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Max Kozloff: The Music of Faces at Steven Kasher Gallery

Posted By AIPAD, Wednesday, November 11, 2015

Max Kozloff: The Music of Faces

Exhibition: November 8th – November 24st, 2015


Steven Kasher Gallery is pleased to announce a special exhibition of portraits by renowned photographer and art critic Max Kozloff. Max Kozloff: The Music of Faces is held in conjunction with Max Kozloff and the Unfolding of Photography Criticism, a symposium honoring Kozloff’s distinctive career as an art and photography critic and artist at the School of Visual Arts on November 8. Max Kozloff: The Music of Faces features a set of intimate portraits of Kozloff’s friends, many renowned artists and writers in their own right.

Kozloff’s 40-plus years of observation, consideration, and pursuit of meaning will be celebrated by well-known authorities speaking to some of his major concerns. Sandra Phillips, Senior Curator of

Photography at the San Francisco Museum of Modern Art, will address his concentration on street photography; the author and scholar Phillip Lopate will discuss Kozloff’s observations on portraiture; the celebrated photographer Duane Michals will speak on Kozloff the photographer; Robert Storr, well-known curator, critic and current Dean of the Yale School of Art, will position Kozloff’s contributions to the field of art and photography criticism. Lyle Rexer, writer and critic, will serve as moderator for the symposium.


Kozloff began taking photographs in 1976 after switching his field from art criticism to writing on photography. His photographs were first presented at the Holly Solomon Gallery, NY, in 1977. He has had several one-person and group exhibitions in over half a dozen countries, most notably the exhibition Max Kozloff: Critic and Photographer at the Art Institute of Chicago in 2013 and Max Kozloff: New York Over the Top at Steven Kasher Gallery in 2014.


“The subjects of my portraits from the 1980s were writers and artists, friends illumined by their personal style. Hoping to catch some flash of that style, I visited them at their homes, only to find myself on a blind date with a problem called available light. How to keep those sensitive figures from receding into shadow, yet retain enough of its depth to dramatize their presence? My portraits had to sustain themselves, as much through their pictorial responsibilities as by their depiction of faces. That is why color and pattern play a role in these images alongside questioning gazes, introspective moods, and singular gestures. It was a question of harmonizing structure and circumstance at short, formal, nervous notice. With little interest in known genres, I proceeded in one-on-one encounters with sitters who may have been sympathetic or vexed by the spectacle of a photographer fumbling with a tetchy camera, while, for his part, he liked the possibility that they were unaware of becoming a spectacle themselves. “


Max Kozloff is one of the most important figures in the fields of art and photography criticism. Within three years of his Master’s degree in Art History from the University of Chicago, he became the art critic for The Nation (1961-68), the New York correspondent for the magazine Art International (1961-64) and later moved from Associate to Contributing to Executive Editor at Artforum (1963-1976), a magazine founded in 1962 with the express intent to move US art criticism into an intellectually rigorous form.


Kozloff’s first book, a monograph on Jasper Johns (Abrams) was published in 1969. He has published 15 books to date in addition to contributing numerous essays to artist monographs. His 1969 anthology of critical writings,Renderings: Critical Essays on a Century of Modern Art, was one of the first to call attention to the inadequacy of current forms of criticism to deal with the new art forms of Pop and Minimalism.


He has been the recipient of fellowships from Pulitzer, Fulbright, the Guggenheim and the National Endowment for the Arts for critical writing in the arts. The College Art Association (CAA) awarded him its highest award for art criticism and the International Center for Photography (ICP) awarded him its prize for excellence in writing on photography. He has held teaching positions at the University of Chicago, the Cooper Union, Queens College, Yale University, the Chicago Art Institute, UCLA and from 1989-2000 at the School of Visual Arts (SVA), New York in the MFA Photography, Video and Related Media department.


For more information on the exhibition click here.




For F

Tags:  Max Kozloff  Steven Kasher Gallery 

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The American West on Display at Danziger Gallery

Posted By AIPAD, Monday, November 9, 2015

For the photographer Ian Ruhter, whose first New York show opens tomorrow at Danziger Gallery, success has come from climbing into his work. “The game-changing moment came when I realized I could be the camera. I could be the mechanics of it,” Ruhter says. From inside the lens of a delivery truck converted into a camera, Ruhter becomes the machine’s very manual settings: the shutter and the processor, and also the “film,” which he makes from scratch on sheets of aluminum up to five feet wide. (Light-sensitive collodion plates, once wet, need to be exposed and developed in a matter of minutes, but the whole set-up takes about a day for a single image.) “It takes so much time,” he says, of choosing not to “jump out of a car and take a selfie” at a lookout. “It really makes me sit there and be part of the environment, and suck it up and enjoy.”


Read the rest of this article in The New York Times by clicking here.

Tags:  Danziger Gallery  Ian Ruther 

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Wayne Gudmundson: Trees of Burgundy

Posted By AIPAD, Friday, November 6, 2015
Joseph Bellows Gallery is pleased to announce its upcoming exhibition, Wayne
Gudmundson: Trees of Burgundy. This exhibition will open on November 7th
and continue through December 23rd, 2015. A reception for the artist will be held
on Saturday, November 7th, from 6 – 8 pm. Accompanying and complementing
this solo exhibition will be a group themed show, entitled Regarding Trees. It
will feature a remarkable collection of both vintage and contemporary tree images
by a selection of the medium’s most celebrated photographers.

In the exhibition Trees of Burgundy, Gudmundson depicts the beauty of the
French countryside through observing the tree-lined roads within Saizy, a small
farming community in the Burgundy region of France. In his eloquently organized
photographs, he shows the viewer how these trees interact with, and in some
measure create the landscape to which they belong; a richly layered landscape that
suggests the possibility of narrative, real or imagined.

Wayne Gudmundson is a highly regarded photographer whose work has been
written about by such luminaries in the field as Robert Adams, Ben Lifson, and
Frank Gohlke. His photographs have been featured in numerous books including
his 2007 monograph, A Considered View: The Photographs of Wayne

Gudmundson’s photographs are in several prominent collections, including: the
Museum of Modern Art, Center for Creative Photography, Plains Art Museum, and
the San Francisco Museum of Modern Art.

Serving as a counterpart to Gudmundson’s exhibition, Regarding Trees will
comprise a diverse survey of exceptional tree photographs. The exhibition presents
vintage and contemporary works that encompass many styles and processes of
picture making. It will feature photographs by: Ansel Adams, Edward Weston, Paul
Caponigro, John Szarkowski, Barbara Bosworth, Gregory Conniff, Linda Connor,
Koichiro Kurita, Ben Nixon, Debbie Fleming Caffery, Rhondal Mckinney, Tom
Zetterstrom and others.

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Thomas Roma: In the Vale of Cashmere

Posted By AIPAD, Thursday, November 5, 2015

Thomas Roma: In the Vale of Cashmere
Exhibition: October 29th – December 19th, 2015


Steven Kasher Gallery is proud to present Thomas Roma: In the Vale of Cashmere. This exhibition of Roma’s most recent project consists of an intricate sequence of 75 black and white portraits and landscapes photographed in a secluded section of Prospect Park, a meeting place where black, Latino and other gay and bisexual men have long sought one another out to fulfill their wish for community and to satisfy sexual desire. This is Roma’s first major New York exhibition of new photographs since his acclaimed solo exhibition Come Sunday at the Museum of Modern Art in 1996. The book In the Vale of Cashmere will be published by powerHouse Books in conjunction with the exhibition.


Roma is one of the most critically acclaimed photographers of our times. A Bard of Brooklyn, Roma is a poet-photographer who has been making profound images about the people and places of his native city since 1969. Fourteen books of his photographs have been published, almost all of them taken in Brooklyn. Henry Louis Gates, Jr., Director of African American Research at Harvard University, has said of Roma’s work: “These brilliant photographs, capturing the dialectic between desire and disappointment, anxiety and comfort, ultimately remind us of our own continuous rites of passage as human beings. Roma’s photographs are truly saving graces.”


With In the Vale of Cashmere, Roma brings us into a little known Eden, one that has been quietly thriving for decades. Roma’s portraits of men set in an uncanny urban wooded landscape carry a history of New York and Brooklyn that predates and parallels the gay rights and civil rights movements. Roma brings us into a secret world, giving us the opportunity to consider the individual with sensitivity and respect while also engaging in a larger discussion of race, gender, sexuality, and class in an increasingly gentrified New York.


In 2008, Roma decided to bring his camera to the Vale of Cashmere, a section of Prospect Park he had frequented decades ago. Over the course of years of weekly visits, he approached the men there, introducing himself and explaining why he was taking pictures. Nine out of ten times Roma’s request to make a portrait was declined; it was from that tenth ask that the intense portraits in this exhibition come.


In the Vale of Cashmere was created as a memoriam to Carl Spinella, one of Roma’s closest friends, who died in Tom’s arms of AIDS in 1992. Roma first met Spinella in 1974; a year later they were roommates living on Dean Street in Brooklyn. Spinella had been instrumental in bringing Roma to his native Sicily in 1978 so that Roma could discover his ancestral roots. (These images were later published as the book Sicilian Passage.)Their bond was so close that Tom often would drive Spinella to the Vale of Cashmere and sometimes pick him up at the the drop-off site, an act of faith in a time before cell phones, when who knows what could happen in the woods. It was to those woods that Roma returned alone in 1996. Tom’s son Giancarlo (named after Spinella) was a baseball player who played up to 120 games a year, many at the Parade Grounds in Prospect Park right across the street from the Vale of Cashmere. Roma noticed his son sometimes played better when his father was not around, and started taking walks in the Vale in memory of Spinella. Eventually his photography there began.


The book is accompanied by an essay by G. Winston James, a Jamaican-born poet, short fiction writer, essayist and editor, himself a frequenter of the Vale. James places Roma’s work in the context of the history of gay cruising and gay life in New York. During the show we will host a panel discussion with James, Roma, Sarah Meister of MoMA, and possibly Henry Loiuis Gates, who wrote the beautiful essay accompanying Roma’s book Come Sunday.


Roma has published over a dozen monographs including: Come Sunday (with an introduction by Henry Louis Gates, Jr.), Found in Brooklyn (with an introduction by Dr. Robert Coles), Sunset Park (with an afterward by Richard B. Woodward), Higher Ground (with an introduction by Ian Frazier), Enduring Justice (with an introduction by Norman Mailer), Show & Tell (with text by Giancarlo T. Roma), Sanctuary (with and introduction by Henry Louis Gates, Jr.), Sicilian Passage, In Prison Air (with an introduction by John Szarkowski), On Three Pillars (with text by Phillip Lopate), House Calls with William Carlos Williams, MD (with an accompanying text by Dr. Robert Coles), Dear Knights and Dark Horses (with an introduction by Alec Wilkinson), and The Waters of Our Time with a text by Giancarlo T. Roma.


Roma’s work has appeared in one-person and group exhibitions internationally, including one-person shows with accompanying books at the Museum of Modern Art, the International Center of Photography, and the Wallach Gallery at Columbia University, NY. In 2003 he received a New York City Council Proclamation for contributions to the cultural and educational life of New York City, and in 2011 Roma received the Ellis Island Medal of Honor. He is a two-time recipient of Guggenheim Fellowships (1982 and 1991) and received a New York State Council for the Arts Fellowship in 1973.


Roma has taught photography since 1983 at Yale, Fordham, Cooper Union, and The School of Visual Arts. In 1996, he became the founding Director of the Photography Program at Columbia University School of the Arts where he is a Professor of Art.


Roma’s work is in numerous collections, including the Museum of Modern Art, New York, the San Francisco Museum of Modern Art, the Art Institute of Chicago, the Los Angeles County Museum of Art, and the Canadian Center for Architecture, Montreal. He was a founding contributing photographer to DoubleTake Magazine. Roma lives in Brooklyn with his wife Anna.


Thomas Roma: In the Vale of Cashmere will be on view October 29th – December 19th, 2015. Steven Kasher Gallery is located at 515 W. 26th St., New York, NY 10001. Gallery hours are Tuesday through Saturday, 10 AM to 6 PM. For press inquiries, please contact Sara Rosen, For all other inquiries, please contact Cassandra Johnson, 212 966 3978,

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Brea Souders: Hole in the Curtain at Bruce Silverstein Gallery

Posted By AIPAD, Wednesday, November 4, 2015

Brea Souders: Hole in the Curtain

October 29 – December 23, 2015


Bruce Silverstein Gallery is pleased to present Hole in the Curtain, the gallery’s second solo show of new works by Brea Souders. The exhibition is comprised of portraits and abstract compositions that further Souders’ interest in fragmented narratives, the inchoate versus the fully formed, and the uncontrollable nature of time. Distinct from the symbolic portraits comprising her Counterforms series, in this new work Souders taps into the burlesque of humanity, depicting characters that blur the line between biographical and fictive.


For more information on this show click here.

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