Showing posts with label photographs exhibition. Show all posts
Showing posts with label photographs exhibition. Show all posts

15/11/10

Rita Bernstein and Martine Fougeron at Gallery 339, Philadelphia

Martine Fougeron: After Prom - from the Tête-à-Tête Project
Rita Bernstein: Ghost of Summer
    
Gallery 339, Fine Art Photography, Philadelphia
Through January 29, 2011

Gallery 339 in Philadelphia presents two solo exhibitions through January 29, 2011.

After Prom, the latest chapter in MARTINE FOUGERON’s Tête-à- Tête Project.  In 2005, Fougeron began photographing her sons, presenting the subtle, beautiful details of daily life through informal portraits of these young teenagers.  As the project broadened to consider the relationships between the sons and among their circle of friends, Fougeron observed that most photography about teenage boys has portrayed dysfunction rather than the routine angst, exuberance, and rebelliousness that characterize adolescence.  Continuing to focus on day-to-day moments and seeming non-events, Fougeron chose to present what she saw as a more representative portrait of teenage life—filled not with despair, but with the rich and complex drama of growing up.  With After Prom, Martine Fougeron closes the adolescent phase of Tête- à-Tête, examining a key rite of passage—the post-prom party. Fougeron captures the abandon and the ambivalence of this moment when the comfort of what is familiar begins to slip away.

Ghost of Summer is an exhibition of recent images by photographer RITA BERNSTEIN. The scale and intimacy of these remarkable photographs belie the complexity and daring of Bernstein’s work.  Her images walk a delicate tightrope; they evoke a sense of memory and of keenly felt private thoughts, yet their poignancy is controlled and perfectly modulated by their austerity and ambiguity.  They are tender and mysterious, yet never stray into the sentimental. Bernstein further explores this dichotomy of heart versus mind through her print-making process, which demands a high level of skill yet remains uncertain and serendipitous. The process involves liquid silver emulsion applied to delicate Japanese Gampi paper.  With the fragility of the paper, it is impossible to produce a flawless print or make a print that is identical to an earlier one. Rita Bernstein accepts and even embraces this inability to wholly control the process.  It imparts individuality and subtle imperfections that are in accord with the vulnerability and humanity of her images.

GALLERY 339
Philadelphia, Pennsylvania

November 12, 2010 - January 29, 2011

http://www.gallery339.com

01/11/10

Phillip and Edward Toledano Photography exhibition at Gallery 339 in Philadephia

Phillip and Edward Toledano: Days with My Father
Gallery 339, Fine Art Photography, Philadelphia
Through November 6, 2010

Days with My Father on view at Gallery 339 in Philadelphia is an exhibition of works by Phillip and Edward Toledano which accompanies the recent release of “Days with My Father”, Phillip Toledano’s photo journal of caring for his aging father, Edward.

After Edward Toledano’s wife died in 2006, Phillip Toledano realized that his mother had been shielding him from his father’s mental deterioration. While he did not have Alzheimer’s, and was often quite lucid and sharp, he no longer had any short-term memory, which led him to be easily confused and lost. Phillip Toledano found himself suddenly charged with the care of his 96-year-old father. While challenged by this responsibility, and unsettled by his father’s condition, Phillip Toledano found that the time together allowed him to see things about his father that he had forgotten or never known. During the three years that he cared for Edward, Phillip began to take photographs of his father and to post these photographs on a blog. He would write about the frustrations and happy revelations of assisting an elderly parent.  He did this as a personal exercise, expecting little or no interest in his particular situation, but to his surprise, the blog received hundreds of thousands of hits and many thousands of comments. The blog ultimately led to the publication of Days with My Father in June 2010 from Chronicle Books. 

EDWARD TOLEDANO, who died in March 2009 at the age of 99, was a remarkable man who pursued a series of careers over his long life.  During the 1930s, he was a stage and screen actor; later in life, he was a successful business man, and by the time Phillip was born (1968), Edward was pursuing a full-time career as an artist. His work is in the collections of the Smithsonian and the Tate.

PHILLIP TOLEDANO is a successful commercial and fine art photographer.  His first book, Bankrupt (photographs of recently vacated offices) was published by Twin Palms in 2005.  His second book, Phonesex, was published (again by Twin Palms) in December of 2008.  Toledano’s commercial work has appeared in a broad range of publications, including Vanity Fair, The New York Times Magazine, The New Yorker, Esquire, GQ, Wallpaper, The London Times, The Independent Magazine, Le Monde, and Interview.  His fine-art work has appeared in Aperture, Eyemazing, Raw, IdeaFixa, Ojodepez, Harpers, The British Journal of Photography, and La Republica.

GALLERY 339
Philadelphia, Pennsylvania

September 15 - November 6, 2010

http://www.gallery339.com

05/10/10

Fleeting Glimpse Photography exhibition at Roanoke and Richmond, Virginia: Eleanor D. Wilson Museum and Virginia Museum of Fine Arts

Photography exhibition - The Fleeting Glimpse:
Selections in Modern and Contemporary Photography
from the Virginia Museum of Fine Arts

Eleanor D. Wilson Museum, Roanoke, VA
Through December 4, 2010

Virginia Museum of Fine Arts, Richmond, VA
January 15 - April 3, 2011

LEE FRIEDLANDER, Shadow - New York City, 1968

LEE FRIEDLANDER, Shadow - New York City, 1968. Silver Print, Virginia Museum of Fine Arts, Richmond. The John Barton Payne Fund. Photo: Travis Fullerton, © Virginia Museum of Fine Arts. Image © Lee Friedlander, courtesy Fraenkel Gallery, San Francisco. Recent photographs of Lee Friedlander from America from Car is on view at the Whitney Museum of American Art in New York. And a retrospective of Lee Frielandler work from 1960 to 2010 will be on view at the Fraenkel Gallery.

The Eleanor D. Wilson Museum at Hollins University in partnership with the Virginia Museum of Fine Arts presents The Fleeting Glimpse: Selections in Modern and Contemporary Photography from the Virginia Museum of Fine Arts featuring 35 works by 27 artists using the photographic medium to transform common found occurrences in nature and humanity into unusual encounters and strange juxtapositions.

The Fleeting Glimpse is the first major focus on the Virginia Museum of Fine Arts (VMFA)’s renowned photography collection and marks the first partnership collection-sharing program with the largest museum in the commonwealth. The Fleeting Glimpse is co-curated by Christine Carr, artist and assistant professor of art at Hollins University and Wilson Museum Director Amy Moorefield. The exhibition roster encompasses a group of provocative legends of the camera, both modern and contemporary, and features the work of artists including Berenice Abbott, Diane Arbus, Blythe Bohnen, Judy Dater, Jen Davis, John Divola, Robert Doisneau, Martin Dorbaum, David A. Douglas, Roy DeCarava, Lee Friedlander, Ralph Gibson, Emmet William Gowin, John N. Heroy Jr., Richard Kent Hough, Connie Imboden, Alen MacWeeney, Sally Mann, Ralph Eugene Meatyard, Ray K. Metzker, Joseph Mills, Brian H. Peterson, Hiroshi Sugimoto, Ruth Thorne-Thomsen, Jerry N. Uelsmann, Garry Winogrand, and Willie Anne Wright. 

HIROSHI SUGIMOTO, Byrd Theatre, 1993

HIROSHI SUGIMOTO, Byrd Theatre, 1993. Gelatin Silver Print, Virginia Museum of Fine Arts, Richmond. Gift of the Collector’s Circle. Photo: Travis Fullerton, ©  Virginia Museum of Fine Arts. Image © Hiroshi Sugimoto, courtesy Fraenkel Gallery, San Francisco.


Through exploitation of a variety of photographic techniques including digital (Dorbaum), straightforward (Arbus), long exposure (Divola), vignette (Gowin) and pinhole process (Wright), the artists all share commonalities in the pursuit of a visually fragmented narrative in highly experimental work. The viewer has a “fleeting glimpse” of an implied alternative reality through the artists’ deliberate and sometimes happenstance staging and organization of chance elements. Using the camera, a number of the artists (Sugimoto, Dorbaum) create illusionary portals in their compositions psychologically pulling the viewer into their realms. Other works (Arbus, Doiseau, Imboden) propel the viewer away through the sitters’ carefully staged gazes controlled by the artist’s surface manipulations transforming their features into fractured and dissociated objects.  All entice the viewer with implied psychosomatic drama through bizarre subject matter and compositions inviting further examination.

The approachable medium of photography allows visitors to the exhibition the first “glimpse” of never before seen significant works by extremely well known leading photographers.

The exhibition is accompanied by a full color CATALOGUE with essays by both curators as well as Emily Smith, VMFA Curatorial Fellow.

Organized by the Eleanor D. Wilson Museum  at Hollins University in partnership with the Virginia Museum of Fine Arts. After its inaugural viewing at the Eleanor D. Wilson Museum at Hollins University, The Fleeting Glimpse will be on view at the Virginia Museum of Fine Arts.

Funding for The Fleeting Glimpse comes in part from the City of Roanoke through the Roanoke Arts Commission as well as support from the Virginia Museum of Fine Arts.

Eleanor D. Wilson Museum, Hollins University, Roanoke, Virginia 
09/16 – 12/4, 2010
www.hollins.edu/museum

Virginia Museum of Fine Arts, Richmond, Virginia
www.vmfa.museum

05/05/10

Andrea Modica: Minor League at Gallery 339 in Philadelphia

Andrea Modica: Minor League
Gallery 339, Fine Art Photography, Philadelphia
Through June 12, 2010

Minor League is an exhibition by Andrea Modica on view at the Gallery 339 in Philadelphia.  The images in Minor League are from the early 1990s, a time when Modica was living in a small town in upstate New York.  Modica says that while not previously a baseball fan, she had the opportunity to attend a game featuring the local team, the Oneonta Yankees, a “Short Season A” affiliate of the New York Yankees. This initial summer ball game led to a two-year project to photograph the players of the “O” Yankees.  Like many of her projects, Modica was drawn to this one by a desire to understand a world that she found puzzling and somewhat intimidating.  On the surface, baseball seemed frivolous to her, merely a game; why would grown men do this, she wondered.  Concurrently, she found the strident masculinity of the sport and its ambiguous set of rules and codes unsettling. Ultimately, she recognized that something which offered such interesting questions and made her a bit uncomfortable must be worth investigating. Over time, the project opened up to Modica the fascinating human level of minor league sports: its hard work, fierce ambition, and the essential but slim hope of making it to the major leagues.  Her picture-taking revealed to her the complex issues of success and failure with which the players must grapple on a daily basis.  Her pictures also offered an understanding of the multifaceted relationships among the players, who exhibited both a tight-knit camaraderie and a determined competitiveness. Modica eventually found that as an artist, who must contend with similar issues around success and self motivation, she had more in common with these players than she could have imagined.  As part of the Minor League exhibition, Gallery 339 will host an artist talk and book signing with Andrea Modica on Saturday, May 1.

ANDREA MODICA received her BFA in Visual Arts and Art History from the State University of New York College at Purchase (1982) and her MFA in Photography from Yale University (1985). Among her many accomplishments, Modica has received a Guggenheim Arts Fellowship (1994) and a Fulbright-Hays Research Grant (1990). Her photographs have been published in numerous magazines including Harper's, Newsweek, Vanity Fair, Vogue, and The New York Times Magazine. Her books include Treadwell (Chronicle Books, 1995) and Minor League (The Smithsonian Institution, 1993).  Modica’s work has been exhibited in galleries and museums around the world and has been collected by institutions including the Museum of Modern Art, The Metropolitan Museum of Art, the George Eastman House in Rochester, NY, The National Museum of American Art in Washington, D.C. and The San Francisco Museum of Modern Art.

GALLERY 339
Philadelphia, Pennsylvania

April 16, 2010 - June 12, 2010

http://www.gallery339.com

Previous exhibitions at Gallery 339:

Stuart Rome: Drawn From Nature, January 29, 2010 - April 3, 2010
Henry Horenstein: SHOW, January 29, 2010 - April 3, 2010

05/12/09

Photography - In Reverse at Foam

© Katja Mater

   Human Color Wheel, No 24 © KATJA MATER

   Courtesy of the artist and Foam


Foam – Photography Museum, Amsterdam – presents an exhibition of works by a new generation of photographers who work with the medium of photography in a refreshingly uninhibited, unconventional and sometimes slightly anarchist way. Five young Dutch photographers: Constant Dullaart, Katja Mater, Jaap Scheeren, Corriette Schoenaerts and Anne de Vries use photography more as a medium, rather than a self-evident end product. In the exhibition Photography – in reverse they present mostly new work in which they combine different disciplines: photography and internet, projections, film and installations.

A major motivation for organizing this group exhibition is the fundamental changes the medium of photography has gone through in recent years. Digitalization, and with it the ever-expanding options have had consequences for the photographer’s professional practice. These developments have not only caused questions to arise regarding authenticity, originality and authorship – the photographic image itself has acquired another status. The five photographers in this exhibition are part of a generation of photographers and artists who make use of and provide commentary on the developments referred to above.

In this exhibition a range of conceptual common grounds can be found: images are often constructed to create a world entirely of their own, often with a slightly surrealist or absurdist accent; the interplay between fiction and non-fiction is experimented with and the limits of photographic language are explored. The influence of mass media and new media is also clearly present in the work.

Constructions within the space, projections, moving images and installations make up a significant part of the exhibition, in addition to more conventional methods of exhibition.


About the photographers (links to other posts)

Constant Dullaart

Katja Mater

Jaap Scheeren

Corriette Schoenaerts

Anne de Vries


The exhibition PHOTOGRAPHY – IN REVERSE can be seen since 27 November 2009 to 21 February 2010 at FOAM PHOTOGRAPHY MUSEUM – FOTOGRAFIEMUSEUM Amsterdam. Open daily 10.00-18.00, Thurs/Fri 10.00-21.00. Tickets: € 7,50

Corriette Schoenaerts – Photographer – Visual Artist

 

Dutch photographer CORRIETTE SCHOENAERTS (b. 1977) constructs her photos from various layers, together creating a new image. She calls this process ‘compression’. The image that the viewer sees, is dependent on his or her way of looking: whether the viewer specifically focuses on a single layer or on the work as a whole.

Curent Exhibition of Corriette Schoenaerts at Foam, Amsterdam

Jaap Scheeren – Photographer – Visual Artist

 

Dutch photographer JAAP SCHEEREN (b. 1979) uses media as a source of inspiration, investigating how he, as a photographer, can translate the information from interesting articles into photos. Humour is a key element in Jaap Scheeren’s work.

 

Curent Exhibition of Jaap Scheeren at Foam, Amsterdam

Anne de Vries – Photographer – Visual Artist

 

Dutch photographer ANNE DE VRIES (1977) creates new worlds, inspired by new media and our technical culture. Anne De Vries departs from an abstract, technical concept which he explores by expressly working with extremely common place means. Her work has an anarchist tone, adverse to conventions and good taste.

 

Curent Exhibition of Anne de Vries at Foam, Amsterdam

Katja Mater – Photographer – Visual Artist

 

Dutch Photographer KATJA MATER (b. 1979) also often works with installations and focuses on the medium of photography itself: its technical characteristics and its limitations. Time and synchronicity, and dimensionality are of great importance in her work.

 

Curent Exhibition of Katja Mater at Foam, Amsterdam : post with a photograph by Katja Mater.

Constant Dullaart – Photographer - Visual Artist

 

Dutch photographer CONSTANT DULLAART (b. 1979) focuses on the changes that the digital age has brought about in the medium of photography. Constant Dullaart is an (internet) artist who experiments with the visual language of new media, including the internet. He is presently investigating the influence of Photoshop image manipulation on contemporary visual language.

 

Current Exhibition of Constant Dullaart at Foam, Amsterdam

01/11/09

Sally Mann: Proud Flesh - Photos Exhibition at Gagosian Gallery

GAGOSIAN GALLERY exhibits PROUD FLESH, a series of NEW PHOTOS by SALLY MANN

Copyright Sally Mann / Gagosian Gallery

© 2009 - Sally Mann – Courtesy Gagosian Gallery

Children, landscape, lovers—these iconic subjects are as common to the photographic lexicon as light itself. But Sally Mann's take on them, rendered through processes both traditional and esoteric, is anything but common. From the outset of her career she has consistently challenged the viewer, rendering everyday experiences at once sublime and deeply disquieting.

In previous projects, Sally Mann has explored the relationships between parent and child, brother and sister, human and nature, site and history. Her latest photographic study of her husband Larry Mann, taken over six years, has resulted in a series of candid nude studies of a mature male body that neither objectifies nor celebrates the focus of its gaze. Rather it suggests a profoundly trusting relationship between woman and man, artist and model that has produced a full range of impressions – erotic, brutally frank, disarmingly tender, and more.

Sally Mann's technical methods and process further emphasize the emotional and temporal aspects of these fragile life studies. She uses a 19th-century process, the collodion wet-plate process, discovered in 1851. The images are contact prints made from wet-plate collodion negatives, produced by coating a sheet of glass with ether-based collodion and submerging it in silver nitrate before exposure. Sally Mann exploits the surface aberrations that can result from the unpredictability of the process to produce painterly photographs marked by stark contrasts of light and dark, with areas that resemble scar tissue. In works such as Hephaestus and Ponder Heart, the scratches and marks incurred in the production process become inseparable from the physical reality of Larry's body.

The photographer SALLY MANN was born in Lexington, VA in 1951. She has received numerous awards, including three National Endowment for the Arts Fellowships and a Guggenheim Fellowship. Her photographs are in the permanent collections of major museums and private collections including the Metropolitan Museum of Art, The Museum of Modern Art, and The Whitney Museum of American Art, New York; and The Corcoran Museum of Art, Washington, D.C.

SALLY MANN
PROUD FLESH, PHOTOGRAPHS EXHIBITION
September 15 - December 23, 2009

GAGOSIAN GALLERY
980 Madison Avenue
New York, NY 10075
Hours: Tue-Sat 10-6

A fully illustrated CATALOGUE of Proud Flesh photographs' series has been published in collaboration with Aperture including a text by the award-winning poet and author C.D. Wright. Among his many previous works, he has written the text of One Big Self: Prisoners of Louisiana, published in 2003, with photographer Deborah Luster.

 

Sally Mann, Proud Flesh © 2009, Sally Mann/Aperture Foundation/Gogasian Gallery

SALLY MANN, Proud Flesh
Text by C. D. WRIGHT
Publishers: Aperture Foundation / Gagosian Gallery, October 2009
Clothbound 12" x 14" (30.5 x 36.2 cm) - 61 pages
33 tritone images
ISBN: 978-59711-135-5 - $75.00

Sally Mann’s books include At Twelve (Aperture, 1988), Immediate Family (Aperture, 1992), What Remains (2003), Deep South (2005). A feature film about her work, What Remains, debuted to critical acclaim in 2005.

01/10/09

Keizo Kitajima, The Joy of Portraits - Photos exhibition at the Amador Gallery

(c)2009 Keizo Kitajima/Amador Gallery All rights reserved, Courtesy of Amador Gallery
The Joy of Portraits is the the second gallery exhibition by iconic Japanese photographer Keizo Kitajima. Displaying a mastery and awareness of snap-shot street photography’s tradition’s within Japan, Kitajima has come to embrace the potentiality of these methods in an increasingly global context, displaying the technical skill of his forebears while confronting the subject matter of his work as an engaged and interested individual. The exhibition will include work spanning the entirety of Kitajima’s career with images from various series including those from Okinawa, Tokyo, New York, Eastern Europe and the USSR. Having studied under the great Daido Moriyama, Keizo Kitajima’s initial work in Tokyo and Okinawa reflects a similar awareness of the tension between new subcultural impulses and traditional Japanese values. However, whereas Moriyama would shoot from a position of disengagement, presenting jarring, noirish tensions in Japanese visual culture from a structural and disinterested viewpoint, Keizo Kitajima engages with a tenacious curiosity. This is nowhere more evident than in his award winning series of photographs taken during a three-month stay in New York in 1981. Here, unlike Japan, Keizo Kitajima’s gaze is gratified rather than obfuscated. He looks and people look back. During this period, similar to Weegee, Keizo Kitajima chose not to look through the camera’s viewfinder, often snapping pictures at different vantage points, imbedding his images within the plane on which bodies operate. Indeed, there is a certain bodily tactility to his New York images, a degree of contrast and formal diversity that feels palpable and gritty, just like the city itself during this vibrant time. Photography thereby attains an allegorical function for Kitajima. The image serves as visual representation of a place which Keizo Kitajima then enhances through the materiality and formal characteristics of the medium. Similarly invoking both the representational and material potential of the photograph, Keizo Kitajima’s work in Eastern Europe throughout the eighties contrasts with the excitement of his New York work. Here, the photograph imparts a sense of remoteness and hesitation both within the formal constraints of the photograph, the individual’s literal encapsulation on the photo paper, and the reservation of the individuals in their urban settings. Youth look on, interested by the foreigner, while their older counterparts remain rigid, looking from the corners of their eyes if at all. Since the early nineties Keizo Kitajima has also worked in color, creating street portraits and landscapes in the USSR in 1991, right before its collapse, as well as in New York later in the decade. Like his previous New York work, this series lunges out at the viewer, imparting the quickness, vibrancy and self-concerned narcissism of the big city. By contrast, in the Soviet series, Kitajima responds to the dereliction of the crumbling Soviet empire by arranging his photographs from a reflective, ordered point of view. The images are methodical, melancholic and vast, with crumbling, monolithic Soviet and Tzarist architecture surrounding a people as they attempt to function in their daily lives. Keizo KITAJIMA was born in Nagano in 1954. He has won various prestigious awards including the “Promising Photographers” award from the Japan Photography Association and the Kimura Ihee award. His work is the current focus of a major retrospective at the Tokyo Metropolitan Museum of Photography in Japan and coincides with the publication of The Joy Of Portraits, published by Rat Hole Gallery in Tokyo. AMADOR GALLERY KEIZO KITAJIMA - THE JOY OF PORTRAITS September 9 – November 7, 2009 Amador Gallery is located in the landmark Fuller Building at 41 East 57th Street on the 6th floor in New York. Gallery hours are 11 to 6 Tuesday through Saturday and by appointment.

25/06/09

Jessica Lange Photographs and Film series at GEH

George Eastman House International Museum of Photography & Film celebrates Oscar®-winning actress Jessica Lange this summer, with a photography exhibition of her work, a film series, and the awarding of the George Eastman House Honors. Lange will visit Eastman House Saturday, July 25, when she will introduce her recent film Grey Gardens and also take part in a tribute evening, when she will discuss her photography and film career.
Jessica Lange in Person
The George Eastman House Honors is an award given to an artist whose life work embodies the traditions and values championed by George Eastman House International Museum of Photography & Film. Lange will be the first recipient of this newly established award. She will appear at the Dryden Theatre for two separate events on Saturday, July 25:
5 p.m. Lange will personally introduce a screening of the HBO film Grey Gardens (Michael Sucsy, US 2009, 104 min., Digital Projection), which features her most recent leading role, as Edith Bouvier Beale, mother to Drew Barrymore’s “Little Edie.” These cousins to Jacqueline Onassis lead a reclusive and eccentric lifestyle — far removed from their high-society days in 1930s New York — and forged a unique bond while living in a ramshackle mansion in East Hampton.
8 p.m. Join us for “An Evening with Jessica Lange,” which will include the presentation of the inaugural George Eastman House Honors to Lange, as well as a discussion of her artistic career, clips of her motion picture work, a look at her photographs on exhibit at Eastman House (July 18-Sept. 20), and a booksigning.
Jessica Lange Photography Exhibition
The exhibition 50 Photographs by Jessica Lange will be on view at Eastman House July 18 through Sept. 20. The black-and-white images featured depict film locations, family, and the places she has visited on her travels. But rather than a collection of starry shots, most of the photographs are studies of unknown people and far-away places, such as Ethiopia and Romania. After three decades in front of the camera, Lange is now realizing her dream of being on the other side of the lens.
“Jessica’s photographs very much reflect her personality,” noted Aperture magazine. “They are delicate, but powerful… loving, warm, and extremely poetic.”
Lange studied photography at the University of Minnesota and made documentary films in Europe in the late 1960s, before engulfing herself in an acting career. She returned to photography many years later, when her longtime partner Sam Shepard brought a Leica home from a movie set.
“It was great,” Lange told New York magazine. “I’d go down into the basement after the kids were in bed, put one some Al Greene and Same Cooke, and develop pictures.
“It’s a great counterpoint to filmmaking,” Lange explained, “because it’s a private, solitary experience. It’s like writing or painting; it’s something you can do on your own. Acting is a co-dependent art form, and the actor is not in control. And filmmaking definitely informs the decision to photograph something. I’m drawn to situations with a dramatic feel to them as far as lighting or backdrop or people’s presence, the way someone stands.”
A book of Lange’s work was published last year (powerHouse, $60) titled 50 Photographs by Jessica Lange, with an introduction by musician Patti Smith. The images were shot mostly during Lange’s considerable travels as an actress and as a volunteer for charities in Russia and Africa, as well as in the northern part of her native Minnesota, where she still has a home. There’s even one photo from the first roll she took with her Leica, while in Romania, in the early 1990s.
Lange said she loves photography because “it is the antithesis of film or stage work. I can do it privately and on my own time. It is a personal, solitary way of expressing myself.”
Lange has been a collector of black-and-white photography for more than two decades. Her favorites hang throughout her house, she said, providing a constant, if not subconscious, source of inspiration and influence.
“I can describe acting in much more concrete terms than I can photography,” she said of her work. “But there’s something about presenting an image in black-and-white that’s so reductive in a way. It sort of eliminates all extraneous information.”
Jessica Lange Film Series
The Dryden Theatre will present Jessica Lange films every Thursday evening in July. Lange made an inauspicious debut on film with the 1976 remake of King Kong. Looking to do more challenging work with serious artists, Lange first impressed her critics in 1981 with her performance as Cora, the neglected wife of a roadside diner owner who falls into a passionate but deadly affair with a drifter (Jack Nicholson) in Bob Rafelson’s remake of The Postman Always Rings Twice (screening July 2).
The very next year was a watershed one for Lange, as she earned two Academy Award nominations and won the Best Supporting Actress Oscar for her deft, charming turn as Dustin Hoffman’s best friend and love interest in Tootsie (July 9).
Since the early 1980s, Lange has maintained her reputation as a performer with integrity and ethics. Frequently, the subjects of her films are directly related to issues in the national, or international, discourse, such as the legacy of the Holocaust, in Costa-Gavras’s Music Box (July 16). The importance of such projects, however, is never overpowering enough to stifle the often subtle and very real emotions that she is capable of delivering.
Tony Richardson’s period drama Blue Sky (July 23) provided the role that earned Lange her second Oscar, this time for Best Actress. Set against the backdrop of the U.S. arms race buildup in the 1960s, Blue Sky also serves as another vehicle for Lange’s masterful, compelling technique as a performer.
Continuing to work with the most talented and visionary of filmmakers and fellow actors into the 21st century, Lange made a tantalizing villainess as Tamora, Queen of the Goths in acclaimed stage director Julie Taymor’s first feature, Titus (July 30), an adaptation of Shakespeare’s Titus Andronicus.
For more information : dryden.eastmanhouse.org

07/06/09

Bonny Lhotka - 3-D Photos Exhibition Natural Order

6Sight 2009 Future of Imaging Conference will focus on the emergence of 3-D imaging. Bonny Lhotka, founding member of the Digital Atelier, will exhibit, Natural Order, a selection of 3-D images with animation lenticular photos based on nature and natural forms. Water, land, and atmosphere as natural elements will dominate the exhibit. Tropical imagery included will be 3-D underwater scenes and tide waters. The exhibition, held in October and November, will cover the time of the 6Sight Conference being held in the Monterey Conference Center from November 10-12, 2009. In conjunction with the exhibit, Lhotka will deliver a lecture at 6Sight entitled, The Art of Time and Space.
Lhotka, a recipient of the Smithsonian/Computerworld Technology in the Arts Award, worked with a group of curators in 1997 to help them envision the potential of digital printmaking in “Media for a New Millennium.” Her work is shown internationally and appears in numerous books and articles featuring experimental media. Her artwork has been commissioned by or included in, hundreds of collections including then National Conference of State Legislators, United Airlines, Johns Space Center, Jones Intercable, Microtek Labs, US Department of State, Charles Schwab, MCI, and McDonnell Douglas. More information is available at www.lhotka.com.
Artists throughout the ages have worked on the problem of representing three-dimensional space on a two-dimensional plane,” said Lhotka. “Several of the most effective attempts to capture realistic space rely on human stereoscopic vision; each eye sees a slightly different view. This approach applied to photography made stereograph viewers a common sight in U.S. parlors 100 years ago. This technology was a tightly guarded secret until the late 1990s when digital imaging reached the high resolution needed to produce one-of-a-kind large lenticular prints. At this same time a new lenticular lens was developed for use with inkjet prints. This set the stage for artists to begin to explore the manipulation of images in both time and space. Now with the release of Adobe® Photoshop® CS4 and its advanced professional capabilities as an art medium, it’s now available to any digital artist, but high priced software is no longer needed. Photography will no longer be flat.”
"The Alvarado Gallery provides a forum for the citizens and visitors of Monterey to celebrate the arts,” said Chalet Catlin, curator of the Alvarado Gallery. “Through a juried selection process, the Colton Hall Museum and Cultural Arts Commission of the City of Monterey, chose Bonny’s cutting-edge work. The intriguing images are topical to a major event, the 6Sight Future of Imaging Conference, taking place at the Monterey Conference Center."
Artists are often at the leading edge of exploring the non-traditional communication opportunities brought about by new media and new media technologies,“ said Alexis Gerard, 6Sight co-founder and conference chair. “Bonny has for a decade been at the forefront of exploring how depth information transforms the expressive possibilities of still images. Her work and the insights she has derived will greatly enrich our attendees’ experience on both an entertainment and a business level.”
Additional information about the 6Sight conference program and speakers is available at www.6Sight.com

01/06/09

Tod Papageorge, American Sports, 1970 at Pace/MacGill Gallery

Over forty 11 x 14 and 16 x 20 inch gelatin silver prints from TOD PAPAGEORGE 's series American Sports, 1970 are exhibited at Pace/MacGill Gallery, in New York. Shortly before the Kent State shootings in the spring of 1970, TOD PAPAGEORGE received a Guggenheim Fellowship to "document as clearly and as completely as possible the phenomenon of professional sport in America." Eight months later, having traveled throughout the country to photograph such classic sporting events as the World Series, the Cotton Bowl, the Preakness Stakes, and the Indianapolis 500, Papageorge returned to New York with a body of work that can now be seen to comprise an incisive portrait of a nation reeling from the impact of the myriad political, sexual, and racial struggles created by the conflicting pressures of the war in Vietnam. TOD PAPAGEORGE 's ability to distill concise and coherent images from the dense visual weave of passing events -- a skill he honed during the late 1960s by photographing nearly every day on the streets of Manhattan -- is particularly evident in this body of work. With his wide-angle lens, he not only documents where and how a series of archetypal games was played out, but also reveals their compelling relationship to the world-at-large in images that, subtly but palpably, expose the unsettled American spirit at a critical moment in its history. TOD PAPAGEORGE (b. 1940, Portsmouth, New Hampshire) began to photograph during his last term at the University of New Hampshire, where he graduated in 1962 with a B.A. in English literature. In 1970, he received the first of two Guggenheim Fellowships in photography and, at about the same time, began his teaching career in New York City. His work has been widely exhibited in the United States and in Europe, and is represented in more than thirty major public collections, including those of the Museum of Modern Art, New York, the Art Institute of Chicago, and the Bibliotheque Nationale in Paris. Two collections of his photographs, Passing through Eden: Photographs of Central Park and American Sports, 1970, or How We Spent the War in Vietnam, were published in 2007 and 2008, respectively. He was recently shortlisted for the 2009 Deutsche Börse Photography Prize. In 1979, TOD PAPAGEORGE was appointed the Walker Evans Professor and Director of Graduate Studies in Photography at the Yale School of Art, where he has taught many of the leading photographers of the past thirty years, including Gregory Crewdson, Tim Davis, Philip-Lorca diCorcia, Katy Grannan, An-My Lê, and Abelardo Morell. TOD PAPAGEORGE is the author of Public Relations: The Photographs of Garry Winogrand and Walker Evans and Robert Frank: An Essay on Influence, prepared in conjunction with exhibitions that he curated for the Museum of Modern Art in 1977 and the Yale University Art Gallery in 1981. In 2001, the YUAG also published his seminal essay on the work of Robert Adams. TOD PAPAGEORGE: American Sports, 1970 or, How We Spent the War in Vietnam Pace/MacGill Gallery June 11 - August 28, 2009 Hours through June 20: Tuesday – Friday, 9:30-5:30, Saturday, 10:00-6:00 Beginning June 23: Monday – Thursday, 9:30-5:30, Friday, 9:30-4:00 PACE/MACGILL GALLERY 32 East 57th Street New York - NY 10022

19/04/09

Alison Rossiter Photographs Exhibition - Stephen Bulger Gallery

The Stephen Bulger Gallery, in Toronto, announce "Lament", an exhibition of new work by Alison Rossiter that pays homage to the disappearing materials of analogue photography.
In the project, "Lament", Alison Rossiter creates photographic objects that rely on the intrinsic qualities of expired papers. She collects expired photo papers from throughout the 20th Century and processes them to reveal the years of extemporaneous exposure, moisture, humidity, and physical disruptions that have created latent imagery. The remarkable images she produces are silver abstractions and illusions, which come from coaxing these silver gelatin papers to completion.
The artist writes "Five years ago, I thought that I could no longer buy sheet film for a 5 x 7 camera. Fortunately, I was mistaken, but my momentary panic prompted a massive search for discontinued gelatin silver materials. Photography, as I know it, is disappearing." This project would have been unimaginable just some two decades ago when graded gelatin silver papers of every variety were still widely available and the norm. Considering the digital advances in photography, the work speaks to the materials of the medium and makes one aware of the subtlety and variety of photographic surfaces that are now a part of our history.
Alison Rossiter has been making photographs since 1970, and in the past decade has focused her work on the elemental components of the photographic process. Exploring the inherent characteristics of the medium, she works in the darkroom to create photograms of books, light drawings of horses and formal contact prints of sheet film.
Alison Rossiter's photographs can be found in the collections of the Philadelphia Museum of Art, Pennsylvania; the National Gallery of Canada, Ottawa; the Minneapolis Institute of Art, Minneapolis; the Vancouver Art Gallery, Vancouver; the Museum of Fine Arts, Houston; the Museum of Contemporary Photography, Chicago; the Centre for Creative Photography, Tucson; the Getty Museum, Los Angeles, California; the Edmonton Art Gallery, Edmonton; the Winnipeg Art gallery, Winnipeg; the Canadian Museum of Contemporary Photography, Ottawa; the Canada Council Art Bank, Ottawa, among many others.
Stephen Bulger Gallery - April 25 - May 23, 2009, Tuesday to Saturday 11am - 6pm - 1026 Queen Street West - Toronto ON - M6J 1H6 - Canada - http://www.bulgergallery.com/

01/01/09

Artists Making Photographs at the Whitney Museum

Robert Rauschenberg (1925-2008), CY + RELICS—Rome, 1952.
Gelatin silver print, 14 15/16 x 14 15/16 in. (37.9 x 37.9 cm).
gift of the artist and Pace/MacGill Gallery 93.57.
© Robert Rauschenberg, licensed by VAGA, New York, N.Y.
Artists Making Photographs focuses on five major artists from the Whitney's collection – John Chamberlain, Robert Rauschenberg, Lucas Samaras, Ed Ruscha, and Andy Warhol – all of whom are best known for their work in sculpture and painting, although they have each made significant works with a camera as well. The exhibition, in the Sondra Gilman Gallery, opens January 16, 2009; it is organized by Elisabeth Sussman, Whitney curator and Sondra Gilman Curator of Photography.
The pioneer of the group is Robert Rauschenberg (1925-2008), who exhibited passionate interest in both painting and photography from the beginning of his career. He first studied photography at Black Mountain College in the early 1950s. In 1951 he stated that he would photograph the U.S. “inch by inch,” attesting to his investment in the medium. The following year he traveled to Rome, where he made numerous photographs, including one of fellow artist Cy Twombly, which is on view in the show. Rauschenberg’s large-scale black painting, with its multi-panel construction and textural ground of newspaper collage, provides further evidence of the artist's dedication to radical experimentation. Rauschenberg’s enthusiastic embrace of photography initiated a range of experiments over the next two decades.
Aware of Rauschenberg's work, Andy Warhol (1928-1987) explored photography in the mid-1960s. Warhol, however, sent his subjects into a photo booth rather than composing and taking their portraits himself. The process and aesthetic of mechanical reproduction would become integral to Warhol's work in the ensuing years, represented here by Nine Jackies with its repetition of appropriated photographic images of Jacqueline Kennedy taken at the time of her husband’s assassination. With this new style, Warhol initiated the genre of photo based history painting that continues to be explored by artists today.
The paintings and drawings of Ed Ruscha (b. 1937) similarly seize upon iconic images of American culture. With the recent discovery of his extensive body of photography, it now appears that Ruscha's ability to capture an image and create a mood derives, in part, from the focus provided by the experience of using a camera. The exhibition includes a sampling of the many themes that occur in his work across mediums. For instance, a self-portrait with a black eye finds poetic echoes not only in the “portrait”drawing of a familiar anti-nausea medication, but also in the medium of its execution: gunpowder.
John Chamberlain (b. 1927) and Lucas Samaras (b. 1936) are two artists who began to explore the possibilities of photography in the 1970s. Chamberlain’s abstract photograph of distorted planes of color recalls his welded sculpture of fragments of car parts. Samaras’s insertion of his body into decorative fields and his fluid manipulations of photographic emulsions parallel the surrealistic contortions of his laboriously crafted yarn and plaster chair.

06/03/08

Bettina Rheims Can you find happiness Exhibition and book

 

Bettina Rheims, Can you find happiness, Galerie C/O BerlinSex in the City Bettina Rheims in Berlin

Even after the Film Festival, Berlin is still gleaming in international glamour. On March 7, Parisian photographer Bettina Rheims (for many, ever since Helmut Newton’s death the authority on female nude photography) will open her exhibition Can You Find Happiness at Galerie C/O Berlin. There, a total of 95 photographs from eight series will be on display until May 11; they include works from Chambre Close (1991), in which Parisian women pose in hotel rooms for an imaginary voyeur, and Shanghai (2004), exploring everyday life in China’s glittering gateway to the world. Three of the series exhibited will be having their world premiere.

  © Bettina Rheims – Courtesy Galerie C/O Berlin

 

The catalogue will be published at Schirmer/Mosel

With their opulent colors, immaculate classical compositions, perfect lines, and masterful treatment of the theme, Bettina Rheims’ erotic stories at times quote icons of art or cultural history, and are firmly rooted in the tradition of panel painting—or they orchestrate and mock stereotypes of the billboards and silver screen.

 

Photograph from Bettina Rheims, Can you find happiness, published by Schirmer-Mosel   Photograph from Bettina Rheims, Can you find happiness, published by Schirmer-Mosel   Photograph from Bettina Rheims, Can you find happiness, published by Schirmer-Mosel

  © Bettina Rheims, from Can you find happiness, Courtesy Schirmer/Mosel Verlag

 

“Naked skin is like an empty page on which no one has yet written. When models come to me they shed everything: Their cloths, origins, and biography, their good or their bad taste,” Bettina Rheims comments, and goes on to emphasize: “In my pictures, sexuality is linked to pleasure and not to pain, as is so often the case in art.”

Can You Find Happiness: as for Bettina Rheims’ erotic pictures, not just beauty is in the eye of the beholder, but perhaps there’s happiness in beholding these images. After all, there are no strings attached, no limits set to even the wildest fantasies.

Bettina Rheims’ models know exactly what they want: They are young, saucy, spacy, and egotistic women. They enjoy presenting their own playful relationship to sexuality to the camera. When posing they shy away from neither shocking nor provoking. They act sensually and lasciviously as artworks of nature.

 

Bettina Rheims, Can you find happiness, published by Schirmer-MoselBettina Rheims
Can you find Happiness

With an essay by Philippe Dagen
Schirmer/Mosel
128 pages - 22 x 27 cm

94 color and duotone plates

ISBN: 978-3-8296-0364-5
EUR 24.80

Featuring highly praised and fiercely disputed series such as Chambre close (women posing for an imaginary voyeur); KIM (a documentary on a transsexual); I.N.R.I. (a sequence on the life of Christ) ; women in modern Shanghai, and Héroïnes 

© Bettina Rheims / Schirmer-Mosel Verlag  - Courtesy of Schirmer-Mosel Verlag.

 

 

Other Posts about Bettina Rheims

 Bettina Rheims, serie Héroines, 2006

Bettina Rheims, serie Just like a woman, 2008

Bettina Rheims à la FIAC 2009, Galerie Jérome de Noirmont, Paris, 2009

Upcoming : Bibliothèque nationale de France exhibition, 2010

 

Updated : April 2010

01/01/08

The Death of Photography - Stephen Bulger Gallery Exhibition

Robert Burley, Michel Campeau, Alison Rossiter - A Stephen Gallery Exhibition "from today, painting is dead!" Paul Delaroche, June, 1839. When the invention of photography was announced to the public on January 7, 1839 it created a sensation for both its advocates and adversaries. At present, photography is arguably more popular than ever, but it is also at the end of an era. Digital systems are rapidly making analog materials obsolete. This exhibition includes the work of three artists who are each commemorating this milestone event in the history of art and technology.
Robert Burley - The goal of this project, "Disappearance of Darkness", is to create a photographic record of a rapidly disappearing manufacturing infrastructure dedicated to the production and use of photochemical materials. The images presented here document the final year of the Kodak Canada facility in Toronto. This facility, which was made up of 18 buildings on a 5 hectare site, had a one hundred year history of producing photographic films and papers. It was sold in 2006 and demolished in the summer of 2007.
Michel Campeau - With this work, "Darkroom", Campeau articulates the decline of photography by concentrating on the obsolescence of private darkrooms. His investigation is like that of an accident expert, one who scrutinizes the incongruity of darkrooms and throws the spotlight on the bric-à-brac of plumbing and electricity, the ventilation-system engines, the posted iconography, the splattering of silver salts, the wear of equipment and the countdown of timers that seem to defy the disappearance of the panchromatic spectre. Campeau's project is the first to be selected for a monograph by Martin Parr, the artistic director of a new series of books published by Nazraeli Press.
Alison Rossiter - In this work "Lament", Rossiter has been creating photographic objects that rely on the intrinsic qualities of old papers and films. She has been buying expired photo papers from throughout the 20th Century and processing them without any additional exposure, in search of light fog or dark fading. She has also been collecting expired sheet film of different makes and sizes to make photograms. The remarkable photographs she produces are silver abstractions of minimal imagery and are the result of light leaks, age, and circumstantial damage.
Stephen Bulger Gallery - January 5 – February 2, 2008 - Opening reception on Saturday, January 12, from 2 – 5 PM. 1026 Queen Street West - Toronto ON - M6J 1H6 - Canada - http://www.bulgergallery.com/

01/10/06

Elliott Erwitt Six Decades

© Elliott Erwitt - All rights reserved

"Elliott has to my mind achieved a miracle working on a chain-gang of commercial campaigns and still offering a bouquet of stolen photos with a flavor, a smile from his deeper self."
Henri Cartier-Bresson
Andrew Smith Gallery opens an important exhibit titled Six Decades by internationally renowned photographer Elliott Erwitt, with an opening reception and booksigning for the artist on Friday, October 13, 2006 from 5-7 p.m. Erwitt's photographs of ordinary life, beach scenes, celebrities, children and dogs have delighted viewers for decades. At age 78 he has culled through sixty years of work and chosen what he considers to be his very best photographs. Many have never been published before. These ebullient images reflect the vast scope of the wittiest photographer of our time.
Andrew Smith Gallery will have approximately 25 of Erwitt's classic photographs representing many phases of his long career. During the opening Elliott Erwitt will be signing copies of his newest book, Personal Best (teNeues, 2006). The exhibit continues through November 20, 2006.
Erwitt's superb sense of humor coupled with a deceptively casual photographic technique inspired the eminent photography critic, John Szarkowski, to remark that Erwitt is "one of the few photographers whose work is also identified by extraordinary wit." Traveling around the world on magazine assignments, Erwitt always found time to take the wry and timeless photographs of ordinary people and dogs that have made him famous. His photographs of Hollywood legends like Marlene Dietrich and Marilyn Monroe, and political figures like Nikita Khrushchev and Richard Nixon are equally penetrating and insightful.
According to writer, Sean Callahan, survival seems to be built into Erwitt's nature, along with the ability "to be an astute observer of others, highly sensitive to the vicissitudes of life and, when necessary, utterly charming and disarming." Erwitt was born in Paris in 1928, the only child of displaced Russian parents who raised him in Milan. When he was 11 the family fled Europe on the last boat out of free France. For several years he and his parents lived in New York City before moving to California. At age 16, after his parents split up, Erwitt was on his own in Los Angeles, attending Hollywood High while living in a rented bungalow with friends. After Edward Steichen arranged his first commercial job he established himself in New York the 40s and 50s as a leading magazine photographer. His friendship with Robert Capa resulted in his joining the prestigious Magnum Agency in 1953 after he got out of the army.
In his long and successful career as a magazine and advertising photographer Erwitt has used an arsenal of cameras. But the images he shot for himself were usually made with a classic Leica rangefinder and in black and white. He has remarked, "The most important advice to photographers is f:8 and be there." In his most poetic images something wordless and magical happens in a fleeting instant. In Orleans, France, 1952 Erwitt snapped the shutter just as a pigeon fluttered down to a deserted cobblestone street illuminated by a triangular shaft of sunlight.
Erwitt has shot annual reports of Fortune 500 companies, worked on six-figure advertising campaigns for Madison Avenue, and on breaking news for Paris Match. An assignment shooting women's shoes inspired him to take a closer look at dogs as subjects. New York City, 1974, one of Erwitt's most famous photographs, was taken with the camera near sidewalk level of a bug-eyed, rat-sized dog dressed in a knitted sweater and hat standing next to two gigantic pairs of legs, one wearing boots, the other belonging to another dog. The humor lies in the somewhat idiotic expression of the tiny dog which suggests it is the dwarfed product of a canine/human marriage.
In Erwitt's classic image, California, 1955, the reflection of a couple kissing in a parked car's side mirror is like a joyful bubble against a Pacific ocean sunset.
In 1960, on the set of the movie The Misfits, Erwitt photographed a team that included Marilyn Monroe, Clark Gable, Montgomery Clift, Arthur Miller, John Huston, and Eli Wallach. The cast looks a little haggard, and even Monroe struggles to play her diva role. It was the last film either Gable or Monroe would make before their deaths. Erwitt said of Monroe, "Physically she was surprisingly unattractive; the beauty was manufactured. But she was extremely intelligent and sensitive. And likeable."
In 2006 several touring exhibitions of Erwitt's photographs were shown at New York's International Center for Photography, in Paris, at Japan's Mitsukoshi, and in Barcelona, Spain. Additionally, a major exhibition in Australia is being planned. His photographs have been collected and exhibited at museums including the Museum of Modern Art, New York, the Smithsonian Institution, the Art Institute of Chicago, the Museum of Modern Art in Paris, and the Kunsthaus in Zurich. His photographic books include the comprehensive monograph Personal Exposures/Elliott Erwitt (Norton, 1988); On the Beach (Norton, 1991), and Elliott Erwitt: To the Dogs (Norton, 1992). Elliot Erwitt currently lives in New York City.
Liz Kay
Andrew Smith Gallery - 203 W. San Francisco St. Santa Fe, NM 87501
www.andrewsmithgallery.com