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Event Calendar

Adam Katseff: Water MemoryOpen in a New Window

The Robert Koch Gallery is pleased to present Water Memory, the first solo exhibition at the gallery for artist Adam Katseff.

Adam Katseff’s large-scale reductive landscapes, while being minimalist in approach, on closer inspection present the viewer with rich and exceptional detail. Drawn to the Western landscape, Katseff began photographing the landscape at night using a large format 8 x 10 camera. His series Dark Landscapes (2012 - present) and Rivers and Falls (2014 - present) feature iconic locations, which also captivated and inspired influential artists such as Ansel Adams, Carleton Watkins, Albert Bierstadt, Timothy O'Sullivan, and William Henry Jackson. This is no coincidence, as Katseff conceptually set off to recapture these specific locations with the aim of reinterpreting the landscape. Of the chiaroscurist nature of the work Katseff remarks, “The subjects of my recent work are at the same time familiar and elusive. The outline of the image is easy to see, and as with memory our imagination must supply the rest. This is the goal of my current series, to present the viewer with a partial landscape and invite them to compose the rest themselves. In this way the images become at once universal and deeply personal; an exploration of the line between physical space and our psychological relationship to it. Each viewer must invest their own experience, their own subconscious into the work to make it whole, and each comes away with an impression based partly in reality, and partly of their own creation.”


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Andreas Gefeller: BlankOpen in a New Window

Sous Les Etoiles Gallery is pleased to announce “Blank,“ German photographer Andreas Gefeller’s premiere exhibition with the gallery. An opening reception with the artist in attendance will be held on Thursday, September 7, 6–8pm, and an artist talk is scheduled for Monday, September 11 at 7pm.

Through his previous series, Japan series and Supervision, Andreas Gefeller has always intrigued us with the pristine and haunting perspective of these urban and industrial landscapes. In his series Blank, he continues his journey but this time by awakening our fears and imaginations. When traveling the world, in Tokyo, Seoul, Amsterdam, London, Dusseldorf, Gefeller, as a surveyor of his time, gives us a reflection of what the world could be in the event of a future catastrophe. The photographs are far beyond historic and ordinary optical occurances. The works from the space uses the artificial lighting from our towns and cities and turns them into an ephemeral wonderland. Excessively overexposed photographs of building façades, motorway intersections, container terminals and refineries reveal vast faded areas. The photographs create tension between urban reality and its potential chaos leaving the possibility to envision a strange
and overthrown world.

”Like my former series, beauty and horror can be very close together. My photographs of cities that dissolve into light are somehow beautiful but it is as beautiful as a nuclear bomb. Artificial intelligence, collecting data, virtual reality and digital machineries seem to be a dark power in our modern world and no one can fight against it or to lead it into a peaceful future,” comments Gefeller.

The audience could be destabilized by this boundless city that extends to infinity; the urban space is dissolved as there is no human presence. “In my pictures, human made things and constructions are ethereal and transparent, as if they were fragile like the wings of a butterfly”. With his incredible sense of aesthetic and poetry, and with light almost sacred and spiritual, Gefeller’s photographs may express the end of the world or the world after its end. 


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Joel MeyerowitzOpen in a New Window

Two exhibitions of photographs by Joel Meyerowitz will be on view at Howard Greenberg Gallery from September 7 to October 21, 2017. Between the Dog and the Wolf presents images from the 1970s and 80s made in those mysterious moments around dusk. Many of the works will be on display for the first time. Morandi, Cézanne and Me surveys Meyerowitz’s recent still lifes of objects from Paul Cézanne’s studio in Aix-en-Provence and Giorgio Morandi’s in Bologna. The exhibitions will open with a reception on September 7, from 6 to 8 p.m.

Two new books of photographs by Meyerowitz are to be published: Joel Meyerowitz: Cézanne’s Objects (Damiani, October 2017) and Joel Meyerowitz: Where I Find Myself: A Lifetime Retrospective (Laurence King, January 2018).

The exhibition title Between the Dog and the Wolf is a translation of a common French expression “Entre chien et loup,” which refers to oncoming twilight. As Meyerowitz notes, “It seemed to me that the French liken the twilight to the notion of the tame and the savage, the known and the unknown, where that special moment of the fading of the light offers us an entrance into the place where our senses might fail us slightly, making us vulnerable to the vagaries of our imagination.”

The majority of the photographs in the exhibition are from a period when Meyerowitz was spending summers on Cape Cod and had just begun working with an 8x10 view camera. “My whole way of seeing was both challenged and refreshed. I found that time became a greater element in my work. The view camera demands longer exposures, and I began looking into the oncoming twilight and seeing things that the small cameras either couldn’t handle or didn’t present in significant enough quality,” Meyerowitz explains. “What seems of more value to me now, 30 years later, is how that devotion to the questions back then taught me to see in a new and simpler way.”

The exhibition features photographs taken concurrently with Meyerowitz’s iconic series Cape Light, widely recognized for his use of color and appreciation of light. A young woman is perched on a wall that overlooks the Cape Cod Bay in a 1984 print, with the last of the daylight fading into a pink haze. A 1977 view of a dark house with one lit window has a sandy front yard with a sagging badminton net, an abandoned tricycle, and a blue doghouse with peeling paint. In a nearly abstract image from 1984, the viewer can barely see lights from a house on the beach as night falls. Other locations show a view of a serene sky with St. Louis’ Gateway Arch from 1977 and a palm tree in fading blue light in Florida from 1979.

As Meyerowitz notes, “I am grateful that my experience has allowed me to work both as a street photographer and as a view-camera photographer, and that I’m comfortable with both vocabularies. I speak two languages, classical and jazz. Street photography is jazz. The view camera, being so much slower, is more classical, more meditative, it has a different way of showing its content. You can be a jazz musician and play classically, and you can be a classical musician and love the immediacy and improvisation of jazz.”

Morandi, Cézanne and Me reflects Meyerowitz’s fascination with everyday objects, which also served as inspiration to Paul Cézanne and Giorgio Morandi. He was granted permission to photograph in both artists’ studios in 2013 and 2015.

Meyerowitz was struck by the grey walls in Cézanne's studio, and how every object in the studio seemed to be absorbed into the grey of the background. He photographed just about every object there – from vases, pitchers, and carafes to a skull and Cézanne's hat. This project spurred him to visit Morandi’s studio to observe the objects that the master still life painter had used as inspiration for over 60 years. Meyerowitz was allowed access to all 275 of Morandi’s famous objects at his home and studio. He worked near the same window, sitting at Morandi’s table, photographing shells, pigment-filled bottles, funnels, watering cans, and other dusty aged objects against the same paper that Morandi had left on the wall, now brittle and yellow with age. Meyerowitz also began to look anew at items he found in Italian flea markets – a dented brass tube, a rusted tin flask, a capped container -- and he photographed them placed in grey corners and against heavy canvas backdrops in his studio in Tuscany.

Says Meyerowitz, “My underlying motive – while, of course doing this for my own pleasure – was to provide a catalogue of the objects these painters used in the course of their lives, and show to scholars and other interested viewers, the actual, and for the most part humble, cast-offs and basic forms that these great painters drew their inspiration from.”


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Liat Elbling: Proposals for DisorderOpen in a New Window

Tel Aviv is a place known for its rich history that is obvious when walking along the city streets. Founded in 1909, the city thrives as an architectural gem, with contemporary buildings sitting alongside Bauhaus and other modernist styles. It is here, within this high tech city, that Liat Elbling finds her inspiration. In her studio, she constructs architectural models made from wood, clay, plaster, paper and paint. These fictitious spaces, printed and painted in a singular color, are inspired by her surroundings. Working within the same tradition as James Casebere, Lori Nix and Thomas Demand, Elbling's framed photographs create a dialogue about perception and reality.

Like many still-life photographers, Elbling cuts, tapes and assembles objects on a table, condensing or expanding the physical space through meticulous lighting. Proposals for Disorder presents 23 photographs that examine how the construction of a space can affect ones mood. A gray room can be both soothing and non-descript; red is the color of passion and danger; merlot the color of a soothing wine. In each of these scenarios, Elbling uses color to create an atmosphere that invites the viewer into a world that is as comforting as it is suspenseful. As she states, it is her desire to "return to art's basic characteristics: perspective, light and shade, examining the relationship between two and three dimensionality, and the blending of materials, colors and textures."


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Claudius Schulze: State of NatureOpen in a New Window

Robert Morat Gallery is pleased to present new work by young German photographer Claudius Schulze in fall 2017.

State of Nature assembles landscape photographs from all over Europe. Picturesque studies of nature, almost romantically elevated. But on a second glance, the peaceful tranquility of these landscapes proves to be deceptive. Dutch beaches, wrested from the sea, have to be defended against the ocean and rising sea levels by massive concrete breakwaters and Swiss mountainous landscapes are being penetrated by avalanche protection walls and dams to protect them from landslides and melting glaciers. These man-made landscapes hold a desire for security - security from man-made climate catastrophies and from the uncontrollable, destructive forces of a sublime, powerful nature. The intervention of man transforms nature into picturesque sceneries, as European culture has painted them since romanticism.

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John Herrin: Nature MortOpen in a New Window

A small exhibition of still lives by Houston artist, John Herrin, will be simultaneously on view along with two other exhibitions.

After Hurricane Ike hit Houston, Herrin's flower arrangements within his home took on a different character in darkness, resulting in the days long power outage. That was when he decided to photograph the flowers that his wife often brought to the house, beautifully inserted into unique vases from their collection.

Since that time, he has evolved in his depiction of still lives. What became bewitching was the slow death of the tulip, how some petals drop, and some do not. The great master painters have been depicting aging and death via still lives over a century. Herrin, perhaps not so much removed from the concept of graceful aging, pursues the beauty of nature with great technical and visual acumen.

John Herrin has exhibited in solo and group exhibitions since 1994. His work is in private collections and included in the Museum of Fine Arts Houston permanent collection.


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Cowboys, Cowgirls and Some Indians [sic]Open in a New Window

his great state of Texas is well known for its legendary history of oil discovery, but more importantly, Texas is known for expanding the myth and of the Cowboy. The cowboy life of ranching, driving cattle, breaking wild horses, working in severe cold or heat, battles with Indians, drinking in Saloons, is the stuff of great fiction.

The cowboy culture will be the theme of this group exhibition, with photographs by Bank Langmore from the 1970's. Bank Langmore's photographic survey and book, The Cowboy, became one of the most important documents of the modern cattle drive. Also included will be photographs of the contemporary cowboy that work the "big outfit" ranches in the United States. These are by Bank Langmore's son, John Langmore. A documentary film and a book will be released on John Langmore's exploration next year.*

Local Dallas photographer, Chris Regas, a long time friend and colleague of Bank Langmore's, will be included with his unique images of the mythical cowboy. Added selections from Jeremy Enlow's recent series, Cowboys of the Waggoner Ranch, will remind us that the cowboy's career is not so permanent after the expansive ranch was sold.

Vintage rodeo photographs from the 1940's by John Stryker are also part of this exhibition. One of the rodeo photographs features Gene Autry in his Flight Officer military uniform, standing next to Everett Colborn of Dublin, Texas, who is mounted on a horse.
The Myth of the Cowboy cannot be complete without including the story of the Native American. Distinguished images by Edward S. Curtis will be featured from his lifetime document, The North American Indian. These beautiful photogravures depict some of the Southwestern tribes, the San Ildefonso, Wichita, Tesuque and Yokut.


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Bonnie & Clyde: The EndOpen in a New Window

It was said that Bonnie & Clyde died as they lived, by the gun.

On September 9, 2017, PDNB Gallery will be exhibiting for the first time, photographs of the infamous Texas criminals, Bonnie & Clyde. These historical photographs are from the personal collection of PDNB Gallery Director, Burt Finger. This exhibition highlights the deadly aftermath of a two-year manhunt for America's most romanticized criminal couple. Warning: Parental Discretion advised due to vivid imagery of the crime scene.

Bonnie Elizabeth Parker (b. 1910, Rowena, Texas) and Clyde Chestnut Barrow (b.1909 Telico, Texas) first met in 1930, in East Dallas where they had both previously relocated with family. It wasn't long after meeting and falling in love with Bonnie that ex-convict Clyde was imprisoned for auto theft. A lovesick Bonnie helped Clyde escape prison by smuggling him a gun. He was captured shortly after his escape and released in 1932. Bonnie and Clyde were reunited and began their two year long crime spree with gang members W.D. Jones, Raymond Hamilton, Joe Palmer, Ralph Fults, Henry Methvin, and Clyde's older brother Buck Barrow and his wife, Blanche. They ruthlessly robbed banks and small businesses across the South while killing anyone who threatened their actions. The FBI deployed law enforcement later that year with the number of murdered police officials rising on account of Bonnie and Clyde.

During the “Public Enemy Era” of the early 30's with criminal superstars as John Dillinger, Pretty Boy Floyd and Al Capone, the American public became enamored with Bonnie and Clyde's exploits. In 1933, after a police shootout in a Joplin, Missouri hideout, Bonnie and Clyde left two police officers dead and a roll of undeveloped film. The discovered film showed the couple posed as stereotypical outlaws with guns, cigars, and cars. These images sensationalized Bonnie and Clyde to full stardom when the Joplin Globe had them published.

On May 23, 1934, a team led by Texas Ranger captain, Frank Hamer, tracked down Bonnie and Clyde in Louisiana where they would ambush the couple on Highway 54. It was documented that 107 rounds of bullets were shot in less than 2 minutes. Many bullets shot through the car, both bodies, then out the other side. Each body had been hit fifty times each. Though this was a long awaited victory for justice, America's dangerous sweethearts were gone.

The exhibition features photographs of the ambush aftermath: the get away car, Texas Ranger Captain, Frank Hamer, and a post mortem of the couple. Also included is an earlier photograph, “Bonnie & Clyde, Kissing & Embracing.”


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Aline and Eliot PorterOpen in a New Window

The history of art, music and literature is filled with passionate love affairs between creative spirits. In understanding relationships for artistic couples, hints may be found in their work. Such is the premise behind this exhibit of Aline and Eliot Porter’s work, both artists in their own right while also influencing and supporting each other’s work. This exhibition honors the artistic visions of Aline and Eliot Porter, partners in life and art.


In December of 1938 Alfred Stieglitz presented an exhibit of Porter's black & white photographs at An American Place. After the exhibit Stieglitz wrote,"My dear Eliot Porter: Still I must thank you for having given me the opportunity to live with your spirit in the form of those photographs that for three weeks were on our walls. - And "our" includes yours. - Some of your photographs are the first I have ever seen which made me feel "there is my own spirit" - quite an unbelievable experience for one like myself."


The exhibit was a turning point in Porter's life. He left a profession in scientific research at Harvard, relocated to Santa Fe, and devoted the rest of his life to photography. The importance of Eliot and Aline’s relationship in life and art can be read in this reflection from
Eliot, "In retrospect, from my experience it appears highly desirable to order one's life in accord with inner yearnings no matter how impractical they may seem and not to be bound to an unfitting vocation by practical considerations. Nevertheless I would not have been able to make the change, regardless of how urgent the need, had I not had the support of a sympathetic wife, who, being an artist herself, understood my concerns."


We can look at Eliot Porter’s work and life and realize that Porter, with quiet determination, and sometimes being the lone voice, represents the long struggle for color photography to be recognized and accepted as an art form. While he produced full bodies of work in both black and white and color until the late 1950s, he began to see the world more in color than in black and white. His commitment to color was furthered by his relationship with his brother, the painter and art critic, Fairfield Porter and his wife, Aline. She suggested to him
that his photographs of the natural world made her think of Thoreau’s writings. Eliot began an in depth project putting his images together with Thoreau’s words. In 1962 the Sierra Club published In Wildness is the Preservation of the World, their first book of color photography. The book and Porter’s vision changed our way of seeing the world forever. It also was a shocking revelation for the photography world – it was an art book of color photography.


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The Collective Memory of the Worst Place to Live in the World Today If You Are Not WhiteOpen in a New Window

Kopeikin Gallery is pleased to present The Collective Memory of the Worst Place to Live in the World If you are Not White by Alejandro Cartagena as part of PST LA/LA. On September 9th, a reception with the curator and book signing will take place from 6-8pm and is open to the public.

In his newest body of work, The Collective Memory of the Worst Place to Live in the World Today if You are Not White Mexican photographer Cartagena continues his examination of social, urban and environmental issues but now has micro-trained his lens onto the city of Santa Barbara. Cartagena peels away at the immediate beauty and presents new impressions of the coastal community of Santa Barbara, California.

During a residency in Santa Barbara, Cartagena was interested in how the perception of Santa Barbara had been previously constructed in the mind of the outsider. Was Santa Barbara a college town and site of school shootings? Or a Hollywood haven for Oprah Winfrey and other stars? Though on the exterior this small tourist town seemed the picture-perfect American-Mediterranean escape, just under the façade seemed to lay something uneasy. Santa Barbara is Cartagena’s explorations of a narrative that that can only be felt from the outside.


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Tell Me a Story, a Group Exhibition of Six Mexican Contemporary PhotographersOpen in a New Window

Kopeikin Gallery is pleased to present Tell Me a Story: Contemporary Mexican Photography, a group exhibition curated by Alejandro Cartagena of six contemporary Mexican photographers as part of PST LA/LA. Participating artists Aglae Cortes, Fernando Gallegos, Juan Carlos Coppel, José Luis Cuevas, Karla Leyva and Mariela Sancari.

In Tell Me a Story: Contemporary Mexican Photography, Curator and Mexican photographer Cartagena presents an examination on the breadth of styles and subjects that are being addressed today in contemporary Mexican photography. From the personal to the public, and from the industrial urban city to the northern farmlands of Mexico, these six young creators are exploring the possibilities of the medium and how to address the current social and political situation of a country in crisis. The exhibition includes traditional photo based works and PST LA/LA site specific installation pieces.


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Jim Naughten: Mountains of KongOpen in a New Window

Jim Naughten’s latest project takes the viewer back in time to a fabled place, which may or may not have ever existed. Acting as an explorer, scientist and photographer Naughten has documented a world that existed in the popular consciousness for over a hundred years.

The Mountains of Kong can be found on printed British maps of West Africa from 1798 through to the late 1880s when they were finally declared to be non-existent. Naughten has created a series of stereoscopic images that tell a very different story as he imagines a fictitious record made for posterity and scientific purposes during an expedition of the mountain range. The resulting images are viewable in three dimensions by using the same stereoscopic technology made popular in the late 1800s which allowed Victorians to travel to the four corners of the world whilst sitting at home in their armchairs. Naughten presents us with the evidence for the existence of the mythical kingdom in irrefutable three-dimensional forms.

“In the Mountains of Kong I discovered extraordinary, otherworldly landscapes, encountered strange hitherto unknown creatures that seemed to dwell in a parallel universe. I faithfully recorded these true events with my stereoscopic camera, aping the explorers and expedition scientists and photographers of the past.

The work aims to be both engaging and playful, but also will function as a comment on the mutability of history and our ever evolving and malleable relationship with the past.” - Jim Naughten


The stereoscopic pairs are created by making two images of the same subject from slightly different perspectives, to represent a right and a left eye point of view. The stereo viewer then allows the left eye to see only the left image and the same with the right, giving the illusion of three dimensions. I use a single camera on a tripod with a sliding base to make my stereo pairs and have spent a few years perfecting the technique and building stereoscopes. Stereoscopy was invented in 1839 by Charles Wheatstone who was trying to understand binocular vision. When combined with photography it quickly became the wonder of the age, the Victorian equivalent of TV or the internet. It reached its height of fame and popularity in the 1880s when Victorians could study stereo cards of far flung corners of the world from the the comfort of their living room.


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Lucas Foglia: Human NatureOpen in a New Window

“I grew up on a small farm, thirty miles east of New York City. Growing our food and bartering, my family felt shielded from the strip malls and suburbs around us. The forest that bordered the farm was my childhood wilderness, a wild place to play that was ignored by our neighbors who commuted to Manhattan. In 2012, Hurricane Sandy flooded our fields and blew down the oldest trees in the woods. On the news, scientists linked the storm to climate change caused by human activity. I realized that if humans are changing the weather, then there is no place on Earth unaltered by people.” - Lucas Foglia

Human Nature
leads us through Foglia’s journey in sequences of photographs. It begins and ends with interpretations of paradise, moving through cities, forests, farms, deserts, ice fields, and oceans in between. Scientists are pictured as they work to quantify and understand our relationship with the natural world, measuring how we change nature and how spending time in wild spaces changes us.

Both factual and lyrical, the series is a celebration of the curious. At times funny, at others, sad or sensual, the images illuminate the human need to connect with nature and to the wildness in ourselves.

Foglia’s work is driven by a desire to understand the conflicting forces of modernity and nature; how we manipulate the earth to sap its resources, and how some seek to restore it. Human Nature revisits themes established in previous projects A Natural Order and Frontcountry, but on a broader, global scale.

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Leonard Freed: Six StoriesOpen in a New Window

Steven Kasher Gallery is proud to present the exhibition Leonard Freed: Six Stories. Freed (born 1929, Brooklyn, died 2006, Garrison, New York) was one of the leading photographers of the post-War era. Culled from Freed’s extensive archive, this exhibition presents over 75 vintage black and white prints from six of the photographers most important bodies of work. Freed has been the subject of numerous recent museum exhibitions surveying the six decades of his work, but this is the first exhibition that elucidates in depth Freed’s six earliest and most personal stories. Two examine his Jewish roots, in Brooklyn and in Israel. Two portray blacks in white America, people with whom he identified strongly. Two portray the defeated enemies of the recent World War, as Freed seeks to come to terms with them. The six stories are: the Hasidics of Brooklyn, 1954; Harlem, 1963; Black in White America, 1963-65; Israel, 1962 and 1967; Italy 1956-58; Germany, 1961-66. To each of these stories Freed brought a singular humanist vision, a deep concern for individuals that is both politically sophisticated and morally engaged.

As a young man searching for his mission Freed launched his career in photography in the late 1940s, the era traumatized by a genocidal World War and a planet-threatening Cold War. Freed was at the center of a new photographic ethos developing at the international Magnum photo agency and under the concept of "the concerned photographer." Freed brought to the collective effort a unique sensibility. His pictures emphasize the particular struggles and triumphs of unique individuals living in traumatized but recovering societies.

“Right from the outset, he was a photographer of ordinary people going about their everyday lives – at home, at work, and in the streets. He has a keen eye for social hierarchies and, in part because of his working class origins; he felt great solidarity with outsiders and the oppressed. From his very earliest photo reportage projects, he explored the relationships between people and their social settings and between individuals. This gave even his earliest photographs an intriguing thematic depth that set them apart.” The Concerned Photographer, 1968, edited by Cornell Capa.

Freed’s early work was published in books that also featured his articulate, hard-hitting texts. Here are some things he said about his early stories: Hasidics in Brooklyn: “Over the years I have tried to understand these people in relationship to myself. I wanted to understand my Jewish roots. Working on the Jews was an explorations
of my world, it told me about myself, who I am. I saw the Hasidics in the subway and recognized them, in the sense that I recognized my fathers or my grandfather. I would have been one of these people. That’s how I began to be interested in them.”


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Olivia Locher: I Fought the LawOpen in a New Window

Steven Kasher Gallery presents Olivia Locher: I Fought the Law, an exhibition of photographs breaking an eccentric law from each of the 50 States of the Union. Locher’s photographs take on the tangle of our pork-belly, dairy-lobby, male-anxiety, sex-obsessed legislation. Her quirky illustrations of America’s most unusual laws will make both Dems and Repubs roll in the aisles. Has Olivia Locher built the bridges that can span our red-blue political chasm?

This is the artist’s first New York solo exhibition and launches the publication of her first monograph, Olivia Locher: I Fought the Law (Chronicle Books, September 2017) with a foreword by poet Kenneth Goldsmith and an interview of Locher by Eric Shiner, former director of the Andy Warhol Museum. The images in I Fought the Law were created between June 2013 and June 2016 at Locher’s studio in New York and in her hometown of Johnstown, Pennsylvania.

Sometimes confrontational and often hilarious, Locher’s photographs are acts of civil disobedience. Though her images give these statutes a satirical spin, the project raises a more serious point about politics and social conventions. It points to the hundreds of decisions big and small made every year by local and state lawmakers. It asks us to ponder why riding a bike in a swimming pool was made illegal in California. What emergency made it illegal to doff one’s shirt in front of a portrait of a man in Ohio? Wine can’t be served in teacups in Kansas. Is that the work of the work of the powerful Kansas wine lobby? Why must pickles pass a bounce test in Connecticut?” In the case of Massachusetts' ban on upskirt photos, the law was sparked by a serious concern. But when Mesquite, Texas institutes a ban on children wearing unusual haircuts to uphold the community’s standards of decency, we are forced to ask who decides what is decent, to whom do the standard’s apply, and how are they enforced?

Locher writes, “The work you are about to experience depicts America’s most unusual laws. Several of them remain on the statute books, the majority of them were at one point removed, others never became laws (but came close!) and a few of them are complete myths.”


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Erica Deeman: SilhouettesOpen in a New Window

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Modern SpiritOpen in a New Window

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Anthony HernandezOpen in a New Window

Yancey Richardson Gallery is pleased to present its first exhibition of Los Angeles native Anthony Hernandez (b.1947), opening Friday, September 15 from 6 to 8. Since the late 1960s, Hernandez’s photographs have revealed with formal integrity and bleak beauty, the harsh realities of his native Los Angeles. The exhibition is comprised of two of his most critically acclaimed series which have
never previously shown in New York: Landscapes for the Homeless and Public Transit. On view September 15 through October 20, Anthony Hernandez coincides with the opening of the artist’s eponymous career retrospective at the Milwaukee Art Museum which originated in Fall 2016 at the San Francisco Museum of Modern Art.

Throughout his career, Hernandez has pursued a nuanced view of the physical and social landscape of Los Angeles. In Public Transit, 1979-80, Hernandez switched from a handheld 35mm to a 5 x 7” large format camera and tripod to create a new kind of street photography. Made at bus stops throughout the city, the large-scale black and white photographs capture the isolation of the urban
metropolis through formally composed and carefully detailed views of desolate boulevards disappearing into the horizon, peopled only by the Los Angeles underclass waiting for the next bus. Jeff Wall, in his essay for the 2009 monographic exhibition he curated on Hernandez at the Vancouver Art Museum, relates the new approach of the Public Transit work to that of emerging Americans Stephen Shore and Robert Adams and the Germans Thomas Struth and Andreas Gursky.

Landscapes for the Homeless, a series of color photographs made between 1988 and 1991, details with precision and restraint the empty encampments of the homeless, sheltered beneath the concrete freeway overpasses and in the brush of vacant lots found at the edge of downtown Los Angeles. Hernandez’s unsparing views investigate the environments and materials adapted to provide a
modicum of privacy or comfort. A crude chair made of sheetrock, pants hung inside out on tree branches, a wall built of plywood and cardboard all stand in for their absent owners. The artist’s detailed tableaus balance a rigorous formal approach with a devastating social critique. Speaking of his homeless work, Hernandez says that he “puts you in his place. I’m right here. I’m looking at what he’s looking at”. When the photographs were made, the homeless population of the city was estimated at some 30,000 and declared a crisis.

According to a recent Cornell University Study, it now stands at 60,000.


In recognition of the series, Robert Adams named Hernandez the 1995 recipient of the DG Bank-Forderpreis Fotografie, which awarded him a solo show at the Sprengel Museum, Hannover, Germany. The accompanying monograph contains a conversation between the artist and his longtime colleague Lewis Baltz that relates the Landscapes for the Homeless imagery to Hernandez’s two-year tour as a medic in the Vietnam War and the dystopic movie Blade Runner. In response to Baltz’s declaration “L.A.’s destiny is to become Blade
Runner”, Hernandez responds “This ground you talk about is ground zero…The people on the ground are the forgotten, and the ground is a human wasteland.” Subsequently, he adds, “The hardest pictures I ever made were the homeless pictures. I wasn’t in a war zone but it was as if I were.” 


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