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Exhibiton: Black Box at the Hirshhorn Museum

Posted By Administration, Friday, February 14, 2014

Santiago Sierra & Jorge Galindo 


February 14 - May 18, 2014

Noted for artworks that question the structure and impact of authority, Santiago Sierra (Spanish, b. Madrid, 1966

staged a performance that similarly invokes images of political leaders. In August 2012 he organized a motorcade of seven black Mercedes-Benz sedans topped with upended monumental portraits of King Juan Carlos I and the six prime ministers of the Spanish democracy by painter Jorge Galindo (Spanish, b. Madrid, 1965; lives and works in London). Bystanders, taken by surprise, posted cellphone documentation, and months later the artists’ multicamera black-and-white edit created a viral sensation.  


for more information on this exhibition, please visit The Hirshorn Museum.


Image Information:

Still from Santiago Sierra and Jorge Galindo’s Los Encargados [Those in Charge], 2012. © Santiago Sierra and Jorge Galindo. Courtesy of Galería Helga de Alvear, Madrid

Tags:  HIrshhorn Museum 

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Lecture: PDNB Gallery's Burt Finger to Speak on John Albok at the Amon Carter Museum of American Art

Posted By Administration, Wednesday, February 5, 2014

John Albok:  A Compassionate Vision


Thursday, February 6

6:00 - 7:00 pm


In Conjunction with the Exhibition

John Albok's Neighborhood

Through February 23, 2014


Hungarian-born photographer John Albok survived hardships.  He survived the Great War that took his father and sister by starvation, the Great Depression, and the Second World War.  No stranger to difficult times his work celebrates the beauty in live's more intimate moments.  Albok worked for 60 years and photographed soulful moments that, unlike the work of his peers which engaged a sense of "otherness," were inclusive and even familial.  It was as if Albok found a way to preserve an elemental humanity in his instants.  His frames still animate us and allow connections between subjects and subjects and viewers to transcend time and the frame.  In100 of a Second, Central Park 1943 we laugh and even jolt at the image of a middle aged woman in a hat who conceals treats from a squirrel on her shoulder.  In From a Gentler Time, 1934 we hear the tune in the air around a guitar circle and find ourselves seated among the audience.  We also find ourselves standing among young boys on street parade- makeshift box-drum and improvised flag in their hands; beside a furloughed soldier who rests in the park with a seeping infant in his arms; or next in line to ride after two girls in a bumper-car at an amusement park.  We know these moments, their joy and laughter, their poetry and symbolism.  Albok's frames are loose and relatable yet still profound; they hold precious moments of a collective past.


This exhibition features 25 rare vintage photographs by the artist; these works were donated by the Artist's daughter and span the years 1932 - 1945.


To learn more about the exhibition, please visit the Amon Carter Museum of American Art.


More on the talk here.

The talk is free and open to the public.



Tags:  Burt Finger  John Albok  PDNB Gallery 

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Exhibition: Charles Marville at the Met

Posted By Administration, Thursday, January 23, 2014

Iconic Photographs of 19th Centuray Paris 

Exhibition Dates:  January 29 - May 4, 2014 


Widely acknowledged as one of the most talented photographers of the nineteenth century, Charles Marville (French, 1813–1879) was commissioned by the city of Paris to document both the picturesque, medieval streets of old Paris and the broad boulevards and grand public structures that Baron Georges-Eugène Haussmann built in their place for Emperor Napoleon III. This exhibition presents a selection of around one hundred of his photographs.

Marville achieved moderate success as an illustrator of books and magazines early in his career. It was not until 1850 that he shifted course and took up photography—a medium that had been introduced just eleven years earlier. His poetic urban views, detailed architectural studies, and picturesque landscapes quickly garnered praise. Although he made photographs throughout France, Germany, and Italy, it was his native city—especially its monuments, churches, bridges, and gardens—that provided the artist with his greatest and most enduring source of inspiration.

By the end of the 1850s, Marville had established a reputation as an accomplished and versatile photographer. From 1862, as official photographer for the city of Paris, he documented aspects of the radical modernization program that had been launched by Emperor Napoleon III and his chief urban planner, Baron Georges-Eugène Haussmann. In this capacity, Marville photographed the city's oldest quarters, and especially the narrow, winding streets slated for demolition. Even as he recorded the disappearance of Old Paris, Marville turned his camera on the new city that had begun to emerge. Many of his photographs celebrate its glamour and comforts, while other views of the city's desolate outskirts attest to the unsettling social and physical changes wrought by rapid modernization.

Haussmann not only redrew the map of Paris, he transformed the urban experience by commissioning and installing tens of thousands of pieces of street furniture, kiosks, and Morris columns for posting advertisements, pissoirs, garden gates, and, above all, some twenty thousand gas lamps. By the time he stepped down as prefect in 1870, Paris was no longer a place where residents dared to go out at night only if accompanied by armed men carrying lanterns. Taken as a whole, Marville's photographs of Paris stand as one of the earliest and most powerful explorations of urban transformation on a grand scale.

By the time of his death, Marville had fallen into relative obscurity, with much of his work stored in municipal or state archives. This exhibition, which marks the bicentennial of Marville's birth, explores the full trajectory of the artist's photographic career and brings to light the extraordinary beauty and historical significance of his art.

 More information on this exhibition at the Metropolitan.  

Tags:  Charles Marville 

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Exhibition: Brian Ulrich at the Haggerty Museum of Art

Posted By Administration, Thursday, January 23, 2014

Copia—Retail, Thrift and Dark Stores, 2001-2011

Exhibition Dates:  January 22 - May 18, 2014


This insightful, decade-long, three-phase investigation of the American consumer psyche traces a route from exuberant excess to the bleak architectural landscapes of closed malls and empty parking lots. For his first chapter, Retail, photographer Brian Ulrich traveled extensively across the United States to document shoppers in vast and ubiquitous enclosed malls and big-box stores. He relied on a hand-held camera with the viewfinder at waist level to create candid images of people engrossed in navigating an abundance of goods. Ulrich then turned his attention to thrift stores, which became a primary destination for a growing segment of the country’s population in the wake of the 2008 financial crisis. The Thrift chapter focuses on workers attempting to bring order to the mountains of donated, discarded, and unwanted consumer products. Lastly, in Dark Stores, Ghostboxes, and Dark Malls, Ulrich utilized a large-format view camera to produce richly detailed photographs that explore the lasting impact of the economic recession. This chapter contains haunting landscapes of the interiors and exteriors of abandoned buildings.


Learn more about Brian Ulrich at aipad member Julie Saul Gallery

Tags:  Brian Ulrich  Haggerty Museum of Art  Julie Saul Gallery 

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Collector's Trend: Alliances & Contributions

Posted By Administration, Sunday, January 5, 2014
Updated: Wednesday, January 8, 2014

Two recent articles support the trend of art collectors' growing role in the art world.

Lori Zimmer's Not just for private eyes: 10 collectors with museums post in Art Nerd New York this past December and Robin Dluzen's Collecting Chicago published in art ltd. last september are but two stores on the growing engagement some collector's are taking in the art world.

Zimmer's article is a list and briefing on 10 major collectors who have built their own institutions to exhibit the works they have collected. Dulzen's feature was a closer examination of two developing collections and a more intimate view of what drives the decisions of their owners, Chicago-based Scott Hunter and the Gotskinds. Scott Hunter collects emerging artists, and Linda and Paul Gotskind tend to more well-known figures, both collections specialize in Chicago artists among other parameters. Dluzen covers how these collectors are "stepping up to the plate" by lending works, sponsoring museum exhibitions, backing initiatives, and overall push their city into the spotlight of the world art-market stage. Together these stories reveal a trend in the market; collectors who are cultivating more than a private collection.

Not just for private eyes: 10 Collectors with Muesums in Art Nerd New York

Collecting Chicago in art ltd.

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