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Event Calendar

Olivia Parker: Vanishing in Plain SightOpen in a New Window

Robert Klein Gallery is pleased to present an exhibition of new, personal work by longtime gallery artist, OLIVIA PARKER . Vanishing in Plain Sight is the artist's journey into Alzheimer's Disease as experienced through her late husband, John Parker, who passed away in December of 2016.

A continuing work in progress, Vanishing in Plain Sight proves to be some of the most emotionally evocative and experimental work of Parker's long career. Poignant and deeply moving, this series finds the artist exploring new grounds, including self-portraiture and dramatic grid sequences, while still retaining the vivid color and abstract liveliness that have become the signature of her still life work.

For over 45 years, OLIVIA PARKER has been producing visually playful and complex photographs through a variety of processes. From the masterful darkroom technique found in her early large format contact prints, to her pioneering adoption of Adobe Photoshop and other digital imaging tools in the early 1990s, Parker has become equally renowned for her technical proficiency as for her dynamic work.

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Sports & LeisureOpen in a New Window

PDNB Gallery is proud to present, Sports & Leisure, a summer group show that explores the icons and legends of sports, and the pleasures of leisure. This energetic exhibition will showcase the unforgettable moments in sports, from the Golden Era of motor sports to the iconic portraits of legendary boxer, Muhammad Ali and baseball player Babe Ruth. It will also include the playful, humorous, and candid images of Americans hard at play.

Known as the most important motor sports photographer, Jesse Alexander's images captured the thrilling Golden Era of car racing in the 1950's and 1960's. Included in the show are outstanding photographs documenting the renowned drivers, enthusiastic spectators, and high action famous races of the Grand Prix of Monaco, 24 Hours of Le Mans, the Mille Miglia and the Targa Florio.

Acclaimed photographer, Al Satterwhite, has photographed some of the most significant athletes in sports. Included in this exhibition are a few of his memorable portraits of the late Titan, Muhammad Ali, training at the Fifth Street Gym in Miami.

Further complimenting this dynamic show are the lighthearted and whimsical images by John Albok. Often photographing the street scenes of New York, Albok captured children enjoying the simple satisfactions of tranquil fishing, sunbathing at the beach, and happily racing by his tailor shop on the sidewalk.

Of course, this exhibition would not be complete without Bill Owen's notable series, LEISURE. After successfully documenting the development of suburban life in the early 1970's, Owens began exploring the hobbies and activities people engage in with their spare time. This study depicts familiar scenes of families camping, cookouts, and community gatherings, ultimately illustrating the ideal summer.

An assortment of curious vernacular photographs will also be featured.

Featured Artists:
John Albok, Jesse Alexander, Esteban Pastorino Diaz, Elliott Erwitt,
Harold Feinstein, Paul Greenberg, Earlie Hudnall, Jr., Neal Leifer,
Nickolas Muray, Bill Owens, Al Satterwhite, and Neal Slavin.

 

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Jefferson Hayman: Things I Saw Without YouOpen in a New Window

Tappan, New York based photographer Jefferson Hayman, most recognized for his delicate imagery and handcrafted frames will debut a new show at Catherine Couturier Gallery titled Things I Saw Without You on May 20, 2017.

Hayman is an artist whose photographic work explores the themes of nostalgia, common symbols, and memory. Through a quiet minimalism, he invites the viewer to partake in the narrative process in a way that is both intimate and deeply personal."

With a deep understanding of traditional craftsmanship and a sense of artistic heritage, each photograph is handcrafted as a silver gelatin, platinum or pigment print, capturing delicate tonalities reminiscent of early Pictorial photography. Finished prints are paired with antique or custom-made frames by Hayman whose attention to the unique attributes of each photograph imbues every piece with a completely individual story and sense of personality.

 

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Danny LyonOpen in a New Window

Galerie Edwynn Houk Zurich is pleased to present works by the acclaimed photographer Danny Lyon (American, b. 1942). Featuring a selection from the two series Civil Rights and The Bikeriders, the exhibition will be on display from the 24th of May until the 29th of July 2017.

Danny Lyon is one of the most important American photographers of the last half century to renew documentary photography's concern with justice and the universal desire for freedom. Self-taught, and driven by twin passions for social change and the medium of photography, he was shaped by his early experiences covering the unrest of the 1960s as staff photographer for the Student Nonviolent Coordinating Committee. Being active in the Civil Rights movement as a participant and a photojournalist led to the publication of his first book, The Movement (1964) which heralded a new style of realistic photography, a “New Journalism”, in which the photographer is entirely immersed in the subject’s world.

In 1968 Lyon published The Bikeriders, a seminal work of this modern style. The landmark collection of photographs and interviews documented the four-year period Lyon spent on the road with members of a motorcycle club known as the Chicago Outlaws, a group vilified for their efforts to live free of the conventional expectations of society. Photographed between 1963 and 1967, Lyon describes the work as "an attempt to record and glorify the life of the American bikerider”.

A champion of the marginalized, and continuing in the tradition of Walker Evans and Robert Frank, his work has always resisted the obvious. For over fifty years Lyon has recorded the realities of American life, each project accompanied by books, and often films, which have become classics in the field. The common thread to his output has always been a closeness with his subjects and a sense of candor and respect.

Danny Lyon lives in New Mexico and Maine. His work has been the subject of several major exhibitions at galleries including the Museum of Modern Art; Whitney Museum of American Art; Art Institute of Chicago; and Folkwang Museum in Essen, Germany. His work is also currently on display at the Fotomuseum Winterthur in Switzerland. He has received fellowships from the National Endowment for the Arts, the Guggenheim Foundation and The Rockefeller Foundation in both filmmaking and photography. In 2011 he received the prestigious Missouri Honor Medal for Distinguished Service in Journalism and in 2015 the Lucie Award for Achievement in Documentary Photography.

 

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Simon Roberts: Public PerformanceOpen in a New Window

Robert Morat Gallery is thrilled to be able to show new work by Simon Roberts this summer. Public Performance assembles works from three different series by the British photographer:

Urban Parks – Green Lungs of the City (2015 – 2016)

Until the mid 1600s urban parks were private; the exclusive domain of wealthy families and royalty. By the mid 1800s urban parks were starting to be seen as a way to serve the public and later as a remedy to social ills caused by the Industrial Revolution and overcrowding in lower-income neighbourhoods. Today urban parks are increasingly being created from reclaimed lands in and around cities. This photographic narrative offers a timeline of urban parks beginning in 1660, when St. James’ Park in London was made available to the public, up to the present day. It illustrates the evolving nature of urban parks over time and the philosophies behind them, reflecting the cultural history and role they play as places of social encounter and of self-staging in public space – predecessing today’s social media networks.

Sight Sacralization: (Re)framing Switzerland (2016)

When wealthy Euopeans set off on their Grand Tour of the continent in the 1800s, they expected Switzerland to inspire them with vistas of sublime grandeur. The landscape’s untamed romanticism was a crucial component of Switzerland’s national identity and cultural prestige. Today, the Swiss landscape often resembles a theater set, where tourists are transported to officially designated areas of natural beauty to gaze upon epic views from the safety of stage-managed viewpoints. This process is referred to by the American scholar Dean MacCannell as “sight sacralization”: a place is named, then framed and elevated, before being enshrined, mechanically reproduced and finally socially reproduced across a variety of media. Tourists are both performers and spectators, part of the circle of representation in which “all we see is seen through the kaleidoscope of all that we have seen before” (Andy Grundberg).
These large-format tableaux photographs are taken of viewing platforms at some of the most photographed places in Switzerland. The locations were sourced using the online mapping software Sightsmap that creates popularity heatmaps based on crowdsourcing geo-tagged photographs uploaded to the Internet. The work raises questions relating to aesthetics, performance, and individual and collective identities. This series was commissioned by Fotostiftung Schweiz and Musée de l’Elysée in Lausanne, where it will be on show October 25 to January 7, 2018.

The Last Moment (2011 – 2014)

In The Last Moment Simon Roberts uses techniques of scanning, layering, marking and masking to create stripped-back, abstract images in which circles of various sizes float free in semi-transparent skies. Much has been written about the huge number of photographs being produced daily on a global scale, of the changing role of the photographer and the constant need to document our lives and the world around us. It is within this social, technological and psychological context that Roberts produced this series of work. In a first step he scanned photographs of key world events that he had collected from British broadsheet newspapers. The act of scanning the entire surface of the printed newspaper is a physical gesture and is followed by an act of mark making: every occasion in which someone is using a camera, whether a pocket-sized phone camera or a professional digital SLR, is noted and then circled, so that only the device is visible. The idea of transluscense, especially as it relates to optics and lenses, is central to the work. Roberts masks off the background, but not entirely, using a white layer to create a ghostly veneer – a negative space – patterned by different constellations of artificial disembodied ‘eyes’. Translucidity is not only a visual aesthetic running through The Last Moment but a metaphor for the various ways cameras function and are used in today’s societies.

 

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PhotosynthesisOpen in a New Window

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Lin Zhipeng: No. 223Open in a New Window

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John Wood: there is waste in everythingOpen in a New Window

Bruce Silverstein is pleased to announce the third solo exhibition dedicated to the work of John Wood. A master of process, Wood worked decisively across a variety of artistic forms with ease, incorporating photography, collage, offset lithography, and drawing, moving freely between conceptual and visual exploration. This exhibition will focus on the undercurrent of social and environmental issues that have informed Wood’s works since the early 1960s, featuring several examples that were included in his traveling retrospective, On the Edge of Clear Meaning (2009).

Referred to as ‘quiet protest,’ Wood addressed issues such as gun violence, nuclear waste and ecological concerns without imposing his own personal narrative or solution. The artist has assembled multi-layered compositions that invite the viewer to physically experience these complex topics in visual terms, hopefully without much prejudice, and find their own meanings in the work, referencing the open nature of democracy. In 1977, he wrote, “I would like my pictures to be abstract and poetic visual images of friends and the world- no story telling-sometimes slight propaganda and quiet protest-on the edge of clear meaning.”

The exhibition will feature Wood’s conceptual and more politically motivated works, including L.B.J. and Hands, 1965, Rifle with Cloud, 1967, and Cooling Tower: With What Will We Store Our Waste, 1991. Wood has utilized a variety of media to encourage conversation regarding industrialization and its associated fallout. Interview, 1999, incorporates a poetic dialogue concerning waste in the Polaroid process, though the resigned response, ‘there is waste in everything’ belies a potentially more ubiquitous, metaphoric application, as his plea for the viewer's awareness can be felt.

Eagle Pelt from 1985 portrays the national emblem of America, with bound tarsi, conveying his sense of the direction the country was heading. By resurrecting these works three decades later, we witness the repetitive, cyclical nature of history and the projected consequences of such reality. Loudspeaker Collage (1960s) acted as a call to speak out; in 2017, the urgency of this message resonates just as widely. The loudspeaker can be viewed as symbolizing contemporary media outlets and the accessible means of spreading information, true or false.

 

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Mathieu Bernard-Reymond: TransformOpen in a New Window

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Elaine Mayes: Summer of LoveOpen in a New Window

Joseph Bellows Gallery is pleased to announce its upcoming solo exhibition, Summer of Love, by Elaine Mayes. The exhibition will open on June 10th and continue through August 26th, 2017. In addition to Mayes’ solo exhibition in the atrium gallery; a group Summer Selections exhibition will run concurrently.

Elaine Mayes: Summer of Love coincides with the 50th anniversary of the summer of love; a period of great social, cultural, and political change that brought together over 100,000 like-minded young people to San Francisco to usher in a new era.

The exhibition will feature Mayes’ intimate vintage black and white portraits of youth counterculture in San Francisco’s Haight-Ashbury district during the late 1960’s. The photographs are compelling depictions that are at once specific to the individuals pictured, as well as definers of that age and era. They reveal a freedom of expression and camaraderie that was shared by a generation at odds with its current social ideals. Together with these images will be informal portraits of musicians and festivalgoers.

Mayes photographs from this series will also be on exhibit at the De Young Museum through August 20th, as part of their Summer of Love Experience: Art, Fashion, and Rock & Roll.

Running concurrently with Summer of Love will be a group show featuring photographs from gallery artists.

Elaine Mayes is currently a Professor Emerita in the Tisch School of the Arts, New York University. Her photographs have been exhibited at the Museum of Modern Art, New York, San Francisco Museum of Modern Art, The Brooklyn Museum, de Young Museum and the Smithsonian Art Museum, among others.

She was the recipient of two National Endowment for the Arts Fellowships, and a Guggenheim Fellowship. Mayes' photographs are held within numerous museums collections, including: the J. Paul Getty Museum, Metropolitan Museum of Art, Museum of Fine Arts, Boston, San Francisco Museum of Modern Art, Museum of Modern Art, Center for Creative Photography, and the George Eastman Museum.

 

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Teju Cole: Blind Spot and Black PaperOpen in a New Window

“Many artists have felt the lure of juxtaposing photographs and text, but few have succeeded as well as Teju Cole. He approaches this problem with an understanding of the limitations and glories of each medium.”—Stephen Shore

Steven Kasher Gallery is pleased to present the first solo exhibition in the United States of acclaimed photographer, essayist and novelist Teju Cole. The exhibition features over 30 color photographs from the series Blind Spot, each accompanied by Cole’s lyrical and evocative prose. These works comprise a n image/text diary of years of near-constant travel. The exhibition accompanies the publication of Cole’s fourth volume, Blind Spot (Random House, 2017) with a foreword by Siri Hustvedt.

In the Blind Spot photographs, we see what Cole has seen: a park in Berlin, a mountain range in Switzerland, a church exterior in Lagos, a parking lot in Brooklyn. We are drawn into the texts, which function as voiceovers, and which complicate Cole's already enigmatic images. At stake here is the question of vision, an exploration Cole began following a temporary spell of blindness in 2011, and which he presents here in a photographic sequence of novelistic intensity.

The exhibition also presents Black Paper, a visceral photographic response to Cole’s experiences following the election of November 2016. This continuously evolving, large-scale work explores buried feelings, haunted space, and all that can be seen through darkness.

Teju Cole (b. 1975, Nigeria) is a writer, art historian, and photographer. He is the photography critic of the New York Times Magazine and Distinguished Writer in Residence at Bard College. He is the author of three previous books. His novella, Every Day is for the Thief (2014), was named a book of the year by the New York Times, the Globe and Mail, NPR, and the Telegraph and shortlisted for the PEN/Open Book Award. His novel, Open City (2011) won the PEN/Hemingway Award, the New York City Book Award for Fiction, the Rosenthal Award of the American Academy of Arts and Letters, and the Internationaler Literaturpreis. Open City was also shortlisted for the National Book Critics Circle Award, the New York Public Library Young Lions Award, and the Ondaatje Prize of the Royal Society of Literature. His essay collection, Known and Strange Things (2016), the core of which is his photography essays, was published to rave reviews in the New York Times and the New York Review of Books, among others; named a book of the year by the Guardian, the Financial Times, Time Magazine, and many others; and is the only book to have been shortlisted for two PEN Awards in the same year: the PEN/Diamonstein-Spielvogel Award for the Art of the Essay and the PEN/Jean Stein Award for originality, merit, and impact.

Cole’s photography has been exhibited in India, Iceland, and the US, published widely, and was the subject of a solo exhibition in Italy in the spring of 2016. His photography column at the New York Times Magazine was a finalist for a 2016 National Magazine Award. He is a recipient of a US Artists award, and received the 2015 Windham Campbell Prize for Fiction.

Teju Cole: Blind Spot and Black Paper will be on view June 15 – August 11, 2017. 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.

 

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Fons Iannelli: War/Post-WarOpen in a New Window

Steven Kasher Gallery is proud to present the first ever exhibition of photographer Alfonso “Fons” Iannelli (1917-1988). The exhibition includes over 50 vintage black and white prints from this recently discovered archive. On view are Iannelli’s images of the daily lives of U. S. Navy sailors in the Pacific theater during World War II, taken while Iannelli was part of Edward Steichen’s famed Naval Aviation Photographic Unit. . The team included a brace of photographers later held in high regard: Horace Bristol, Wayne Miller, Charles Fenno Jacobs, Victor Jorgensen -- and Iannelli, who is only now becoming recognized. Iannelli’s war time images are complimented by his iconic images of everyday life in post-war America, from prospering suburban housewives to poverty-stricken coal miners in Harlan County, Kentucky.

Iannelli began photographing at his father’s sculpture studio, Iannelli Studios, in Park Ridge, Illinois. Alfonso Iannelli, Sr. was an esteemed industrial designer, graphic designer, and sculptor. Iannelli, Sr. created sculptures for Frank Lloyd Wright’s Midway Gardens project (1914) as well as the 1933 Chicago World’s fair. Books about Iannelli, Sr. include Everyday Modern: The Industrial Design of Alfonso Iannelli, and Alfonso Iannelli: Modern by Design.

Fons Iannelli trained as an apprentice to Gordon Coster, the prominent Chicago industrial photographer. Iannelli opened his own studio in 1940. In 1941, he was recruited by Edward Steichen to join the Naval Aviation Photographic Unit, a unit of the U.S. Navy employed to document and publicize its operations in order to recruit Navy pilots. Fons began working with the unit as an assistant and darkroom developer but was promoted to photographer. He was given the task of documenting the emotions of the men on the ship and developed his “fly-on-the-wall” style. His photographs were published in a collection edited by Steichen entitled U.S. Navy War Photographs: Pearl Harbor to Tokyo Harbor (1945) and were included in the exhibition Power in the Pacific: Battle Photographs of our Navy in Action on the Sea and in the Sky at the Museum of Modern Art in 1945.

After the war, Iannelli’s photographs present a complex and paradoxical picture of American life. Iannelli became a highly successful photojournalist for McCall’s, Life, Fortune, Collier’s and The Saturday Evening Post. His photographs for Ladies Home Journal “How America Lives” section sympathetically portray post-war consumerist aspiration. Other images document that the security, happiness, and tranquility promised at the end of the war were elusive for many. By the late 1940's, he was rumored to be the most highly paid magazine photographer in New York. He was known for his ability to overcome difficult lighting situations and is said to have introduced bounce-light techniques for softer lighting into photojournalism. An unpublished story for Harper’s noted that Iannelli was likely the first to use a hand-held camera with a sync system for strobe lights out in the field. He was one of the first photographers to use 33mm film for magazine work and published the industry’s first 35mm color cover, for McCall’s in October 1950.

In 1948, Iannelli founded Scope Associates, a photographer-run co-op agency. Several members from Steichen’s naval unit were represented by Scope including Horace Bristol, and Victor Jorgensen. In 1951, Iannelli established his own movie production studio, Filmscope Inc. The company produced and directed several 16mm shorts for Omnibus (1952-1961), an educational television series created by the Ford Foundation that brought science, art, and the humanities into homes via the major TV networks. Iannelli transformed Filmscope into a distribution firm in 1954, and turned his attention to pragmatic technological developments to advance journalistic capabilities in film. Among other inventions, Iannelli is credited with developing a rapid rewind for Leica Camera, the first use of bounced strobes, and numerous designs for advanced tape recorders and motion picture cameras. He provided equipment for the documentary films made by his friend Pete Seeger.

Iannelli continued to make photographs and films through the 1980s. In 1982 his studio caught fire and many of his vintage prints and equipment were destroyed. In 1988, shortly before he passed away, he submitted an application to the W. Eugene Smith Memorial Grant to reshoot the Kentucky Coal Miner series to see how the life of the family had evolved over 40 years. The application for the grant was rejected.

Iannelli’s son, Kim King, was a guitarist and synthesizer player for the band Lothar and the Hand People. The band is credited with being the first to tour and record using synthesizers, thereby inspiring a whole generation of electronic music-makers. The band jammed with Jimi Hendrix and, performing at the Fillmore East and elsewhere, played gigs with The Doors, The Byrds, Canned Heat, The Chambers Brothers, The Grateful Dead and The Lovin' Spoonful. They played the music for Sam Shepard's play The Unseen Hand, were the opening act at the Atlantic City Pop Festival in 1969.

Fons Iannelli: War/Post-War will be on view June 15th – August 11th, 2017. Steven Kasher Gallery is located at 515 W. 26th St., New York, NY 10001. Summer hours are Monday - Friday, 10 AM to 6 PM beginning July 5th.

 

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David Zimmerman: One VoiceOpen in a New Window

Sous Les Etoiles Gallery is pleased to present "One Voice", American photographer David Zimmerman’s third solo exhibition with the gallery. An opening reception and book signing with the artist will be held on Thursday, June 15, 2017 from 6 – 8 PM. A movie screening of "The Places Behind One Voice", followed by an Artist Talk is scheduled for Monday, June 19, at 7 PM.

Over the past two decades, Zimmerman’s art has come to focus on endangered landscapes and cultures displaced by environmental, social, economic and political causes. "One Voice" is an ongoing project that began in 2011. For the past six years, David Zimmerman has lived and worked amongst Tibetan refugees in Northern India, creating a series of intimate portraits. Photographing the exile is to make a state of the time. It is the time that passes and also the time which resists, which never ceases to address its question, its anger, its refusal, its energy of survival. As David Zimmerman said: “One Voice is the story of a people’s struggle to adapt and survive in a new reality. For those who seem to have lost everything though, the soul remains inseparable, and history, and their past, is unchangeable.” Yet, those portraits are far from sad, instead they translate a majestic and magnificent strength, beauty and dignity. “Beauty works by joining form and subject matter. David’s photographs create an intensified experience of both texture and depth, and these modalities of experience are found in both the image itself and the subject being portrayed” comments Robert Hariman.

The exhibition coincides with the release of the monograph, "One Voice", published by Kehrer Verlag. The 100-page book contains 50 images along with an introduction by Robert Hariman, professor of rhetoric and public culture in the Department of Communication Studies at Northwestern University, with texts and poetry by Robert Adams, Tsering Wangmo Dhompa, Dhondup Gyal, Milarepa, Pankaj Mishra, Bhuchung D. Sonam, Tenzin Tsundue, and Tsering Woeser.

From the edges of urban landscapes, to the catastrophic oil spill in the Gulf, to homeless and fringe settlements of the Southwest, David Zimmerman has found himself befriending and documenting those whose lives were irrevocably impacted by environmental, social or political events. Having developed a significant connection with the community in Jogiwara, India, Zimmerman has built the Himalayan Art Centre, a studio and school that provides free education in visual storytelling and as a meeting and workshop space for visual artists and writers from around the world.

Zimmerman is the recipient of numerous awards including the Sony World Photography Awards L’Iris D’or Prize in 2009 for his work in the deserts of the Southwest U.S. His work is held in numerous private and corporate collections, and he is exhibited internationally. Specifically, images from his One Voice series have recently been exhibited at Castello Di Rivolli Museum of Contemporary Art (Turin, Italy), and Witte de With Center for Contemporary Art (Rotterdam, Netherlands), and are currently part of the Refugees exhibition curated by the Annenberg Foundation on view at Fotofest International, until July 15th, 2017.

 

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Ed Templeton: Amalgamated FragmentsOpen in a New Window

Danziger Gallery is proud to announce our first exhibition of photographs by Ed Templeton and the artist’s first photography show in New York.

A California native, Templeton grew up and still lives in the suburbs of Orange County. His photographs tell the story of the worlds he knows – the pangs and passion of youth, the beauty and tackiness of Southern California, and the exhilaration and exhaustion of the skateboard world he starred in.

While Templeton originally gained fame as a skateboarder, turning professional in 1990 and founding his own skateboard company, he always felt a need for creative expression both athletically and artistically. Influenced by professional skateboarders who did their own graphics and art, Templeton began to create works in multiple mediums – painting, photography, and sculpture. He continued to tour the world as a skateboarder, but over time (and injury), his art became his primary focus.

Around 1994 Templeton had become associated with a group of west coast artists whose styles and distribution channels originated largely outside of the art world, and included an interest in pop culture iconography, a commitment to be true and unpretentious, and a strong do-it-yourself attitude.

Collectively titled “Beautiful Losers” the group included Shepard Fairey, Mark Gonzales, Margaret Kilgallen, Barry McGee, and Ryan McGinley among others and was documented in an influential film, book, and touring exhibition.

While Templeton’s photography is entirely self-taught, it would be a mistake to label him an outsider artist. He is well aware of what he is doing, the intricacies of his craft, and the moment to press the shutter. Think of a young Lartigue growing up in a working class family in SoCal as opposed to a rich cosmopolitan milieu.

Templeton documents the people and places he encounters in a rich stream of images - of himself and his wife Deanna, of the everyday people who hang out at Huntington Beach, and the places he passes in his car. He collects images of themes that he feels drawn to – teen smokers and kissers; surfers and skaters; public displays of religion, politics and self-expression.

Templeton likes to present his photographs in a non-hierarchical manner, large quantities mixed up together in irregular clusters. He hangs works in the shape of what he calls “image clouds.” In Templeton’s way of seeing we recognize the fascination of the passer-by gripped at some unexpected moment by the “extraordinary of the ordinary”, the exceptional and existential moments of daily life. It’s the best and truest tradition of photography – always ready to surprise when a new voice or vision looks at the world afresh with the same old Leica.

 

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Women Seeing WomenOpen in a New Window

Staley-Wise Gallery presents an exhibition celebrating prominent women photographers from the fields of documentary and fashion photography. Twelve photographers from the legendary cooperative Magnum Photos are engaged in a visual and thematic dialogue with twelve photographers working globally in the field of editorial and advertising photography.

Photographing and moving in different spheres, they are recording and interacting with women in the larger world to highlight disparate subjects such as war, childhood, religion, sexuality and style while celebrating the complexity of the female experience.

Photographers included: Eve Arnold / Olivia Arthur / Lillian Bassman / Louise Dahl-Wolfe / Bieke Depoorter / Carolyn Drake / Martine Franck / Toni Frissell / Sheva Fruitman / Isabella Ginanneschi / Pamela Hanson / Ruth Harriet Louise / Diana Markosian / Susan Meiselas / Sheila Metzner / Inge Morath / Genevieve Naylor / Priscilla Rattazzi / Cristina Garcia Rodero / Alessandra Sanguinetti / Marilyn Silverstone / Newsha Tavakolian / Deborah Turbeville / Ellen von Unwerth

“I feel there is something unexplored about women that only a woman can explore.” Georgia O’Keeffe, 1925

 

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Mariana Cook: LifelineOpen in a New Window

In the year before the world's turn to the 21st century, portrait-photographer Mariana Cook made a radical shift in subject matter. She decided to make one photograph per day of objects in her life, close at hand, in her home and while travelling--a bird in flight on a cloudy day, a perfect stack of pancakes, the bottom of her young daughter's foot, the shadow of her own hand, a stonemason's bucket. From the year's daily photographs, her book Close at Hand was assembled and eventually published in 2007.


Cook's mother died in 2004. In addition to earlier close-at-hand work, some of the photographs in this on-line exhibition were made in the last ten days of her mother's life. Most of these images are light abstractions. Cook has said, "Light is what inspires me to make photographs and that is what I live for. Light represents life." The last photograph in the exhibition, "Holding Hands", was made the last time the artist and her mother held hands. It is an image that departs from the otherwise abstract nature of this exhibition, an edited version of Lifeline, currently on view at Ivorypress, Madrid, May 30-July 15, 2017.


Mariana Cook works exclusively with black-and-white film and makes gelatin silver prints. She is the last protégé of Ansel Adams.

 

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Lens on LifeOpen in a New Window

Benrubi Gallery is proud to present Lens on Life Project, a photographic project organized by brothers Sam and Jack Powers. In 2016, the Powerses led a week-long photography workshop entitled Operation Goma in North Kivu, one of the most volatile provinces in the Democratic Republic of Congo. The Powers brothers traveled to North Kivu at the behest of Camme, a Congolese non-profit organization “providing education, entrepreneurship, and social services and life skills for children” in the DRC. Their goal was to provide a setting in which vulnerable young people could both share their stories and gain a new skill to enter the global marketplace. All proceeds from the exhibition will go directly to Camme, for the construction of a media building where workshops on photography and computer literacy will be held.

All the photographs in Lens on Life were taken by children who have been orphaned, abused, or otherwise victimized by the Second Congo War, which has claimed more than 5.4 million lives since 1998. Despite this, the images emphasize community rather than trauma. Social bonds take precedence over social disarray, challenging the traditional Western narrative about life in “war-torn Africa.” Though the poverty of the region is visible in many of the pictures, it is never more than backdrop to the images’ human subjects. People are depicted at work, at play, and at rest, and have a clear sense of agency in their representation. The images aren’t a kind of naive photojournalism, but, rather, an intimate portrait of individuals who are going about their lives in circumstances that are materially very different to most Westerners, but otherwise more familiar than we might have expected.

 

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Lauren Semivan: PitchOpen in a New Window

Benrubi Gallery is pleased to present Pitch, the gallery’s second solo exhibition by Lauren Semivan, after her 2013 exhibition, Observatory.

Building on the tropes of that previous show, Pitch explores the relationship between the tactile realities of the photographic medium and the conscious and unconscious contributions of the artist to the images she creates when she photographs “hand-built, sculptural environments” of her own making. As with the previous work, all images are made using an early 20th-century 8 x 10 view camera whose large-format negatives are scanned and printed without digital manipulation.

The images in Pitch are rhythmic, moody compositions built around the tension between starkly graphic lines created by pieces of string, folds in fabric and paper, or hand-drawn marks, and the softer slurries of light and shadow. Semivan builds her sets over a period of days using black charcoal, string, wire, paper, fabric, and carefully selected objects, continually monitoring the scene through the lens at it develops. The elaborate constructions last only until they’re photographed, after which they’re discarded as the stage is transformed for the next image.

Many of the images involve pieces of draped translucent fabric or animal pelts sidelit to create patterns that call to mind clouds and waves and the rippled sand after the tide has retreated. The effect is not so much of motion as of past activity—atmospheric, geological, cultural, personal—and the changes wrought by time. In the most abstracted compositions, the ground is flattened until the images seem as one-dimensional as paintings. Others acquire a depth that has as much to do with consciousness as with space.

The tension between tangible and ephemeral, concrete and abstract, is given psychological weight by the presence of the photographer in many images. Semivan uses her own body as the grounds for the string arrays or draped fabric. In doing so she seems to insist that her images be viewed not as “mere” abstractions but semantic communications—symbolic rather than literal, perhaps, but still transmitting vital information from artist to viewer.

“My relationship to photography is essentially a continuous questioning about the world and my own experiences,” Semivan says of the current series. “These images are the result of a similar continuous investigation into the invisible: an identification and interrogation of potential signals.”

 

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Laura GilpinOpen in a New Window

Laura Gilpin (1891 – 1979) was a long time Santa Fe resident and renowned photographer. Since her death in 1979, Gilpin’s photographs have been rarely shown in Santa Fe. After many years of seeking out work, we have now amassed an exquisite collection of Laura Gilpin’s photographs representing many facets of her 60-year career as a photographer of the southwest and the Navajo. Included in this exhibition are extraordinary examples of her early masterful platinum prints that are much admired by photographers and connoisseurs alike as well as magnificent examples of her Gevaluxe and gelatin silver prints.

 

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Sophie Calle: My mother, my cat, my father, in that orderOpen in a New Window

FraenkelLAB is pleased to present Sophie Calle: My mother, my cat, my father, in that order from June 23–August 26, 2017. This is the artist’s third exhibition with Fraenkel Gallery/FraenkelLAB, and it will feature works from her series Autobiographies, which pair short autobiographical texts and photographs.

My mother, my cat, my father, in that order
follows upon the deaths of Calle’s aforementioned loved ones, examining loss and absence from the artist’s characteristically unsentimental perspective. Several of Calle’s Autobiographies are inspired by her own and her mother’s diaries, such as this text from Autobiographies (My Mother Died):

On December 27, 1986, my mother wrote in
Her diary: “My mother died today.”
On March 15, 2006, in turn, I wrote in mine:
“My mother died today.”
No one will say this about me.
The end.


While she may start from autobiographical sources, Calle is known for her work blending reality and fiction, documentary and invention, creating her own genre of visual and written storytelling. She has commented: “I like rituals, to make games, not only in my work but my life…I took this from [my mother].” Calle often uses events from her life as a jumping-off point to explore intimate relationships and familial bonds in her own mischievous and subversive style.

The Autobiographies series combines the artist’s sly, sardonic sense of visual humor with stories that are too peculiar to have been invented. As with much of her work, Calle’s unique form of autobiography can be seen as a form of performance. Forgoing a sense of nostalgia, the artist puts seemingly private events into the public eye, recounting emotional parent-child interactions that are seldom described.

My mother, my cat, my father, in that order coincides with the exhibition Sophie Calle: Missing, curated by Ars Citizen, to be presented at Fort Mason Center for Arts and Culture, San Francisco, June 29–August 20, 2017.

 

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Amy Park: Ed Ruscha's Nine Pools and a Broken GlassOpen in a New Window

Kopeikin Gallery is pleased to present Ed Ruscha’s Nine Swimming Pools and a Broken Glass, by Amy Park.

Nine Swimming Pools and a Broken Glass is Amy Park’s sequel to last year’s exhibition Every Building on The Sunset Strip, both book titles by Ed Ruscha. Rendered in watercolor as her aforementioned series, her paintings serve as both a meditation and further investigation into Ed Ruscha’s photographic imagery reconceived as bright and imaginative architectural paintings.

The photographs Ruscha published in his artist book are of generic uninhabited swimming pools, some with traces of water on the concrete deck or rippled water in the pool from a diver and the final image is of a mysterious broken glass. According to Amy Park’s exploration: “In reading about the book, I discovered that the pools are not from Los Angeles or even California, but are from Las Vegas. Most of Ruscha’s books were printed in black and white; “Nine Swimming Pools and a Broken Glass” was printed in color.”

 

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Modern HieroglyphicsOpen in a New Window

Kopeikin Gallery is pleased to present Modern Hieroglyphics, a group exhibition curated by Matthew Gardocki. Participating artists Claire Colette, Rob Clayton, Alexander Kori Girard, Maysha Mohamedi, and Erin Morrison.

In Modern Hieroglyphics, Gardocki explores contemporary methods of artistic representation and esoteric ideas through the use of pictograms, gestural mark making and primitive sculptural form. Means of communication, dreams and cognitive science are subjects investigated through paintings, works on paper and sculpture.

 

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Doris Ulmann: Platinum PrintsOpen in a New Window

Keith de Lellis Gallery presents the work of Pictorialist photographer Doris Ulmann (American, 1882-1934) for its summer exhibition at 1045 Madison Avenue.

A graduate of the Clarence White School of Photography and one of the earliest social documentary photographers, Ulmann began her career in New York, creating portraits of elite writers, artists, and intellectuals in her Park Avenue apartment. The artist captured both her humble and prominent subjects alike with great care and dignity. Ulmann sought out "A face that has the marks of having lived intensely, that expresses some phase of life, some dominant quality or intellectual power" in her portraiture (Bookman 72).

Her inclination towards those who have "lived intensely" explains her dedication to documenting the people of rural Appalachia and the African American and Gullah communities of the Deep South, waning cultures of hardworking families bound by traditional values. The photographer approached folk artists, farmers, fishermen, and musicians to authentically capture their respective crafts. Although she was an upper-class New Yorker, she approached these humble communities with the respect and curiosity of an ethnographer.

Ulmann's soft-focus platinum prints soothe the hardened features of her subjects, directing the viewer's attention to their dignified and proud bearings. Her work blurs the lines between the documentarian and the fine art, combining her humanist background instilled by the Ethical Culture School with her Pictorialist training.

The soft natural light and rich shadows of Ulmann's scenes maintain a focus on the figure. The subjects' expressions are natural, pensive, and rarely is their gaze to the camera. They seem comfortable both in their environment and with the photographer.

This exhibition will be on view at the Keith de Lellis Gallery through August 3, 2017.

 

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Myoung Ho Lee: Tree...Open in a New Window

Yossi Milo Gallery is pleased to announce an exhibition of color photographs by Korean artist Myoung Ho Lee. For the artist’s second solo exhibition in the United States, Tree... will include images produced between 2011 and 2017 in Korea and Mongolia.


Situated somewhere between botanical field studies, studio portraiture and billboard advertising, Myoung Ho Lee’s tree studies pay homage to the everyday object and transform nature’s craft into a work of art worthy of careful study, as one would view a framed work of art. The tree “portraits” play with ideas of scale and perception, creating an image within an image that both highlights and obscures the relationship between object and photograph.

For the Tree... series, Mr. Lee photographs solitary trees growing in the landscape against a constructed white canvas backdrop, which isolates the tree from its surroundings and makes ambiguous its scale. After selecting a tree for its unique formal qualities and distance from other landmarks, the artist constructs a temporary photography studio on site with the help of a large production crew and heavy cranes. Using a large-format camera, Lee photographs each tree and oversized canvas in the center of the image, allowing the natural environment to fill the rest of the frame.

After photographing the tree, minor components of the canvas support system, such as ropes, poles or assistants’ hands, are removed from the image through minimal digital retouching. Small tears and folds of the canvas and shadows of his helpers remain as evidence of the performative and installation aspects of Mr. Lee’s photographs.

Myoung Ho Lee’s photographs are in the collections of the J. Paul Getty Museum, Los Angeles; National Gallery of Victoria, Melbourne, Australia; National Library of France, Paris, France; Museum of Contemporary Art, Salta, Argentina; Museo Provincial de Bellas Artes Franklin Rawson, San Juan, Argentina; Pushkin State Museum of Fine Arts, Moscow, Russia; and numerous South Korean museums including Daegu Art Museum; Gyeonggi Museum of Modern Art; and the Seoul National University Museum of Art. Mr. Lee was born in Daejon, Korea in 1975 and currently lives and works in Seoul, Korea.

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Ezra Stoller: Ezra Stoller Photographs Frank Lloyd Wright ArchitectureOpen in a New Window

Yossi Milo Gallery is pleased to present an exhibition of photographs by Ezra Stoller (American, 1915-2004). Ezra Stoller Photographs Frank Lloyd Wright Architecture is presented in celebration of the 150th anniversary of Wright’s birth and highlights key photographs by Stoller of the architect’s important buildings.

Ezra Stoller’s concise and descriptive photographs defined perceptions of post-War Modern architecture. Architecture critic Paul Goldberger noted that Stoller’s work “.... has made him perhaps the most celebrated architectural photographer of the 20th Century; his pictures ... played a major role in shaping the public’s perception of what modern architecture is about.”

During his career as an architectural photographer from the late 1930s to the 1970s, Stoller worked closely with Frank Lloyd Wright, in addition to many other leading architects of the period, such as Paul Rudolph, Eero Saarinen, I.M. Pei, Marcel Breuer, Le Corbusier and Gordon Bunshaft of Skidmore, Owings & Merrill. Stoller’s connection to Wright began in 1945 with the photographs of Wright’s Taliesin in Spring Green, Wisconsin and Taliesin West in Scottsdale, Arizona, which were widely published and shown at the Museum of Modern Art in 1947.

Stoller subsequently photographed many other Wright buildings, including the Guggenheim Museum, Fallingwater, the Marin County Civic Center, and the SC Johnson Research Tower, examples of which will be among the 20 gelatin silver prints on view in the exhibition. Stoller spoke of the difficulty of capturing the Johnson Research Tower’s opaque quality while showing the interior form. He found the most telling view by photographing the structure back lit very early in the morning, just as the sun had come up. Stoller’s entire archive of Wright’s buildings similarly reflects the photographer’s keen Modernist sensibility and careful attention to vantage point, lighting conditions, line, color and texture. Stoller documented these cultural treasures the way Wright preferred them to be seen, experienced and remembered.

Ezra Stoller Photographs Frank Lloyd Wright Architecture will be on view during the Museum of Modern Art’s exhibition, Frank Lloyd Wright at 150: Unpacking the Archive (June 12 - October 1) and the Guggenheim Museum’s birthday celebration in honor of Wright on June 8.

 

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Tom Bianchi: Fire Island Pines: Polaroids 1975-1983Open in a New Window

THROCKMORTON FINE ART is pleased to announce our summer exhibition, a show of Polaroid images of Fire Island Pines from 1975-1983, by the celebrated photographer Tom Bianchi. The exhibition contains dozens of exuberantly and sexually-charged SX-70 Polaroid images taken between 1975 and 1983. Bianchi documented the gay community at play in one of the few places where they then could be openly gay—Fire Island Pines.

The images in the exhibition, are color, limited edition, enlarged prints of the Polaroids. The photographs are whimsical and playful. Yet they also harken to the long tradition in art of celebrating the male physique.

The Pines is a mile-long sliver of some 600 modest and grand houses, on a 36-mile- long barrier island, 60 miles east of Manhattan along the Long Island coast. Fire Island Pines: Polaroids 1975-1983 is a homage to the free spirited community that was Fire Island Pines in the “golden” age of the 1970s. This “paradise” was a refuge for as many as 10,000 gay men each weekend who pulled little red wagons from the harbor to their homes and reveled at afternoon “Tea Dances” and legendary bacchanals. For many, it was the first chance to openly walk hand-in-hand on the beach with a romantic partner.

It is nearly impossible for younger generations to understand just how circumspect gay men had to be in that era. There were laws against homosexual activity and men risked their reputations, livelihoods, and sometimes their very lives, if discovered. In the cities, police decoys trolled for arrests, and blackmail threats caused many men to bottle their desires for emotional and physical intimacy.

We are fortunate that Bianchi earned the trust of enough gay men to allow him to record their lives in the rare place where they could feel safe and accepted. Many were wary of having their pictures taken. But by sharing the Polaroids with them, the men he shot could see that Bianchi was celebrating them.

It has taken over thirty years for us to see his book of Polaroids in print. Publishers long found the book “too queer” to be commercial: “the public” did not want to see homosexuals. Despite impressive endorsements from those in the art world, including Andy Warhol and Sam Wagstaff, Bianchi put the book on hold as the AIDS pandemic devastated the gay community. The box he used to store the images became a mausoleum.

Yet Bianchi still views those years, 1975-1983, as “magical.” The blazing sun, the naked bodies in the surf, and the dance music attracted a mix of world-class celebrities, models, designers, and artists “the best and the brightest.” They gave Bianchi his creative voice: “In the Pines, my dreams of being an out gay man and artist became possible.”

Fortunately, Bianchi’s weekend artwork came to the attention of Betty Parsons and Carol Dreyfuss who gave him his first one-man show in 1980. Betty Parsons the legendary dealer who introduced abstract modern art through masters such as Jackson Pollack, Mark Rothko, Clifford Still, Jasper Johns, and Robert Rauschenberg. That show gave Bianchi the courage to discard his law degree and become a full-time artist.

When his lover died of AIDS in 1988, Bianchi turned his focus to photography, employing the camera to heal psychic, sexual and social shame. He has exhibited at galleries and museums in the United States and beyond. His works are held in many private and public collections. Bianchi has produced twenty-one books exploring sexual identity.

The moving memoir Bianchi wrote for Fire Island Pines Polaroids 1975-1983, together with the photographs, recorded the birth and development of a new culture at a critical time in America’s political and aesthetic life. Much of the good we see accomplished today for gay civil liberties and queer consciousness began on the beach at Fire Island. Bianchi was there, ensuring that the beauty of the moment would live on.

“Every emerging minority needs not only a record of its grievances but also an idealized image of its expectations. Tom Bianchi has given us one version of gay happiness – an earthly paradise where handsome men love one another on white sands under an eternally cloudless sky. These photographs are at once formal and intimate, for they bring both rigor and tenderness to glimpses of real people”. – Edmund White

 

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Ryan Brown: Lots on ViewOpen in a New Window

Bryce Wolkowitz Gallery presents Lots on View, an exhibition of new work by Ryan Brown.

The cycle of drawings in this exhibition contends that the meaning of a work of art is bound to the context by which it is presented. The implied neutrality of the gallery, its latent societal and economic functions are interrogated, exposed and absorbed into the drawings themselves. The form of pages from an enlarged art catalogue offer an analogy to support the overarching theme of hyper-reflection, where all points of reference loop, feedback and spiral inwards towards an indefinite center.

Images of anonymous abstract paintings contribute to the loop by matter-of-factly describing themselves. The effect blurs the distinction between opposites: copy to original, source to residual, end to beginning. The artist emphasizes layers, like Russian dolls of representation nestled inside of representation. Expressive flourishes are slapped over the surface of metal mimicking paper, paper mimicking canvas.

There's a strong element of self-parody, satirizing the inscrutable figure of the artist. A chiaroscuro portrait is slipped in, almost as an after-thought, with a vague look of dread, the Abstract Expressionist's furrow in the brow. Pages as if tossed from a giant's catalogue are beat up, trampled, creased and jotted on. The disregard adds to the accompanying sense of disproportion. There's a Lewis Carrol-like feeling of having entered an alternative world of uncanny resemblance to our own.

These are works that speak to the order of scraps, to all of the compositions of non-deliberately arranged beauty in the world. There's also the unresolved concern for the commerce and exchange of art making. The drawings hover somewhere between the studio, the collector's house and the auction block. The subsequent equalization of the aesthetics of auction catalogues to the art they purport to describe, classify and sell, questions the purpose of meaning, the meaning of purpose, the very meaning of meaning in art.

 

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A quoi rêvent les forêts?Open in a New Window

We are entering the forest. The journey is long by the river. We are getting deeper into the waters. Guided by Eduardo Kohn’s book*, I
came to look for a non-human language through which vegetables, animals and insects communicate with signs, legends, trances and
the dream.

 

We are enchanted by the graciousness of the forest: the glitters of light under the canopies, the coolness of foliage, the symphony of birds, insects, drops of water leaking from big leaves and absorbed by the moss at our feet.

 

Noémie Goudal explores the Thai forest, analyzes it and tries to identify each element and each sound. It is an unsolvable puzzle
that goes beyond the mind.

 

Images, memories, scents and sounds erupt. What was unknown unfolds in color and shapes like hybrid and familiar reconstitutions. Susana Meija lives in the Amazonian forest. That is where the Colombian artist has settled her alchemist laboratory. She sweats colors out of plants and prints them on fig paper.


The night is about to fall. Our walk is rocked by the sound of frogs. We light up a fire that timidly sets out of humidity. The forest is a shelter. We find the rest we were longing for. Jean-Yves Leloup’s sound creation reminds us that the voice of the forest never keeps quiet. It unfolds in captivating variations.

 

The night suddenly falls. The noises become alarming. We are scared, we feel lost in this versatile world. We have to sleep on the lookout.
Here, our sleep is always interrupted. Us, humans and non-humans, we dream of each other. A dream continued during daytime.

 

With François Fleury, on a small boat in the heart of the Amazonia, the water reflects the ballet of branches and creepers. Everything waves tirelessly. The forest is a world which veins, pores and all entangled vertical and horizontal levels call for a speed-up transcendence.
Our eyes are twisting in their sockets: our brain sees !

 

We are the forest. We are a snake. We are a witch turning into a fish and feeding on resin. A fern. A fluorescent mushroom. We are
a centenary tree in the arms of which Russian artist Olva Krovtor is wrapped like a plastic chrysalis. We are part of a whole. We cannot
get away from it.

 

Eyes spy on us at nighttime. Laura Huertas Millán takes us in the heart of an artificial forest. She invokes the voices of conquerors from past centuries. The forest is a resilient space that one does not invade. In spite of our desire to take a hold of it, the forest remains free.

 

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Sandi Haber Fifield: LineationsOpen in a New Window

In Lineations, SANDI HABER FIFIELD challenges the photograph's privilege as a record of the seen by manipulating images in a variety of ways and combining them with drawings on vellum to expand their formal and expressive possibilities. Through her combination of materials, her embrace of the contingent and ephemeral, and in her choreographed meeting of the found and the invented, HABER FIFIELD articulates the tenuous beauty and fragility of the natural world.

 

HABER FIFIELD has experimented with multiple images throughout her career, exploring various ways of extending the photographic frame since the 1970s. As the artist explains, "I have never felt constrained by the parameters of traditional photography and have only rarely been interested in pursuing photography as fact." In Lineations, HABER FIFIELD has used the camera to capture what resembles a drawing in nature - telecommunication wires and invasive vines, the prosaic line of a tennis court crack, the swirls of desiccated dune grass on a beach and the determined joints in a concrete sidewalk. Treating the resulting imagery as raw material, HABER FIFIELD may adjust a photograph's color or layer different versions of the same image, varying the size and changing the orientation; or, she may embellish the lines inherent in the image with her own drawn lines. Graphite and wax pastel drawings made in response to and as an extension of these altered images have been conjoined to the photographic print.

 

Intimate in scale, the drawings are both intuitive and insistent with a line that is spindly and brittle as well as elegant. The vellum adds another layer, translucent and atmospheric, that one looks both at and through. HABER FIFIELD'S drawings complete and clarify the given lines in the photograph, amplifying both the logic and whimsy of nature, while revealing a satisfying order in the world. The tactile layering of these hybrid images creates an immediacy that resists the homogeneity of our mediated culture.

 

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Richard Misrach: The Writing on the WallOpen in a New Window

Fraenkel Gallery is pleased to present Richard Misrach: The Writing on the Wall, recent photographs made in response to the 2016 US presidential election.


For four decades Richard Misrach has been one of the most significant and influential photographers of the American landscape. He is perhaps best known for his monumental, ongoing epic, Desert Cantos, a multifaceted study of our political, cultural, and environmental relationship to the natural world. The exhibition, on view at Fraenkel Gallery from July 13 – August 19, 2017, marks the premiere of Premonitions and The Writing on the Wall, two new chapters in the Desert Cantos project.


Made over the past year, Misrach’s recent photographs are a direct response to the highly charged political climate and accompanying rhetoric of hostility felt across America today. In his travels through desolate areas of southern California, Arizona, and Nevada, the artist found countless signs of despair, protest, and anger scrawled on derelict buildings and rocky outcrops. His images of spray-painted graffiti record messages of desperation, hatred, grief, and hopelessness for the country’s future. The new work builds on Misrach’s photographs of related inscriptions made during the Obama years, images that now can be seen as unwitting omens of the abrupt shift in public discourse that was to come.

 

"In our age of relentless posting on social media, it is remarkable that people choose abandoned homes and remote rock formations as canvases for political expression," says Misrach. "These are the hieroglyphics of our time."


The Writing on the Wall is accompanied by a 16-page publication illustrating 25 photographs from the series. This artist’s book will be available free of charge to visitors during the exhibition.


Fifty percent of all exhibition proceeds will be donated to Human Rights Watch.

 

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TargetedOpen in a New Window

Every day the news about Syria is dire, as the country finds itself in a civil war with no apparent end. As of today, 6.6 million people have been displaced and the number keeps rising. More than 400,000 people have been murdered, and hundreds of thousands more have been severely beaten, starved and detained. More than 17,000 people have died in Syrian prisons, as a result of torture or inhumane conditions, and another 13,000 sentenced to death. The horror in Syria is now entering its 6th year, as the government seems to be systematically annihilating its people.

In 2012, Syrian activist turned photographer Omar Imam (b. 1979, Damascus) was kidnapped and tortured by a militia and only let go when a friend intervened. Soon after, Imam left Damascus with his parents and wife, settling in Beirut where he and his wife started a family. In 2016, he moved to Amsterdam, where he currently resides. His family recently received paperwork that will finally allow them to join him.

Live, Love, Refugee is Imam’s photographic response to the chaos erupting in his homeland. In refugee camps across Lebanon, Imam collaborated with Syrians to create photographs that talked about their reality, rather than presenting them as a simple statistic. As a refugee himself, Imam understands the loss and chaos of being displaced from ones home. But dreams cannot be eradicated -- dreams of escape, dreams of love, and dreams of terror. These dreams are what Imam set out to capture. The resulting images peel back the façade of flight, to reveal the spirit of those who persevere, despite losing everything that was familiar. These composed photographs challenge our perception of victimization, offering access into the heart and soul of humanity.

In the United States, roughly 40% of households own a firearm. There are enough guns—approximately 300 million—to arm nearly every man, woman, and child in the country. This statistic is at the core of work being done by Garrett O. Hansen (b. 1979, NYC). In 2013, Hansen moved from Indonesia to teach at the University of Kentucky. It was in Lexington that the prevalence of gun culture caught his attention and became the focus of his work. He began making weekly visits to a local gun range and collecting the cardboard pieces that sit behind familiar targets of a generic unarmed silhouette. Each shooter is given a fresh target, while the backings slowly erode from the rounds shot at the figures chest and head. In Silhouette, Hansen brings these pieces of cardboard into the darkroom, where he creates full sized contact prints of them. These photographs are then scanned and form the basis for the final pieces that are made of mirrored Plexiglas and represent a one-to-one replica of the original cardboard backings. As viewers approach the piece, they see their own reflections hollowed out by the countless bullets. Through this series, Hansen seeks to engage the viewer in a broader discussion about gun culture in America.

According to available data, 2016 was the deadliest year in the city of Chicago since 1997. A huge uptick in violence resulted in 723 gun deaths… the highest of any city. The entire state of Kentucky had 278. In his newest series Memorial, Hansen examines these statistics by physically shooting pieces of paper multiple times, from which he creates gelatin silver prints, mirroring the number of gun deaths in each month. A comparison between Chicago and Kentucky will be on view. Through pieces of paper riddled with bullet holes, Hansen illuminates the heavy price of an armed civilian population.

Most people encounter endangered animals in a zoo, behind protective glass or a large moat. Designed to educate, preserve and foster conservationism, zoos have come under fire by animal rights activists who question the welfare of captured animals in an artificial environment. Colleen Plumb (b. 1970, Chicago) tackles these issues in Path Infinitum, a video projection that explores the complexities and contradictions of keeping wild animals in captivity and raises questions about our participation as a spectator.

Traveling to more than 60 zoos in the U.S. and Europe, Plumb filmed animals exhibiting stereotypy, a behavior only seen in captive animals, which includes rhythmic rocking, swaying, head bobbing, stepping back and forth and pacing. Path Infinitum looks at elephants, lions, and polar bears, along with many other animals that exhibit stereotypy or hopelessness due to lack of adequate mental stimulation or an inability to engage in natural activities. As more and more animals face extinction due to human consumption, sport and profit, Plumb raises questions that are meant to provoke discussion and raise awareness about endangered species.

 

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