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New Yorker Review: TWO OF A MIND at Laurence Miller Gallery

Posted By Administration, Wednesday, October 24, 2012
Updated: Friday, January 3, 2014

RAY K. METZKER: Pictus Interruptus
RUTH THORNE-THOMSEN: Expeditions

Through November 17, 2012


Coinciding with a major retrospective of Metzker's work at the J. Paul Getty Museum, Los Angeles

Two of a Mind brings together the work of the husband and wife duo Ray Metzker and Ruth Thorne-Thomsen for the first time. Their explorations with and challenges of the photographic medium share overlapping approach; both sought to call into question the sense of truth or reality that for many was part and parcel of the medium. While stylistically the two spoke with unique voice, the intent and means were shared.

Both artists introduced foreign objects into their frames. Laurence Miller Gallery pairs works made between 1976 and 1991. From Metzker come images from his Pictus Interruptus series, and from Thorne-Thomsen come works from her Expeditions and Door series, as well as Prima Materia and Songs of the Sea series.

The high-contrast even graphic frames of Metzker are of cities and land- expanses of space that

become interrupted by cool planes, deep shadows, fragments of appropriated images and more. The effect is at times playful as in Pictus Interruptus (77FW60), 1977, at times easily defined as in Pictus Interruptus (77FB22), 1977, and in some moments even hard to distinguish as in Pictus Interruptus (78BW19), 1978. Space begins to push and pull- volume and flatness become fluid and continue to redefine before our eyes as we effort to determine what it is that we are being presented with.

Thorne-Thomsen's prints are full of mystery, allure, and other worldliness. Made with a pinhole camera their appearance is soft and illusive- the lines seem unfixed, and the artist's inclusion of trinkets, toys, ornaments and charms shift perception. We discover our desire to believe in the impossible vignettes in the same moment we know they are fabricated. Truth shattered, a new reality is created, an intangible mythic reality that enchants and calls for us to frame with story.

The questions of "what" and "how" emerge in all the works we find in Two of a Mind. This dialogue is no longer new, but we experience with fresh eyes the success of the artists intent for us to question the reality of or truth to the photograph. While we appreciate these works for their accomplishment, we know too that the larger purpose was to carry this revelation with us whenever we gaze at a photographic image.

For more on this exhibition please visit Laurence Miller Gallery

Information on the Metzker retrospective at the J.Paul Getty here.

New Yorker Review

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Artist's Reception: Takeshi Shikama at Alan Klotz Gallery

Posted By Administration, Wednesday, October 24, 2012
Updated: Friday, January 3, 2014

HOKKAIDO
and other recent work

Exhibition Dates: October 26 - November 30, 2012

Reception with the Artist:
Friday, November 2
6:00 - 8:00 pm


One could say that the artist Takeshi Shikama has spent a lifetime embracing new things. Though he dedicated most of his life to a career in design he turned to photography about a decade ago and didn't look back. His work has exhibited internationally in Japan, Europe, and the United States. Another new discover for Takeshi was an interest in nature, and the forest. A city-dweller he did not spend much of his life in nature, and perhaps it was his camera that inspired him to walk with more careful, attentive steps into the woods. The impact they have made on his life is evident in his work- and the images of the quiet elegant forests of Japan. The spirit of the forest comes alive in his prints that root in the tradition of forest detail, as seen in works by the artists Eliot Porter and Paul Caponigro. Rather than attempt to absorb the whole, Takeshi alludes to it through detail. It is the surprising little pieces that make his experience and our viewing come alive. We engage with curiosity and a sense of discovery and have the sense that we too are walking the forest paths.

The quality of the hand applied, platinum and palladium emulsion prints, on hand-made Japanese Gampi paper is unmatched. Lush, rich, and begging for us to approach to appreciate the fine detail of surface- even the printing choice is a perfect fit for the work.

For more information on the exhibition, please visit Alan Klotz Gallery

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Artist's Reception: Jitka Hanzlová at Yancey Richardson Gallery

Posted By Administration, Tuesday, October 23, 2012
Updated: Friday, January 3, 2014

There is something I don't know

Exhibition Dates: October 25 - November 24, 2012

Opening with the Artist:
Thursday, October 25
6:00 - 8:00 pm


Jitka Hanzlová new series is an hommage to the Quattrocentro portraits and is a continuation of her timeless style. There is a definite quality that bridges the model and the referent- the lighting, the rich shadow, the honorable gaze or dignified pose, and something always too that remains undefined. Sometimes we begin identify connections between past and present by a hairstyle, a necklace, a collar-line or just the shape of the face itself. Though factors shift and change from one print to the next, Hanzlová is onto something. The works catch us with immediacy and hold us as we take a sumptuous second look. We see a parallel in time- a something that we can only define in words as an overlap. With this work as with others Hanzlová causes time to stop and even fall away.

There is something I don't know is Hanzlová's first solo show at the gallery. A major retrospective of Hanzlova's photography from the last two decades was organized by Fundación MAPFRE in Madrid this spring and has travelled to the National Galleries of Scotland, where it will be on display through February 3, 2013.

For more information on the exhibition, please visit Yancey Richardson Gallery

Related Event:
The Photographers Lecture Series: Talk at ICP
1114 Avenue of the Americas

October 24, 2012
7:00 pm

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Artist's Reception: Lee Friedlander at Pace/MacGill Gallery

Posted By Administration, Monday, October 22, 2012
Updated: Friday, January 3, 2014

Dual-Venue Exhibition
With new work from Mannequin being featured at Pace/MacGill

Exhibition Dates: October 26 - December 22, 2012

Opening with the Artist:
Saturday, October 27
2:00 - 4:00 pm


American photographic legend Lee Friedlander will be featured in a dual-venue exhibition. Both displays will be presented at 32 East 57th Street, NYC- the second floor gallery will focus on iconic nudes from the late 1970's to early 1990's and Pace/MacGill Gallery on the ninth floor of the same 57th street address will feature images from a new body of work, Mannequin.

Friedlander is celebrated for his dedication to recording the American social landscape; he has been doing so since 1948. His work first came to the public's attention when it was included in the 1967 New Documents exhibition at The Museum of Modern Art and has never faded. With the continued support of international museums- through exhibition and collection; production of over 30 monographs; and awards of numerous honors, grants, and fellowships Friedlander has thrived. The work is more than deserving- his compositions are tight and dynamic, his use of juxtaposition playful and poignant. His subjects touch on the photographic media's "most central motifs from landscapes, street scenes, and interiors to nudes, portraits, self-portraits and still-life's" Friedlander has left no stone unturned, no genre untouched. The work has amounted to a view of the American social landscape that is both specific and whole.

In the newest work, Mannequin (2003-2011) Friedlander reemploys techniques from his past. Through the use of reflection Friedlander layers space and invests content. Low vantage images of mannequins in storefront windows of Los Angeles, New York City, and San Francisco underline the American obsession with fashion, and beyond that consumerism. The plastic bodies loom large in the layered frames but the iconic and desirable are here seen critically and become hollowed. The keen and layered sense of Friedlander is as sharp as ever.

For more information on the exhibition, please visit Pace/MacGill Gallery

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Edouard Baldus: First Show in London at James Hyman Photography

Posted By Administration, Monday, October 22, 2012
Updated: Friday, January 3, 2014

Baldus and the Modern Landscape:
Important Salt Prints of Paris from the 1850's


Through November 9, 2012


Baldus and the Modern Landscape marks the first significant exhibition of work by the French photographer in London. The exhibition drew from private loans and includes a selection of available works. Some exhibiting prints were earlier seen in the Metropolitan Museum of Art's 1996 Baldus exhibition, and other important prints were more recently discovered.

Baldus is considered the greatest architectural photographer of the 19th Century, but the works are signifigant on other levels. Their social-historical significance is of obvious interest. The works that form this show document the changes Paris was undergoing in the 1850's- its modernization under Napoleon III and the civic planner Baron Haussman.

In 1851, Baldus was asked by the French Historic Monuments Commission to photograph historic buildings, bridges, and monuments. Many of the commissioned works recorded monuments that would be raised to make way for the new, modern Paris. The show reads as a city in transition. Somehow these pieces paused time, and we are transported back. We are able to recognize many places, but there are just as many moments that seem almost the same, somewhat familiar, or completely altered. This is the joy for the contemporary viewer- to look back to a past with clarity and distinction as we grapple to identify what is and what was.

For more information on the show, please visit James Hyman Fine Art Photographs

Mention in Artdaily

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