial Napalm Attack, Children Run Screaming for Help Down Route 1 Near Trang Bang, Followed by Soldiers of the South Vietnamese Army's 25th Division.

As generations age the stories that accompany these images carry more and more weight as a legacy of memory entangles and invests them. The baggage around these images is heavy, and the scar of the War weighs on us. This is where the duality of the exhibition adds to the delicate balance and handling of the subject. Steven Kasher Gallery was thoughtful to couple the Associated Press images with works by Leo Rubinfien taken after the War between 1984-1987.

Rubinfien's images are of a different Southeast Asia; they are full of as much vibrance and life as they are with scars of war. There is a sense of active healing. While we find the ruins of a home, a tank, and gun tower they are skeletal and abandoned. They are what remains to remind us of what is past, but they are not themselves current. We see life pushing back through devastation. More importantly we see scenes from daily life- bar girls on an evening out, children at play, and a hand in carefree motion against a street scene as if enjoying the breeze of a simple day. These works add levity and hope to the mix of emotions stirred by these riveting shows.

For more information on these exhibitions and related events please visit Steven Kasher Gallery

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Artist's Opening Reception: Chris Regas at PDNB Gallery

Posted By Administration, Friday, October 11, 2013
Updated: Monday, October 14, 2013
Exhibition Dates: October 12 - November 16, 2013

Artist Opening Reception:
Saturday, October 12, 2013
5:00 - 8:00 PM

Related Event: Gallery Talk by fellow photographer
Paul Greenberg
Thursday, October 24
6:00 pm

Chris Regas, The Crossing, C. 1960, Courtesy of PDNB GalleryChris Regas' work belongs to time, and some of the pieces in this Dallas-based photographer's retrospective at PDNB Gallery seem even older than their respective dates. The desert landscapes and their dust storms, cantinas with paint-peeling walls, windmills on the distant horizon, and ranchers at work exist in black and white frames that could be from decades ago. We feel an instant and honest connection between Regas and his subjects, but more than that we feel a true dedication to preserving a place and its history.

Regas has been making and exhibiting work nationally and internationally for over 50 years. His work is in the permanent collections of the Harry Ransom Center at the University of Texas, the Museum of Art in Tyler and Wichita Falls. Beyond his own work he championed the photographic media in Dallas and early on contributed to the Dallas 3rd Sunday exhibitions near Fairpark. He and others called out for the need of a gallery in Dallas dedicated solely to photography, and these efforts resulted in the founding of Allen Street Gallery.

For more information on this exhibition, please visit PDNB Gallery

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