Diana Thorneycroft. Le corps, leçons et camouflage, Musée canadien de la photographie contemporaine, Ottawa

Diana Thorneycroft. Le corps, leçons et camouflage
Musée canadien de la photographie contemporaine, Ottawa
25 avril - 8 juillet 2001

Le Musée canadien de la photographie contemporaine présente une exposition de Diana Thorneycroft, considérée comme l'une des artistes les plus captivantes à se faire connaître en Amérique du Nord ces derniers dix ans. Diana Thorneycroft crée des photographies énigmatiques, souvent troublantes, qui explorent mémoire et sexualité, ainsi que les forces familiales et socioculturelles qui façonnent notre identité et notre compréhension du monde.

L'exposition comprend une quarantaine de photos noir et blanc puisées aux grands projets réalisés par l'artiste depuis le fin des années 1980. Le corps en particulier s'inscrit au coeur du travail de Diana Thorneycroft. Il devient ce fond où représenter les souvenirs d'événements passés, jouer les fantasmes, explorer les effets de malaises physiques.

Les images complexes de Diana Thorneycroft, qui ne manquent jamais de susciter commentaires et réactions, invitent à la réflexion et à l'analyse rigoureuse. Par des montages, des masques, des jouets et beaucoup d'autres accessoires, l'artiste brouille les démarcations « normales » entre enfance et âge adulte, masculin et féminin, et présente des portraits de soi-même multiples et plurivalents. Souvent, elle crée des décors et s'y représente, son corps assujetti et vulnérable, site simultané de la jouissance et de la souffrance.

Diana Thorneycroft. Le corps, leçons et camouflage a été conçue par le critique Robert Enright, organisée par l'Art Gallery of Southwestern du Manitoba et mise en tournée par le Musée des beaux-arts de Winnipeg avec l'appui généreux du Conseil des Arts du Canada, le Conseil des arts du Manitoba et Canadian Cargo.

Le CMPC précise que certaines images de l'exposition pourraient troubler les jeunes enfants.

MCPC - MUSÉE CANADIEN DE LA PHOTOGRAPHIE CONTEMPORAINE
1, Canal Rideau, Ottawa K1N 9N6
www.cmcp.gallery.ca

Larry Towell, Musée canadien de la photographie contemporaine, Ottawa

Larry Towell. Projets 1985-2000
Musée canadien de la photographie contemporaine, Ottawa
25 avril - 8 juillet 2001

Le Musée canadien de la photographie contemporaine présente une exposition qui propose 80 oeuvres du photojournaliste de réputation internationale, Larry Towell. Larry Towell. Projets 1985-2000 parcourt la carrière du photographe et s'attarde à trois grands sujets d'actualité : le Salvador, la Palestine et la communauté des Mennonites. 

Le travail de Larry Towell est remarquable non seulement pour ses qualités techniques, mais aussi pour la profondeur avec laquelle le photojournaliste aborde ses sujets. Au lieu de documenter l'histoire « officielle », Larry Towell saisit les gens ordinaires emportés par les tourments de l'histoire. S'il les capte dans l'instant, il les situe aussi dans la continuité des événements. Dans ses photographie des soulèvements au Salvador, de l'Intifada en Palestine ou de la lente disparition de la communauté mennonite, sa compassion pour les gens est bien visible. Sa position n'est pas idéologique, elle découle de son travail sur le terrain, surgissant de sa fréquentation assidue des gens dans leur quotidien, souvent pendant des années.

Larry Towell est le premier Canadien en 1988 à devenir membre de la prestigieuse agence Magnum Photos créée par Henri Cartier-Bresson, Robert Capa, David Seymour et George Rodger après la Deuxième Guerre mondiale pour défendre une forme de photojournalisme qui témoigne vraiment des événements d'une époque. Larry Towell a vu ses reportages photographiques primés publiés dans les plus grands journaux et magazines, notamment Life, Esquire, Rolling Stone, New York Times Magazine et The Globe and Mail. Il a publié huit livres salués par la critique au Canada, aux Etats-Unis et en Europe.

MCPC - MUSÉE CANADIEN DE LA PHOTOGRAPHIE CONTEMPORAINE
1, Canal Rideau, Ottawa K1N 9N6
www.cmcp.gallery.ca

Carter Potter, Julie Saul Gallery, NYC - Spacers - Film Paintings Exhibition

Carter Potter - Spacers

Julie Saul Gallery, New York

April 26 - June 2, 2001

The Julie Saul Gallery presents a solo exhibition of "Film Paintings" by Los Angeles based artist Carter Potter. For nearly ten years UCLA-trained Carter Potter has been using film-stock as the medium from which he constructs "Paintings"- in which he stretches the "leaders, feet and spacers" from discarded film around stretchers in horizontal rows, which when assembled read as translucent minimalist canvases. Carter Potter has always worked with found sculptural materials- from thrift store paintings to abandoned sofas- and as if responding to Marcel Duchamp’s abandonment of painting for the "assisted ready made" in 1913, he has transformed the objet trouvé back into painting. It is appropriate and ironic that Carter Potter has chosen the "primary medium" of his native hometown- the detritus of the end-product.

Carter Potter’s film paintings have subtly evolved over the last decade- a transition that can be discussed with a vocabulary similar to that used to describe minimalist painting- from densely woven strips of 16 and 35mm stock to his current use 70mm IMAX material. Michael Duncan wrote in Art in America that these paintings "slyly recall ... the Zen-like conceptual landscapes of Agnes Martin (while) using cinema’s throwaway bits and pieces to transcend the medium’s own frenetic expostulatory nature." The milky translucent spacers are interspersed with bands of rich and delicately colored foots and ends which also contain images of marks, numbers, and sometimes even images and text relating to the film from which they were plucked- thus providing the titles such as "The Greatest Story Ever Told (reel 3 roll A)" . In this exhibition two six-foot and two four-foot works (he always works in a square format) are "face off" within the symetrical space of the gallery.

Carter Potter’s work is included in the collections of the Addison Gallery of American Art, the Santa Barbara Museum of Art, the Panza Collection and the collection of Eileen and Peter Norton, Santa Monica. He has had solo exhibitions at the Rocket Gallery, London, Angles Gallery, Los Angeles, and Howard Yezerski in Boston and has been included in numerous group exhibitions including the 44th Biennial at the Corcoran Gallery in Washington.

JULIE SAUL GALLERY

535 West 22nd Street, New York, NY 10011

www.saulgallery.com

George Picken (1898-1971) at Monique Goldstrom Gallery, NYC

The Works of George Picken (1898-1971)
Monique Goldstrom Gallery, New York
April 27 - May 22, 2001

Monique Goldstrom Gallery presents the work of American painter George Picken (1898-1971).

George Picken was a prominent painter among the American generation that matured between the world wars in the first half of this century. His sensibilities were shaped by urban immigrant realties, World War I and the depression, and his close relationships with friends and colleagues like Stuart Davis, Edward Hopper, Charles Burchfield, John Marin, Philip Evergood, and Kuniyoshi. He also faced the wave of indifference felt by many of these artists as abstract expressionism captured the world's, and the criticsí attention. However, Picken pursued his own artistic vision, even as he experimented with abstraction and color. In his last decade, he returned to figurative work and painted some of his most powerful work. The artist died in 1971 at the age of 73.

George Picken was born in New York city in 1898, the son of a scottish immigrant artist and photographer. He served in World War I with an ambulance corps that saw action at Verdun.

Back in New York, he studied at the Art Students League and married Viola Carton, a young beauty from Yonkers who was said to be one of Reginald Marshís favorite models. The earliest canvases that survive have urban themes and a dark palette, which prompted Stuart Davis to ask him why he was always painting ìdungeonsî. Picken had a difficult time during the depression, supporting a wife and two children, but was employed by the WPA. His murals can still be seen near Albany, at the Fort Edward and Hudson Falls post offices.

George Picken also became well known as a teacher. He taught painting, printmaking and lithography at Cooper Union and Columbia University for over 20 years.

His work is in the collections of the Whitney Museum of American Art, the Corcoran Gallery, the Newark Museum, the Berkshire Museum, the Ogunquit Museum and numerous other collections.

The exhibition encompasses works from each period of the artistís career.

Monique Goldstrom Gallery
560 Broadway Street Suite 303
New York, NY 10012
www.moniquegoldstrom.com

Raymond Saunders, Stephen Wirtz Gallery, San Francisco - Paintings & Works on Paper

Raymond Saunders 

Paintings & Works on Paper

Stephen Wirtz Gallery, San Francisco 

April 19 - May 26, 2001

The STEPHEN WIRTZ GALLERY presents an exhibition of new work by RAYMOND SAUNDERS.

Raymond Saunders' masterfully constructed assemblages have a fresh and spontaneous quality that juxtaposes words and images from world culture with his personal artistic interests and preoccupations. Saunders' keen sense of composition, form, and texture is balanced by his erudite use of color. His surfaces are spattered with expressionistic swaths of paint, richly colored, with delicately drawn figures, or inscribed with chalked words, names, and numbers. Saunders often uses materials from daily life such as handbills, comics, signs, old doors, which he has culled from his frequent travels. There is an abundance of invented and appropriated imagery and iconography which reference race, war, family, religion, poverty, wealth, people, and places amongst other subject matter. His powerful painting and fluid, spirited compositions combine to give the works a dense and engrossing narrative power.

One cannot analyze Raymond Saunders' works without the ability to move within the ebb and flow of his evolving and ever-changing aesthetic. Saunders merges an improvisational, intuitive element in his paintings with a carefully conceptualized component that draws the viewer in.

RAYMOND SAUNDERS (b.1934, Pittsburgh, PA) studied at the Pennsylvania Academy of the Fine Arts and the University of Pennsylvania, earning a B.F.A. at Carnegie Institute of Technology in 1960. In 1961, he received a M.F.A. from California College of Arts and Crafts in Oakland. He has received such awards as the Prix de Rome, 1964-1966, and National Endowment for the Arts Award in 1977 and 1984, as well as a Guggenheim Fellowship in 1976. Raymond Saunders has had solo exhibitions at The Carnegie Museum of Art in Pittsburgh, PA, M.H. de Young Memorial Museum, San Francisco, Seattle Art Museum, Addison Gallery of American Art, Andover, MA, Hunter College, New York, amongst others. His work is included in such museum collections as The Whitney Museum of American Art, Walker Art Center, San Francisco Museum of Modern Art, and the Metropolitan Museum of Art.

STEPHEN WIRTZ GALLERY

49 Geary Street, San Francisco, CA 94108

www.wirtzgallery.com

Tim Gardner at 303 Gallery, New York

Tim Gardner
303 Gallery, New York
April 19 - May 25, 2001

303 Gallery presents Tim Gardner's second solo exhibition. Known for his watercolors of post-adolescent males reveling in juvenile behavior, we see this same cast of characters. Because it is clear that he is exploring his subjects from the outside, the viewer gets the feeling of having caught the subject in the middle of a dare such as streaking or a drinking game. There are inside jokes and secrets here that are never fully understood both by the viewer and Gardner himself. Unanswered questions keep the work and images in a state of motion, constantly evolving in their realm of possibility.

The watercolors are painted from photographs given to him by his brothers, their friends, or his parents. In this new body of work he continues to push the medium, making a more explicit reference to his watercolor's origin as photographs in their breathtaking accuracy. Exploring the complexity of his characters is done through his technicality, as if creating a more accurate facial expression will bring him, or you, closer to what is going on inside his subject. "I like to think of the images I paint, as if the subjects are perfectly self-conscious of their own theatricality and content in their banality."

Tim Gardner's place as voyeur is clear through his consistent examination of this group of young males, as well as through his images of people alone in nature. What brings together these two worlds is that his subjects are all depicted in leisure, what they are choosing to do in their "free time". One can easily deduce that Gardner himself identifies more closely with the isolated subject in nature, his self portraits have often been depicted as such; yet, the voyeuristic nature of the other work is an equal counterpart , in that one can just as easily be defined in what they are not or in what they are fascinated by.

303 GALLERY
525 West 22nd Street, New York, NY 10011
www.303gallery.com

Eizo Announcements of release dates for North America

A selection of EIZO release dates for North America (2001-2008)

2008 October 23 EIZO Announces Color Matching Tool for Amateur Photographers
2008 October 3 EIZO Upgrades ColorNavigator Calibration Software Providing Compatibility with X-Rite's ColorMunki Photo and ColorMunki Design
2008 May 15 EIZO Announces Support for MAC OS X with OsiriPRO
2008 May 15 EIZO Announces RadiForce RX211 LCD Monitor for Color and Monochrome Imaging at SIIM 2008
2008 January 31 EIZO to Unveil ColorEdge CG301W 30" Widescreen Monitor with Hardware Calibration at PMA 2008
2008 January 31 EIZO to Introduce 22-inch ColorEdge CG222W Widescreen Monitor with Hardware Calibration at PMA 08
2007 June 19 EIZO Announces FlexScan Widescreen Monitors for Back Offices and Trading Rooms
2007 June 14 EIZO Introduces ColorEdge CG241W for High-End Still and Moving Image Work
2006 December 1 EIZO Unveils 4 Megapixel Widescreen Color Monitor for Medical Imaging
2006 November 26 EIZO Adds 24.1" Widescreen Format Model to FlexScan-M Series of Clinical Review Monitors
2006 November 26 EIZO Adds Four Monochrome Monitors to RadiForce Series
2006 November 1 EIZO Announces RadiForce RX210 LCD Monitor for Color and Monochrome Imaging at RSNA 2006
2006 September 11 EIZO Announces New 5MP LCD Monitors for Precise Digital Mammography Imaging
2006 August 17 EIZO Introduces ColorEdge CG221 LCD Monitor
2006 June 20 EIZO to Introduce Ultra-Thin 19" Monitor with 7 mm Side Bezels at SIA 2006
2006 February 24 EIZO Introduces Creator Edition (CE) Series with two additions to the ColorEdge Line of High-End Professional LCDs – ColorEdge CE210W and CE240W
2005 September 9 EIZO Expands LCD Offerings with FlexScan S2110W Widescreen Monitor
2005 August 3 EIZO Releases 3MP Color LCD Monitor for Medical Imaging
2005 July 25 EIZO Introduces 17" FlexScan M1700 LCD Monitor for Office Use
2005 June 2 EIZO's 3 MP Monochrome LCD Monitor for Medical Imaging
2005 May 5 EIZO Introduces FlexScan L997 LCD Monitor with Wide Range of Image and Color Control Functions
2005 May 3 EIZO Unveils ColorEdge CG210 LCD Monitor
2005 April 29 EIZO Releases New Gaming LCDs for Serious Computer Game Enthusiasts - FlexScan L778 and L578
2004 October 8 EIZO Introduces ColorEdge CG220 LCD Monitor at Graph Expo and PhotoPlus 2004
2004 October 8 EIZO Introduces ColorEdge CG19 LCD Monitor for Graphic Arts and Printing
2004 January 5 EIZO Announces Shipping of New Anti-Glare Monitor Hood for the ColorEdge Series of LCD Monitors
2003 November 17 EIZO Introduces 2 MP Color LCD Monitor for Medical Imaging
2003 November 17 EIZO Introduces RadiForce G51 and G31 LCD Monitors with 10-Bit Simultaneous Grayscale Display
2003 November 17 EIZO Receives FDA 510(k) Clearance from US FDA for All RadiForce Series Monochrome Medical Display Systems
2003 September 29 EIZO Upgrades ColorNavigator Calibration Software to Version 2
2003 August 1 EIZO Introduces Five Year Warranty for Select LCD Monitors
2003 June 18 Eizo Introduces ColorEdge Series of LCD Monitors for the Graphics Market at CeBIT America
2003 June 17 Eizo Announces 18.1" FlexScan L695 LCD Monitor at SIA Technology Management Conference
2003 April 8 Eizo Announces 21.3" FlexScan L985EX at FOSE 2003
2003 April 8 Eizo and Emergent OnLine Announce Exclusive eClient Partnership at FOSE 2003
2002 November 18 Eizo Ships New FlexScan P5072 during Comdex Fall 2002
2002 August 19 Eizo's FlexScan L685 Awarded DisplayMate Technologies' "Best Digital DVI Input LCD"
2002 June 25 New L665 18.1" Slim Bezel Display Completes MultiEdge Line at PC Expo
2002 March 19 Eizo Premieres New MultiEdge Slim Bezel Multimedia Displays at FOSE
2001 November 12 Eizo Announces Server Based Client Management Software
2001 November 12 Eizo Announces Five New Flat Panel Displays
2001 August 22 Eizo Ships High Performance 15" LCD Flexscan L365
2001 August 6 Eizo Ships High Brightness 17" FlexScan T565 CRT Display
2001 June 26 Eizo Nanao Premiers New Display Technologies at PC Expo
2001 April 16 Eizo Announces New FlexScan L461 16" SXGA LCD Flat Panel Display

Last update: 23.10.2008

Deborah Barrett, Adam Baumgold Gallery, NYC - Bestiary

Deborah Barrett: Bestiary

Adam Baumgold Gallery, New York

April 19 — May 25, 2001

Adam Baumgold Gallery presents an exhibition by Deborah Barrett, "Bestiary," of constructions and works on paper.

The constructions range from toy trophy plaques, to plaster and wood sculptures of animal heads, to animals standing upright in the manner of humans. Using wood, fabric and animal hides, the work is a fusion of toy, totem and reliquary, as when a two-legged horsehair rabbit stands atop a concrete base like a beguiling monument in a strange, haunting park.

Also included in the exhibition is graphite and mixed media works on paper, photogravures and Iris prints of animals in their various guises and transformations.

In all these works, there is a sampling of the uneasy and contradictory relationship of man to animal. A clue to Deborah Barrett's mixed intentions can be found in Charles Baudelaire when he wrote that the toy is a child's first art object and invariably that toy is an animal hibernating at the root of our complex, conflicting nostalgia.

This is Deborah Barrett's second solo exhibition at Adam Baumgold Gallery. Her work is included in private collections throughout Europe and the US and has been in the New York Times, The New Yorker and Rolling Stone. She currently lives and works in California.

ADAM BAUMGOLD GALLERY

74 East 79th Street, New York, NY 10021

www.adambaumgoldgallery.com

Print Media Academy of Heidelberger Druckmaschinen AG records successes in first year

The Print Media Academy of Heidelberger Druckmaschinen AG (Heidelberg) was opened in April 2000 and has since established itself as a communication platform for the print and media industry and as a meeting point for visitors from the Rhine-Neckar region and the city of Heidelberg. 

The Print Media Academy received over 25,000 visitors in its first year. This figures does not include around 8000 course participants. Heidelberg's product training courses are particularly popular. The Academy offers a total of five modules: management training, product training, Print Manager Advanced Course, training courses for all Heidelberg employees, and seminars, forums and congresses. This event and training center for the graphic arts industry provides existing and prospective customers with the means to obtain practical training in the very latest market requirements. 

Illustration: Heidelberger Druckmaschinen AG, Heidelberg, Germany

However, the Print Media Academy is more than just a meeting point for the graphic arts industry. It also serves as a point of focus for a whole range of cross-industry forums and congresses. On average, the Print Media Academy hosts an event every second day. It already has bookings well into the start of 2003. The rooms are used for press conferences, industry events, art and culture events, photo shoots and video recordings. By way of example, the Print Media Academy played host to Heidelberg's city tour guides, the Business Managers' Congress organized by the Chamber of Trade and Industry, the Members Association of Heidelberg University, and a "1st Tuesday" meeting by young entrepreneurs. 

The company is expecting a further 30.000 visitors by April next year. In addition to a wider choice of subjects for the management training courses, Heidelberg also plans to extend the Print Manager course. Places on the new Winter Semester 2001 can now be booked. Course participants do not require a university or college degree and, upon completion, will receive a Heidelberg certificate instead of an MBA (Master of Business Administration). Detailed information on the courses available at the Print Media Academy is available from www.heidelberg.com.

Francie Bishop Good at Museum of Art (MOA), Fort Lauderdale, Florida - It's All Good

Francie Bishop Good: It's All Good

Museum of Art (MOA), Fort Lauderdale, Florida

April 7 - July 15, 2001

Carly TV, an innovative video installation by rising artist, Francie Bishop Good, is on view at MOA. Carly TV is a series of works utilizing images from television, advertising and famous works of art that are digitally manipulated and added to photographs taken by the artist. Through the use of photography and computer generated imagery, Francie Bishop Good seizes an opportunity to make an intriguing statement about life and society.

The exhibition is part of MOA’s Contemporary Project Series, a program of exhibitions, projects and events engaging the artist, participant and audience in an exchange of ideas, experiences and emotions, challenging visitors by exposing them to new media. The series is dedicated to the exhibition of work by alternative media artists. Carly TV marks Good’s first investigation of photography without painting. After experimentation with painting, mixed media and collage, Good felt the move into digital technology was a natural evolution and that technology helped her to “refine and edit my style, opening creative doors formally and conceptually.”

The work began with snapshots taken of her family in Allentown, Pennsylvania. This show features pictures of her niece, Carly. Francie Bishop Good says, “the juxtaposition of Carly’s innocence against the brashness of the TV creates a disparate dialogue that is a jumping ground for my ideas. The television in the work is a loaded object, acting as both a sculpture and a two-dimensional image.” For Good, the television images represents a specific time in the American culture. She explains: “It allows me to use the screen as a canvas for political, social and artistic statement. Stealing historical paintings and making them my own or the TV’s own is something lusciously sinful and an important part of my work.”

Francie Bishop Good studied at Philadelphia College of Art and received her BFA in painting from University of Colorado in 1972 and her Masters from Florida Atlantic University in 1985. Recently, Good studied at New York’s International Center of Photography and the Palm Beach Photographic Centre. Good was the recipient of the 2000 Fellowship Award from the South Florida Cultural Consortium. More of Good’s work can be seen at the Gallery Camino Real in Boca Raton, Florida and at New York’s Denise Bibro Fine Art. Today, Francie Bishop Good works from her studio in Fort Lauderdale.

MUSEUM OF ART - MOA

One East Las Olas Boulevard, Fort Lauderdale, FL 33301

www.museumofart.org

Ida Applebroog: Early Works, 1975-1977 at Ronald Feldman Fine Arts, New York

Ida Applebroog: Early Works, 1975 - 1977

Ronald Feldman Fine Arts, New York

April 28 - June 2, 2001

Ida Applebroog will be exhibiting "Early Works: 1975-1977" at the Feldman Gallery. The current show will be her eleventh exhibition at the Feldman Gallery and will feature works from the years 1975-1977. Included will be Ida Applebroog's early black books, "Galileo Works", as well as the videotapes relating to that work. A part of the exhibition will be devoted to a wall-mounted chronology and illuminated stagings, retelling episodes from the life of Galileo and his daughter Virginia, whose letters Applebroog used as a springboard for these works. A headless, androgynous character acts structurally and functionally as both male and female. Ida Applebroog's work hovers between fact and fiction, between reality and fantasy, so that the viewer is drawn into the exploration of the boundaries of narrative through the interplay of images, words, and silences. Throughout, Ida Applebroog's humor and social commentary hit their mark: e.g., was Galileo really offered a virgin at the age of twenty, and did he perform satisfactorily?

In 1998, Ida Applebroog was awarded a MacArthur Foundation Fellowship. Recent exhibitions include the Whitney Museum's "The American Century" exhibition, a one-person exhibition at Galerie Nathalie Pariente in Paris, France, and as one of five painters in the "Humor and Rage" exhibition at the Fundació Caixa Catalunya in Barcelona, Spain. The Corcoran Gallery of Art, in conjunction with a one-person exhibition of Ida Applebroog's work, has recently published a major catalogue of her work, "Ida Applebroog: Nothing Personal, Paintings 1987-97", with essays by Terrie Sultan, Arthur Danto, and Dorothy Allison.

RONALD FELDMAN FINE ARTS

31 Mercer Street, New York, NY 10013

www.feldmangallery.com

Philippe Parreno, Friedrich Petzel Gallery, NYC - One Thousand Pictures Falling From One Thousand Walls

Philippe Parreno: One Thousand Pictures Falling From One Thousand Walls 
Friedrich Petzel Gallery, New York
April 10 - May 5, 2001

Friedrich Petzel Gallery presents the first New York solo exhibition by Paris based artist Philippe Parreno. One Thousand Pictures Falling from One Thousand Walls, consists of two video installations, Credits 2000 and Anywhere Out of the World 1999 and a carpet inlay that draws the projection of sounds on the floor.

Credits suggests an urban landscape and the play areas of housing projects built during the 1970s in France. Credits begins with a dark screen from which the image of bare trees with brightly colored plastic bags fluttering from their empty branches slowly emerges. Apartment buildings appear in the distance. The scene is never viewed in daylight. Playing in the background of this artificial landscape is a piercing guitar riff by Angus Young. At the end, when the movie fades to the black, the gallery lights go on revealing a picture of a young boy named Gerard Philippe, photographed by Inez van Lamsweerde and Vinoodh Matadin.

Credits is the results of a large collaboration of artists, technicians and a series of personalities who were influential during the 1970s, such as Angus Young, the lead guitarist of AC/DC; Alain Peyrfitte, the former French Minister of the Interior in the Charles de Gaulle cabinet, and MIKO an ice-cream maker. More specifically this film is an investigation into the history of a type of housing project called Les Grands Ensembles, from the late 50s-60s. Credits was exhibited previously at the Walker Art Center in Minneapolis and the Centre Pompidou in Paris.

The second video installation is titled Anywhere Out of the World. Last year, Pierre Huyghe and Philippe Parreno bought the rights of Annlee, a Japanese Manga character. This collaborative project, titled No Ghost Just A Shell began with two episodes made respectively by the two artists. Anywhere Out of the World is Philippe Parreno's contribution, while Pierre Huyghe's contribution was exhibited at Marian Goodman Gallery in New York last fall. Throughout the four-minute video, Annlee talks frankly about her situation as a simple, empty commodity within the Japanese animation world. As a nameless figure, Annlee easily could have been disposed of and forgotten, but was "rescued" and given life.

FRIEDRICH PETZEL GALLERY
535 West 22nd Street, New York, NY 10011
www.petzel.com

Roxy Paine, James Cohan Gallery, NYC - New Work

Roxy Paine: New Work

James Cohan Gallery, New York

April 5 - May 5, 2001

James Cohan Gallery presents an exhibition of new work by New York-based sculptor Roxy Paine.

The exhibition features two of Roxy Paine's newest art-making machines, PMU (Painting Manufacture Unit), 1999-2000 and Drawing Machine, 2001. Both machines are intricately engineered and fully automated to produce unique works of art shaped by random effects caused by such factors as gravity and drying time.

PMU consists of a large metal scaffold supporting a paint-spraying nozzle aimed at a horizontal canvas. Entirely programmed and controlled by a laptop computer, the machine responds on command by spraying a jet of thin, white paint across the surface of the canvas as it is mechanically raised and lowered. To manufacture one painting, this cycle may be repeated up to 200 times.

The newest of the machines, Drawing Machine, 2001, is similarly engineered, in that the movement of the flat bed machine over paper and the dispensing of inks are navigated and controlled by a laptop programmed according to Roxy Paine's instructions. With these system-based machines, Roxy Paine continues his exploration of the hand-made vs. the mass produced, control vs. chance, nature vs. artifice.

Roxy Paine was born in New York in 1966. Widely recognized for his art making machines as well as his naturalistic sculptures and reliefs of plants and fungus, Paine's work has recently been included in exhibitions at the Victoria and Albert Museum in London, the 5th Lyon Biennale of Contemporary Art in France, the ICA in Boston and P.S.1 in Long Island City, Queens. In 1998 Paine had a solo exhibition at the Musée d'Art Américain in Giverny, France. Currently on view through July 8, 2001, as part of 010101: Art in Technological Times at SFMOMA is SCUMAK no. 2, Roxy Paine's second "Auto Sculpture Maker". Roxy Paine lives and works in Brooklyn, NY.

JAMES COHAN GALLERY

533 West 26th Street, New York, NY 10001

www.jamescohan.com

Digital Photo and Internet Survey

Survey reveals internet is not the first choice for finding pictures

Seventy per cent of agencies and publishers prefer to use a picture search facility other than the internet, according to a new survey. While use of the web continues to grow, the findings from over 700 picture users show that the majority would rather phone in a picture request or browse through a catalogue or CD-ROM than search online. The survey found that 77 per cent of design and advertising agencies and book and magazine publishers had used the internet to search for pictures, but only 30 per cent said they preferred to search online. Twenty six per cent said they preferred to telephone with a picture request, a further 26 per cent said they would rather look through a catalogue and 17 per cent favoured using a CD-ROM.

Maria Storey, marketing & communications director of the Science Photo Library, which conducted the customer survey, said: "You can get information from a printed catalogue that you can't get by looking at hundreds of images on a screen. There is a 'feel' to it. Users can flick through a selection and an idea may leap out from the page." "Although, with an internet search, you can put in keywords related to 'mood' or 'atmosphere', often designers are not looking for something as simple as that. They are looking for a concept or an idea and that may not easily translate into a single keyword." She said the best approach was to use all the available search methods and provide customers with the greatest degree of choice. The digital era had made it much easier to show customers picture selections before sending them out. It also allowed designers to produce layout designs quickly and easily. And the supply of high-resolution digital files has also speeded up the efficiency of the production process.

The survey also provided some positive feedback about SPL. Ninety-eight per cent ranked SPL's range of pictures highly, with 50 per cent finding it excellent and 48 per cent rating it good. On picture quality, the survey found 98 per cent were more than happy - 75 per cent thought it was excellent and 23 per cent said it was good. The research service was also given a boost by customers in the results. Fifty per cent rated it excellent and a further 42 per cent thought it was good. Comments from users were also favourable.

Jade Sienkiewicz, formerly of Wickens Tutt Southgate advertising said: "The range of subjects for more specific topics was very good - they do not fall into the usual typical photos of most other photo libraries." David Caunce, of the design company Imagine, said: "We used SPL in our work for 'Expo 2000' earlier this year. We were very impressed with the quality of both the images and service." The National Lottery Charities Board's Mark Merryfield, also commented that he was "very impressed with quality of photos and helpful service of staff". Maria Storey, said: "The results of the survey are very good news. Our photographers are long-standing professionals who continually strive to achieve high-quality, exciting images. All our researchers are science graduates, and providing clients with detailed captions is a strong feature of our service."

The Science Photo Library is the world's leading photo agency specialising in science, medicine and technology, with over 130,000 images in its collection. Independent, privately owned and the only one of its kind in Britain, SPL is renowned for its high quality picture bank, created by photographers, illustrators, scientists and medical specialists.

Kunié Sugiura, Nelson Gallery, UC Davis - Dark Matters/Light Affairs

Kunié Sugiura: Dark Matters/Light Affairs
Nelson Gallery, University of California, Davis
April 8 – May 18, 2001

Kunié Sugiura: Dark Matters/Light Affairs features a selection of some thirty major works produced in the past twelve years by New York artist Kunié Sugiura (b. Nagoya, Japan, 1942). Kunié Sugiura, a subject of many one-artist shows and a featured participant in New Photography 13 (1997) is an artist of International renown.

Kunié Sugiura’s chosen medium is the photogram, a camera-less photograph made by placing objects (often, in Kunié Sugiura’s work, living beings) in front of photographic paper and exposing them to light. Sugiura’s images – the preserved shadows of flowers, land and sea creatures, and even boxers frozen in battle – resonate with a sense of immediacy and discovery like that which animates the work of the earliest photographers. At the same time, she is the contemporary avatar of a long Japanese visual tradition grounded in the haunting, economical beauty of the silhouette.

Skeins of swirling photographic chemicals, intentionally fixed at the printing stage, suspend Kunié Sugiura’s subjects in the otherworldly present_tense of the darkroom. Her lush positive and negative renderings prompt reconsideration of the photogram as a vehicle of illusionism, as an exquisite dialect of design, and as the self-portraiture of the natural world, acting out timeless private dramas.

KUNIE SUGIURA

Dark Matters/Light Affairs

Exhibition Catalog

Dark Matters/Light Affairs is a traveling exhibition organized by Pamela Auchincloss Arts Management Services, the exhibition is accompanied by an illustrated catalog, distributed by the University of Washington Press and featuring essays by Bill Arning of the MIT List Visual Arts Center and Joel Smith of the Frances Lehman Loeb Art Center.

Richard L. Nelson Gallery & The Fine Arts Collection
1 Shields Avenue, Davis, CA 95616
Room 124, Art Building, University of California, Davis
www.nelsongallery.ucdavis.edu