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Artist's Opening Reception: Chema Madoz at Galerie Esther Woerdehoff

Posted By Administration, Thursday, January 23, 2014

Recent Work 


Exhibition Dates:  February 12 - April 5, 2014


Opening Reception with the Artist:  

February 12, 2014

6:00 - 9:00 pm


"Madoz lives in a mirror and sees the world head upside down, and backwards”     

                                                         -  Duane Michals, Photographer


The Spanish-born photographer Chema Madoz is self-taught, and perhaps it is for this personal, rather than conventional training, that he has been comfortable to follow his own vision, rather than flow with the currents in contemporary practice. Madoz continues to dedicate himself to his own way of seeing; he collects found objects that he repurposes, and plays with to invent new realities.  These everyday objects elevate beyond their banality to become poetic, symbolic, and surreal compositions.  One could say that Madoz is a visual poet who blurs the line between belief and reality or defies the laws of physics and realism.  


Works are playful and profound, at times they seem to jab at age-old questions, like the chicken or the egg debate.  In one image we find the head of an ostrich sunk into a proportionally oversized egg.  This work inspires both thought and a bit of laughter.  Other images feature a giant butterfly becoming a bird, or a music partition as venetian blinds. The photographer also presents new hybrid works, where he creates compositions around eye drawings, which are reminiscent of scientific boards and engage a surrealistic approach.  


For more information on the exhbition, please visit Galerie Esther Woerdehoff.

Tags:  Chema Madoz  Galerie Esther Woerdehoff 

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Exhibitions to Watch: Nan Goldin at Frankel Gallery

Posted By Administration, Tuesday, January 14, 2014
Updated: Monday, January 20, 2014

Frankel Gallery makes Mutual Art's top 10 list of exhibitions to watch with Nan Goldin: Nine Self-Portraits

Through March 8, 2014

Nan Goldin: Nine Self-Portraits features recent photographs never exhibited before, as well as diaristic and contemplative works spanning back to the 1990s. With her characteristic rich colors, deep shadows and lush textures, Goldin shares very personal images of desire, intimacy and introspection.

The exhibition runs concurrently with Peter Hujar: Love & Lust. Goldin is also among the many photographers influenced by Peter Hujar. As she wrote in the 1994 catalogue Peter Hujar: A Retrospective, "He was a magician, he hypnotized his subjects. He never forced exposure, he seduced people to want to reveal all to him." She added, "He taught so much to me and everyone who knew him…we went through periods of trying to work in each other's style. I think it changed both of us."


Nan Goldin, In my hall, Berlin, November 2013, Courtesy of Frankel Gallery

For more information, please visit Frankel Gallery











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Wall Street Journal Review: Marc Riboud at L. Parker Stephenson Photographs

Posted By Administration, Friday, January 10, 2014
Updated: Monday, January 20, 2014

ImageHuang Shan Mountains of China

Through February 15, 2014

Mark Riboud's 'Huang Shan' (1989) Courtesy of L. Parker Stephenson Photographs

One of the first Western photographers allowed entry into Communist China, Marc Riboud was enchanted with the country, its people, and its paysage. Riboud's first trip to China was in 1957, and he made return visits in 1965, 1971, 1979, and throughout the 1980's and 1990's. Over 40 years Riboud documented the fast-moving changes happening within the country, and his dedication to the subject has made him the most authoritative non-native visual voice on the subject.

Most of his work was shot in black and white and focused on the people, but this exhibition by L. Parker Stephenson Photographs brings a different selection of work by Riboud into focus: a series on the Huang Shan mountains shot with color film in the 1980's. The dye transfer print process employed by Ribould for this body of work are typically celebrated for the rich even saturated colors they are capable of producing. His Huang Shan mountains however are subtle, and may at a distance first may appear black and white, but subtle shifts in the mountain peeks and sky reveal a muted but broad palate. Ribould's images capture rugged peaks emerging from the fog, twisting branches against the sky, and dream-like tree-lined pathways, vignetted figures in the distance. All of the mystery and poetics of a place that has inspired artists and poets for centuries can be found in the work of Ribould.

For more information on this exhibition, please visit L. Parker Stephenson Photographs

Wall Street Journal Review

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Artist's Reception: Han Nguyen at Joseph Bellows Gallery

Posted By Administration, Friday, January 10, 2014
Updated: Monday, January 20, 2014

ImageTracing Shadows

Exhibition Dates: January 11 - March 1, 2014

Opening Reception with the Artist:
Saturday, January 11
6:00 - 8:00 pm

Tracing Shadow #29, 2010 unique photogram on gelatin silver paper, Courtesy of Joseph Bellows Gallery

Vietnamese-born artist Han Nguyen moved to the United States in 1975, and it was in California that he discovered his love for photography. Nguyen's work is delicate, elegant, and minimal, and has exhibited in numerous solo and traveling group exhibitions, most notably Picturing Eden organized by the George Eastman House, and Beyond Boundaries: Contemporary Photography in California, organized by the Friends of Photography. This exhibition marks his third with the Joseph Bellows Gallery, and again we find Nguyen employing simplistic methods and modest means of production to elevate seemingly mundane forms.

For Tracing Shadows Bellows presents Nguyen's work in groupings, grids, and a few select large-scale prints. The selection is drawn from new work that, in keeping with earlier series, is both tangible and out of reach. Photograms reveal only the trace of things; the image is made by the shadow of form. There is a sense of transference and mark-making of this kind is both deliberate and illusive. As uniques the works are object-like, and while they validate the referent they also allow it to transcend its own form. Nguyen's practice relates to the work of Fox Talbot and Blossfeldt, but still manages to speak to the present. We may find ourselves remembering the fleeting nature of our own existence and seeking out our own shadow for proof.

For more information on the exhibition, please visit Joseph Bellows Gallery

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Artists' Opening Reception: Kevin Cooley & Phillip Andrew Lewis at Kopeikin Gallery

Posted By Administration, Wednesday, January 8, 2014
Updated: Monday, January 20, 2014


ImageExhibition Dates: January 11 - February 22, 2014

Reception with the Artists:
Saturday January 11
6:00 - 8:00 pm

 Kevin Cooley NROL-65 Spy Satellite Launch, archival pigment prints, four 12x18" photographs, ed of 4+1AP, 2013, Courtesy of Kopeikin Gallery
ImageKevin Cooley Controlled Burn 1, Controlled Burn 3, 40x60" archival pigment print, ed of 4+1AP, 2013, Courtesy of Kopeikin Gallery

This multidisciplinary exhibition goes beyond the photographic image to include photograms, videos, and works on paper. Kevin Cooley, with Phillip Andrew Lewis as collaborator on some works, designed Unexplored Territory to chart the limits of human exploration and our desire to control and conquer nature. Both rudimentary and complex themes are touched, and subjects run the gamut from the symbolic and early use of fire to its harnessing and calculated management, such as the combustion needed for a rocket launch. Kevin Cooley also engages historic even romantic notions of colonial exploration of the American West, and find ways to elevate every day objects such as box fans and helium balloons by giving them human-like characteristics through movement and interactions.

At times the work seems simple; more correctly stated it is pure, elemental, and instantly communicates. It is also deeply layered with truth often guised or simplified by abstractions of technology. Contradiction and equal opposition is also used to drive our thought. Controlled Burn 1, for example, is primal and intense. Even in our contemporary world we humans have an instinctual draw to fires. In Cooley's Controlled Burn 1 we are met by two frames: in one brilliant orange flames give rise to grey billowy smoke against black ground, and in its partner-image heavy smolder overwhelms flame, and thick ripely smoke moves like tar-black waves upward agains a snow-white ground. This is one of the most potent works in the series. It gives foundation and becomes symbolic for what would become more sophisticated exploration, control, management, and division. Somehow lurking in the back of our minds is the thought that these works represent human-imposed systems, and somewhere these elements and forces of the natural world exist without control- or could.

About the Artists:
This is Los Angeles-based artist Kevin Cooley's second solo exhibition with The Kopeikin Gallery, which runs concurrent with Kevin Cooley: Elements at the Museum of Photographic Arts in San Diego. Cooley's photographs were recently acquired by the 21c Museum (Louisville, KY), and he is a 2013 recipient of a Center for Cultural Innovation ARC Grant (Los Angeles, CA). Phillip Andrew Lewis is an interdisciplinary artist based in Chattanooga, Tennessee. He is a recipient of a 2012 Creative Capital Grant for his ongoing project SYNONYM. Both artists were in residence at The Bemis Center for Contemporary Arts, (Omaha, NE) where they met and began working together. Cooley and Lewis' first collaborative commission Through the Skies for You won the 3-D Award at ArtPrize 2013 (Grand Rapids, MI) and their exhibition as a collaborative team will open at Zeitgeist Gallery (Nashville, TN) March 2014.

For more information on the exhibition, please visit Kopeikin Gallery

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