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New Yorker Review: Simon Norfolk at Benrubi Gallery

Posted By Administration, Thursday, October 13, 2011
Updated: Thursday, January 2, 2014
DATE: October 13, 2011


Bruke + Norfolk


Through December 3, 2011


The battle between progress and regress is highlighted in the new work of Simon Norfolk. The title Bruke + Norfolk tributes the work of John Bruke and anchors a line in history that Norfolk carries with his images into the present. Both British photographers covered Afganistan, Burke in the late 19th century and Norfolk today. This immediate reference to history combined with Norfolk's journalistic approach forces viewers to call process, progress, and the war itself into question. The color work is clearly from our time, but the sepia-toned images almost want to trick us. Questions are introduced when we find ourselves wondering when the images were taken. Even as we recognize the flight crew and airplanes are contemporary, the women's basket ball team and skate boarders must be of our era, yet we still have the sensation that something is trapped in the past. History becomes a defining factor in the work as we look back to Bruke and our anchoring reference- yes, progress has been made and greater equity achieved but war, past and present, remains a thorn in the side of Afganistan.

New Yorker Review

More on the exhibition at Bonni Benrubi Gallery

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New Yorker Review: Hellen van Meene at Yancey Richardson

Posted By Administration, Wednesday, October 12, 2011
Updated: Thursday, January 2, 2014
DATE: October 12, 2011

Through October 22


Image
Hellen van Meene, Untitled #366, 2010, © Hellen van Meene,
Courtesy of the artist and Yancey Richardson Gallery
 
Image
Hellen van Meene, Untitled #368, 2010, © Hellen van
Meene, Courtesy of the artist and Yancey Richardson Gallery
 
Image
Hellen van Meene, Untitled #379, 2010, © Hellen van
Meene, Courtesy of the artist and Yancey Richardson Gallery
 
New work by Hellen van Meene continues her decades long affair with the portrait. Clean clear light and rich indulgent shadows make the Vermeer-like appearance engaging and alive. The space seems charged around the timid figures. There is a quietness about the subjects, young adolescent girls from the artist's home town of Heiloo, The Netherlands. Each sitter seems caught in a moment of self reflection and they do seem to be on the brink of change- a moment of transition and it is as if we have stumbled upon their own discovery and exploration. Some engage us with their eyes directly, others seem not to notice at all, and a few seem to be caught in a moment of fantasy at their own evolution.

Also included are portraits of animals; these works are a new subjects for Meene, and a marked new turn for her work.

New Yorker Review

For more information on the exhibition please visit Yancey Richardson Gallery


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New Yorker Review: Lori Grinker at Nailya Alexander

Posted By Administration, Wednesday, October 12, 2011
Updated: Thursday, January 2, 2014
DATE: October 12, 2011


Distant Relations

Exploring personal and universal Jewish diaspora before and after the Holocaust

Last chance: Exhibition through October 15


Lori Grinker engages personal history of her family's diaspora before and after the Holocaust; the work's power is proven in its ability to transcend the personal and symbolize a greater pattern. In Distant Relations Grinker traveled to Lithuania (2002), South Africa (2005), Ukraine (2008), and the US (2011). This is only the beginning of a larger project, for Grinker plans to voyage to Argentina, Israel, the United Kingdom and Germany to expand upon the work.

Images are intimate, quiet, and reflexive. We sense an unexplained familiarity with each frame, and we long for the ability to remember. Though scenes often lack a figure we feel a presence around us that we desire to engage. The works are not formulated, rather all encompassing- landscapes and homesteads, bureaus and vanities, street scenes and interiors, portraits and larger scenes of children at play. The diversity of frames leads us to believe deeply that a genuine truth was boiled to its essence the moment each space, face, or snippet was captured.

New Yorker Review

For more information on Lori Grinker, the exhibition, or work please visit Nailya Alexander Galelry




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Book Signing & Discussions: Philipp Scholz Rittermann at Scott Nichols Gallery

Posted By Administration, Thursday, October 6, 2011
Updated: Thursday, January 2, 2014
DATE: October 6, 2011

Navigating by Light
The Emperor's River
Photographing Along China's Grand Canal
Through October 29, 2011

Book Signing
Thursday, October 6th
5:30-7:30pm

Artist at the gallery to sign copies of his book Oct. 6 - 8


Works from Philipp Scholz Rittermann's new series, The Emperor's River: Photographing Along China's Grand Canal are elegant and expansive. The panoramic format and palate of the work is well chosen. Something traditional, historic, and narrative is evoked, as broad frames become reminiscent of scrolls. The work is honest and revealing; we have the impression we are looking through time- backward and forward. This is a genuine window onto the actual evolution of China.

Images were taken in 2009 along the world's longest man-made waterway, the Grand Canal. Winding over 1,000 miles between Beijing and Hangzhou there is much to be seen. The story of China itself seems to be revealed in Scholz Rittermann's frames. Ancient bridges arch gracefully over waterways, rural port towns bustle day and night with activity, locals rest in pavilions, power plants loom over evening streets, and new high rises push upward and outward. These are more than images, these are true experiences in time and place.

Visit the show and meet the artist in person- Philipp will be in the gallery Oct. 6 - 8 to discuss his photography as well as sign copies of his book Navigating By Light. If afar, please visit the exhibition online at Scott Nichols Gallery.

For more information on the exhibition and related events visit Scott Nichols Gallery

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Artists' Reception: Wayne Barrar at McNamara Gallery

Posted By Administration, Thursday, September 29, 2011
Updated: Thursday, January 2, 2014
ATE: September 29, 2011

Torbay ti kouka

Artists' Reception: Saturday, October 8, 2011
5:30 pm

Exhibition on view through October 28


International transplantation and identity are at the core of Wane Barrar's new work. It was standard practice for British colonizers to bring a bit home with them as they populated new lands. Flora and fauna were transplanted from Great Brittan to New Zealand, but this photographic study takes interest in places of reverse transplantation.

Image
Wayne Barrar, The illuminations #3, Torre Abbey
Gardens in Torquay, England 2011/2011/1/10, Courtesy of McNamara Gallery
 
Image
Wayne Barrar, Union Jack and sole cordyline,
Devon, England 2011/2011/1/10, Courtesy of McNamara Gallery
 
Image
Wayne Barrar, Line of cordylines and clearance, Ruamahanga
Cutoff, (New Zealand) 2011/2011/1/10, Courtesy of McNamara Gallery

The Cabbage Tree or Ti Kouka of New Zealand is known in England as the Torbay Palm. The tree is often present in New Zealand's colonial art and has become a symbol of national identity, yet its appearance in South West cities of England, Devon and Cornwall surprised the artist and set him to work exploring other areas of reverse pollination. On a borader level the series addresses questions of place-making and constructions of site identity.

For more information on the exhibition please visit McNamara Gallery


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