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New York Times Review: Christopher Williams at David Zwirner

Posted By Administration, Thursday, November 20, 2014

Christopher Williams:  For Example:  Dix-Huit Leçons Sur la Société Industrielle (Revision 19) 


through December 20, 2014


The idea of photography-as-apparatus has guided Mr. Williams throughout his career.  he has analyzed different genres of photography and literally dissected cameras and photographed their components.  He resumes this project here, with photographs of bisected camera lenses; a professional show rooster depicted in its trained pose; and a half-submerged cooking pan that riffs on cheery product advertisements.  He is not so much altering the program of photography, however, as illustrating and fetishizing it.  His images are meticulous and gorgeous, but programmed to seduce rather than transform.     -Martha Schwendener



Review in the New York Times.

For more information or to preview images online, please visit David Zwirner Gallery.

Tags:  Christopher Williams  David Zwirner 

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Collector Daily Review: Tina Barney at Janet Borden

Posted By Administration, Tuesday, November 18, 2014

Tina Barney Silver Summers' 


Through December 6, 2014



Barney’s silver prints are actually a recent body of work (made in the past decade), and feel like a testing exercise that an established photographer sets for herself to ensure she continues to push on her artistic boundaries… 

As usual, Barney has taken family rituals and turned them into fodder for thoughtful photographic exploration. But her return to black and white is a calculated risk, its constraints challenging her to refine and expand her compositional tactics. While her often ravishing use of color is momentarily missing, her new results are consistently well crafted, her command of the familial stage and its photographic representation no less confident or complete.  - Loring Knoblauch, Collector Daily            



Read the full review in Collector Daily.


Learn more at Janet Borden.

Tags:  Janet Bordon  Tina Barney 

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Chicago Tribune Feature: Sandro Miller at Catherine Edelman Gallery

Posted By Administration, Tuesday, November 11, 2014

Malkovich, Malkovich, Malkovich: Homage to Photographic Masters by Sandro Miller is playful and collaborative.  Not only is this work a hitlist of photo master's and classic images, it is a thrilling collaboration between artist and model, director and actor- Miller and Malkovich.  


In 2013, Sandro decided to do a project honoring the men and women whose photographs helped shape his career. After selecting thirty-five images to emulate, Sandro contacted Malkovich, who instantly agreed to participate. When speaking about Malkovich, Sandro states: “John is the most brilliant, prolific person I know. His genius is unparalleled. I can suggest a mood or an idea and within moments, he literally morphs into the character right in front of my eyes. He is so trusting of my work and our process… I’m truly blessed to have him as my friend and collaborator.”  - Edelman Press


In frame after frame this exhibition celebrates art-historical influences and iconic figures.  It is dramatic and rewarding- we are delighted at every choice, and may even catch ourselves chuckling in gratitude at the breath and scope of the work.  Each image leaves us wanting to see more- another in a series of greatest-hits.  We see this work does more than simply homage.  It explores the authenticity of the photographic image; reminds us of the photographer's intent; and underscores the performative element in photography. We also consider the greater, and ever-evolving, role of the media in culture, as it has been a tool for manufacturing identity and revealing inner sentiments.  We roll all this over as we see the talented Malkovich meld from one personage to another. 


[Malkovich becomes] Mick Jagger, Andy Warhol, Marilyn Monroe, Muhammad Ali, Ernest Hemingway, Salvador Dali, Albert Einstein, Bette Davis, a Dust Bowl mother and a pair of young female twins. Essentially, the actor . . .[slips] — if only for an instant — into the subject of more than two dozen iconic photos, portraits that Miller said "changed the way I thought about photography over the years, pictures that remind me a strong portrait of someone can change the way we think of a person." - Christopher Borrelli, Chicago Tribune



For more information on this exhibition, please visit Catherine Edelman Gallery.

Full Review in the Chicago Tribune.


Image information:

Irving Penn / Truman Capote, New York (1948), 2014

© Sandro Miller / image courtesy Catherine Edelman Gallery, Chicago




Tags:  Catherine Edelman Gallery  John Malkovich  Sandro Miller 

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New Yorker Review: Rectangular Squares at SepiaEYE Gallery

Posted By Administration, Tuesday, October 14, 2014

Rectangular Squares

Through Nov. 1



This group exhibition takes a sweeping breath to include the work of sixteen artists:  Martin Brading, Kevin Bubriski, Gauri Gill, Sunil Gupta, Bhupendra Karia, Nandita Raman, Jungjin Lee, Annu Palakunnathu Matthew, Derry Moore, Osamu James Nakagawa, Katsumi Omura, Beatrice Pediconi, Raghubir Singh, Alex Webb, Rebecca Norris Webb, and Masao Yamamoto.  Together the selections engage the photographic operation of framing.  Photographers capture the world in rectangular or square viewfinders to bring us one reflection of "reality" at a time.  The images offer not only a surprising thematic harmony, but become a reflection on the photographic method itself. 



The premise isn’t too promising, but, at its best, this show of photographs composed as frames-within-a-frame is ravishing. The gallery’s non-Western emphasis lands viewers in some fascinating places, seen intimately by photographers who are insiders, not tourists, including Raghubir Singh, in India, and Masao Yamamoto, in Japan. In one of Nandita Raman’s excellent pictures, a group of men milling about is seen in soft focus through the cracked Plexiglas partition of a movie-house ticket booth—a dreamy apparition.   - New Yorker Review.



Learn more about this exhibition at SepiaEye Gallery



Tags:  SepiaEYE Gallery 

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Review: Duane Michals at Stephen Bulger Gallery

Posted By Administration, Friday, October 10, 2014

Duane Michals

An Exhibition 


through October 18


This exhibition is Duane Michals first at Stephen Bulger Gallery.  Works included were drawn from his nearly 50-year career.  Though Michals describes himself as self-taught, he did have on and off training in the arts as a teenager at the Carnegie Institute in watercolor, and as a young man at Parsons School of Design in graphic design.  His studies were neither formal nor complete, but it is likely they spurred his interest and aptitude in the arts.


Michals is known for challenging the photographic media, its construction, means, and nature.  The images on view with Bulger belong to two main groups: portraits or actions accompanied by text, some in sequence, and found-images embellished with oil paint.  Both veins of work let interior qualities out and encourage us to wonder on deeper levels about the image that confronts us.  Many of the text-accompanied images are of famous artists.  We find the subjects at home or in the studio; in either case they are in their element, and we are allowed an intimate view of a perhaps otherwise untouchable art-history icon.  The works are humanizing and honest.  They can be almost uncomfortably revealing; its as if we are able through Michals' frames to enter the subject's soul.  In an image of Willem de Kooning (1985)  we find the artist before his canvas, contemplating his next stroke.  We are positioned watchfully over his shoulder, and can feel the tension and pressure of the creative process at work.  Andy Warhol is a reoccurring figure in this exhibition, and in a vertical triple-portrait Andy Warhol (1972) we again sense the torment that bubbles up in the artist's soul.  The first portrait is solum and straight-on; the two accompanying shots are blurred by motion as Michals snaps the frames while Andy shakes his head from side to side and his visage distorts.  


In the latter string of images, the found-frames with oil paint, we find Michals' simple geometric additions to be playful and encouraging of open-ended narratives. The works elevate beyond the portrait and simple shapes may allude to games, desires, struggles, or dreams.  It is the viewer who decides how to apply meaning to a grid, a ladder, a dot-pattern, and so on.  Michals works remind us that viewing is subjective; that the "museum image" need not be "neat;" and that the artist's hand can make the work both approachable and expansive. 


For more information on this exhibition, or to view the works online, please visit Stephen Bulger Gallery.

Tags:  Duane Michals  Stephen Bulger Gallery 

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