Christian Gieraths' photos of Mumbay at Baukunst Galerie, Cologne

Photography exhibition : Christian Gieraths - Salaam Bombay, Baukunst Galerie, Cologne

This post presents the exhibition of photographs by the artist Christian Gieraths at Baukunst Galerie in Cologne. It give you informations about the recent work of the german photographer in India. You can also read above a short biography of Christian Gieraths.

CHRISTIAN GIERATHS

Christian Gieraths, R. R. Roy Marg, 2010

150 x 225 cm, pigment print on Epson matt on Diaplex/Dibond

from the series: Beautiful Hell - Mumbai

signed, dated and inscribed verso, edition of 4 (+ 1 A.P.)

© & Courtesy Christian Gieraths / Baukunst Galerie, Cologne, Germany

CHRISTIAN GIERATHS is a flaneur who is interested in the hustle and bustle of a society which develops itself in the pulse of technological progress and which, therefore, is in an ongoing condition of change. He is continuously searching for places where he can find these changes manifested in its historical, political or aesthetic forms. Sotchi, Havanna, Tokyo, Hollywood and Las Vegas have been previous settings of earlier series´ which show a similar picture language: They show deserted places, streets and interiors as well as facades. His focal point of the compositions is always identical. Hence, the viewpoint of the observer as well as the restricted image section remains Gieraths´ criteria for composition. His photographies are comprised by a certain silence that derives from his composition and reminds of film stills. Colour and atmosphere as well as the artist´s viewpoint are most significant. By depicting his compositions in a short span of time he enables the past to become present. Through dealing with these locations and its surroundings, as well as thoughtful observations of the sensual reality and the atmospheric moods, Christian Gieraths transforms his visual experience into photography.

In his latest series Beautiful Hell - Mumbai, Christian Gieraths was confronted with one of the most populated cities in the world. This experience lead him to an unavoidable change of his perspective. His photographies show new tendencies and they still remind of film sets and film stills. Unaware of his picture making, people are starting to become part of his compositions and the choice of his perspective frees. His primary concern to create a composition of colour and atmosphere remains. Gieraths´ photographies seem to remind of documentary in an objective way. But there are no traces of noise, chaos or smells of putridity and spices. Neither is there a vision of luxury or poverty that everyone who travels to India is confronted with. His works impress in an unspectacular and calm way and show a pictorial quality derives from his studies in the class of Prof. Ulrich Erben. It is the result of precise observation and sensible artistic aim that can only be reached through the medium of photography. 

Christian Gieraths was curious about the dream factory Bollywood which he considered a place of new symbolic importance and afflicted with myths for new stories. With a skilled eye of a painter he observes Mumbai known as Bombay until 1996. This city, which became independent in 1947, is shaped by modern buildings and historic architecture of the British colonial style. In Mumbai, nowadays a typical Indian city, Gieraths´ hunted for magic places such as cityscapes, urban corners, streets and buildings that were, or could be used as film sets. Besides exteriors there are sceneries such as foyers, corridors, cinemas, concert halls and projection rooms that become subjects of his compositions. The exhibition´s title Salaam Bombay derives from a film title of the 1980s which reflects Christian Gieraths´ interest in locations for the Hindi film industry, located in Mumbai.

CHRISTIAN GIERATHS - BIOGRAPHY

Christian Gieraths was born in Cologne in 1976. He studied history of art, cultural studies and philosophy before studying fine arts with Ulrich Erben at the Kunstakademie Münster from 1999 to 2005. In 2001 he began to study in the photography class of Thomas Ruff at the Kunstakademie Düsseldorf. In 2006 he completed his master year overseen by Daniel Buetti. In the same year he was awarded with the first prize of the GWK Subsidy Award of Fine Art by the Gesellschaft zur Förderung der Westfälischen Kulturarbeit and exhibited together with Andreas Gursky, Thomas Ruff, Jürgen Klauke and Boris Becker in the touring exhibition Fotokunst aus 60 Jahren. Kunst aus NRW. In 2008 a great solo exhibition followed by a catalogue release in the RWE Tower in Dortmund, and in 2010 Gieraths received a traveling grant of the Kunststiftung NRW for Mumbai, India. The photographer's latest works, produced in Mumbai, India, in 2010 have been made possible through this grant. The Fuhrwerkswaage, Cologne, showed Christian Gieraths´ works, in the exhibition Beautiful Hell - Mumbai from June 26th to July 17th, 2011.

Christian Gieraths' Exhibition dates: 30 June - 2 September 2011

Upcoming: Meta Isaeus-Berlin, Moon Dreams 

BAUKUNST GALERIE 

D - 50668 COLOGNE 

Website: www.baukunst-galerie.de

MoMA New Photography 2010: Roe Ethridge, Elad Lassry, Alex Prager, Amanda Ross-Ho

New Photography 2010
Roe Ethridge, Elad Lassry, Alex Prager, Amanda Ross-Ho
MoMA, New York
Through January 10, 2011 

 

ALEX PRAGER (American, born 1979)
Crowd #1 (Stan Douglas). 2010
W, November 2010
Chromogenic color print - 48 x 80 1/2" (121,9 x 204,5 cm)
Courtesy the artist and Yancey Richardson Gallery, New York
© 2010 Alex Prager

For New Photography 2010, The Museum of Modern Art highlights four artists in its annual showcase of significant recent work in contemporary photography, with the 2010 edition marking the 25th anniversary of the series. The exhibition features the work of Roe Ethridge, Elad Lassry, Alex Prager, and Amanda Ross-Ho, all of whom engage photography as a medium with fluid borders between editorial work, film, and art. Their pictures—shot in the real world, posed in the studio, or culled from pop culture and the movie industry—constantly shift contexts, often circulating from the magazine page to the wall. New Photography 2010 is organized by Roxana Marcoci, Curator, Department of Photography, The Museum of Modern Art.

Since its inception in 1985, the New Photography series has introduced the work of over 70 artists from 16 countries. The Museum continues this tradition of highlighting significant accomplishments in contemporary photography with this year’s edition featuring four artists and 36 works of photography and film. 

“These artists engage in a kind of post-appropriative practice,” explains Roxana Marcoci. “If in the 1970s Richard Prince questioned notions of originality by rephotographing advertising images and presenting them as his own, this younger group of artists reinvest in photographic authorship, creating pictures that often exist simultaneously as commercial assignment and artwork. They recognize photography to be a fluid medium.”

 

 

ROE ETHRIDGE (American, born 1969)
Comme des Garçons Scarf with Glass Plate. 2010
Chromogenic color print - 72 x 60" (182,9 x 152,4 cm)
Courtesy the artist and Andrew Kreps Gallery, New York
© 2010 Roe Ethridge

 ROE ETHRIDGE (American, b. 1969), who studied photography at The College of Art in Atlanta, takes his shoots in “editorial mode,” directly borrowing images already in circulation, including outtakes from his own commercial work. Drawing upon the traditions of descriptive photography and photography as a resource of mass imagery to be duplicated and recombined, the artist orchestrates visual fugues: a plain white plate grabbed from Bed Bath & Beyond’s website is superimposed on a checkered Comme des Garçons scarf; a model dressed in an Alexander McQueen shirt poses against a tripod at Pier 59; two filmic pictures of a Juilliard ballet student were initially published in Vice magazine; a model from the Chanel Spring ’09 fashion show is culled from The New York Times; a pumpkin sticker is shot in close-up view and magnified; a red bag is featured in a corner of the artist’s studio; and a still life displays moldy fruit. Abandoning conventional photographic aesthetics in favor of intentionally inconsistent modes of representation, Ethridge’s pictures acquire their distinct meaning from the salient way they are reshuffled, sequenced, and laid out.

 

 

ELAD LASSRY (Israeli, born 1977), Woman (Camera), 2010. Chromogenic color print, 8 1/2 x 10 1/2" (21,6 x 26,7 cm) The Museum of Modern Art, New York. Fund for the Twenty-First Century © 2010 Elad Lassry, courtesy David Kordansky Gallery.

 ELAD LASSRY (Israeli, b. 1977) defines his practice as one consumed with pictures, meaning with generic images culled from vintage picture magazines or film archives. After attending CalArts as a film student, the artist earned an MFA from the University of Southern California. Tapping into the visual culture of still and motion pictures, Lassry’s practice is as much engaged with the history of building stories with images as with the ghosts of history that persist long after images have been lifted out of their original context. Lassry demands viewers to rethink what it means to arrive at a point visually. His vibrantly colored pictures—studio portraits of friends and celebrities, still life compositions, and photocollages—never exceed the format of a magazine spread and are displayed in matching frames that derive their color from the dominant hues in the photographs. In their deadpan objecthood and Pop subject matter, Lassry’s images mimic the condition of non-art; yet his most direct shots are upended by an occasional blur, double-exposure, or the sandwiching of multiple negatives. Lassry often places his photographs beside 16-mm film projections. Untitled (2009), featuring Eric Stoltz in the role of choreographer teaching steps to a dancer dressed in red bodysuit, heightens the tension between stillness within the moving image and the temporality of the static image. A deft explorer of the relationship between image and picture, Lassry perks up the seductive language of film and advertising with a touch of subversive conceptualism.

 

 ALEX PRAGER (American, born 1979), Susie and Friends from the series The Big Valley. 2008. Chromogenic color print, 48 x 73 1/2" (121,9 x 186,7 cm). The Museum of Modern Art, New York. Acquired through the generosity of the Contemporary Arts Council of The Museum of Modern Art © 2010 Alex Prager, courtesy Yancey Richardson Gallery

A self-taught photographer, ALEX PRAGER (American, b. 1979) takes her cues from pulp fiction, the cinematic conventions of movie directors such as Douglas Sirk and Alfred Hitchcock, and the stylized fashion works of Guy Bourdin to construct images that are intentionally loaded, not unlike silent movies. Her unnerving narratives feature women disguised in synthetic wigs, dramatic makeup, and retro polyester attires. Shot from unexpected angles and dramatically lit, her crisp, boldly colored photographs offer a feeling of disquiet. Crowd #1 (Stan Douglas), one in a series of pictures shot for the November 2010 issue of W magazine, makes its debut here. It draws from Stan Douglas’s Hastings Park, 16 July 1955 (2008), among other sources, but Prager has enlisted a new cast of characters, dressed in 1970s outfits (which she selected), and shot the scene in her own signature style. The exhibition also presents the U.S. premiere of Prager’s debut film, Despair (2010). This four-minute film starring the actress Bryce Dallas Howard is, according to the artist, a “full-sensory version” of her photographs. Set in 1960s Los Angeles to a score by composer Ali Helnwein, this short is inspired by the 1948 film The Red Shoes, about a prima ballerina whose obsession with dance conflicts with her need for love, ultimately leading to her suicide. Focusing on the actress’s face to capture one intense emotion, Prager’s construction of images is intentionally loaded, reflecting her fascination with, and understanding of, cinematic melodrama. 

 

AMANDA ROSS-HO (American, born 1975), Irreconcilable Indifferences, 2010
Chromogenic color print - 44 x 34 3/16" (111.8 x 86.8 cm)
Courtesy the artist, Cherry and Martin, Los Angeles and Mitchell-Innes & Nash, New York   © 2010 Amanda Ross-Ho

AMANDA ROSS-HO (American, b. 1975) received a BFA from the School of the Art Institute of Chicago and an MFA from the University of Southern California. Nodding to various stages of the creative process, her distinctive installations typically include a mix of collages, assemblages, mural-scale inkjet prints of studio residues, and hand-drilled Sheetrock panels propped against the wall that function like architectural backdrops. The Sheetrock panel in this exhibition is lined up with found images scanned from the pages of craft manuals and photography textbooks, but also includes pictures that have familial significance, such as a gelatin silver print portrait taken by the artist’s mother in the 1970s, and a reprint from a large color transparency of a composition with glasses, originally taken by her father in the context of his work as a commercial photographer. Ross-Ho grew up in a family of photographers, both commercial and artistic. As a child she spent time with her mother while she worked in the darkroom, and often stood as a model for test shots taken by her uncle and father. Within this framework of relationships, Ross-Ho renegotiates the definition of craft processe and commercial photography in contemporary practice.

The exhibition is made possible by the Carl Jacobs Foundation.

MoMA - The Museum of Modern Art, NY
The Robert and Joyce Menschel Gallery, third floor
September 29, 2010 - January 10, 2011 

Website: www.moma.org

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

30 Years of Photography at NYPL

Recollection: Thirty Years of Photography
at The New York Public Library
The New York Public Library, NYC
Through January 2, 2011

 

Photo shows opening day for the New York Public Library at Fifth Avenue in New York City. Bain News Service, publisher N.Y. Library on Opening Day [1911 May] Bain News Service,, publisher. 1 negative : glass ; 5 x 7 in. or smaller. Call Number: LC-B2- 2202-2

The New York Public Library’s Photography Collection is celebrated with Recollection: Thirty Years of Photography at The New York Public Library, a multi-media exhibition featuring the work of over 90 prominent photographers, including Diane Arbus, Richard Avedon, Robert Capa, Henri Cartier-Bresson, André Kertész, Duane Michals, August Sander, Cindy Sherman, and Willam Wegman.

Opening on September 29, Recollection shares work from the Library’s Photography Collection in a physical exhibition in the Print Gallery & Stokes Gallery at the Stephen A. Schwarzman Building (42nd Street at 5th Avenue in Manhattan); through an online exhibition at http://exhibitions.nypl.org/recollection; and via short and long-form music videos viewed at the Library and online.

“This exhibition is not only an attempt to show another, perhaps less well-known side of the Photography Collection, it’s meant also as an homage to the first ‘recollection’ of photographs at NYPL thirty years ago,” says Stephen Pinson, exhibition curator, Assistant Director for Arts, Prints, and Photographs and Robert B. Menschel Curator of the Photography Collection. “I have gathered together these photographs under the broad category of portraiture in order to celebrate their diverse origins as well as their shared destiny, a destiny that I think Cartier-Bresson had in mind when he described portraits as ‘visual reverberations.’ Photographs make us remember, they remind us and recall things, but they also recall one another.”

Recollection is not a survey exhibition of photographic history and processes but rather a carefully curated work loosely based on the genre of “portraiture”. People and human nature are the subjects of the work featured in Recollection. The earliest work, for example, is Zaida Ben-Yusuf’s “Grover Cleveland” from 1901; the latest portraits, by Stephen Dupont and Robin Bowman, are both from 2004. Dorothea Lange documents “Woman of the High Plains” (1938); Amy Arbus photographed “Ann Magnuson on Park Avenue” (1981); Penny Diane Wolin’s “That’s His Mother, He Never Married” (1985) is also included. Famous and anonymous faces mingle in the exhibition; happiness, regret, and melancholy interact. The exhibition sequencing links the diverse works in an emotionally intelligent way.

The online exhibition of Recollection displays the images in their curatorial entirety but also allows the viewer to search by photographer and theme and to discover how each image made its way to the Library’s collection (donation, purchase, etc.).

A three-minute video showing each work will be shown in Astor Hall of the Stephen A. Schwarzman Building. A shorter version of this video will be available for online viewing at the exhibition website at http://exhibitions.nypl.org/recollection. Both videos are accompanied by the song “Soak It Up” from Houses, a “Chicago-based bliss pop outfit” (noted by music blog Pitchfork). Houses’ debut album All Night comes out October 19 on Lefse Records; Houses can be found at www.facebook.com/sunhaus. Olgivy & Mather New York and Go Robot Editorial produced the videos. A free download of Houses’ “Soak It Up” is also available from the exhibition’s website.

Photography at NYPL traces its origins back to the opening of the Astor Library in 1849, a decade after Louis Daguerre announced the first commercially viable photographic process to the world. Photographs have been part of the Library ever since, whether collected as supporting reference matter for various divisions or as original source material based on depicted subjects. “Photography” as a distinct research category and collecting division, however, was not formally recognized until thirty years ago, at a time when photography as its own artistic medium was gaining recognition in the larger art world. The Collection today comprises 500,000 photographs by 6,000 photographers.

Recollection: Thirty Years of Photography at The New York Public Library has been made possible by the continuing generosity of Miriam and Ira D. Wallach. Support for The New York Public Library’s Exhibitions Program has been provided by Celeste Bartos, Sue and Edgar Wachenheim III, Mahnaz Ispahani and Adam Bartos Exhibitions Fund, Jonathan Altman, and Pannonia Foundation.

Stanley Kubrick Photographer 1945-1950 Exhibition in Italy

Stanley Kubrick Photographer
Istituto Veneto di Scienze Lettere e Arti, Venice
Through 14 november 2010

STANLEY KUBRICK, Self-portrait
Courtesy Giunti Arte mostre musei / Istituto Veneto di Scienze Lettere ed Arti / Museum of the City of New York

 

After the great success at Palazzo della Ragione di Milano, with more than 38.000 people visiting the show, the Istituto Veneto di Scienze Lettere e Arti - Palazzo Cavalli Franchetti in Venice is hosting the exhibition of two hundreds pictures (many of them printed from the original negatives) taken by STANLEY KUBRICK from 1945 up to 1950, when at the age of 17 he was hired by the American magazine Look.

The event's inauguration was timed to coincide with the 67th Venice International Film Festival, where Kubrick received the special Career Golden Lion Award in 1997.

The exhibition is curated by Rainer Crone and set up by Giunti Arte Mostre Musei, jointly with the Library of Congress, Washington D.C., and the Museum of the City of New York – where more than 20,000 still unknown negatives belonging to a young but already great photographer Stanley Kubrick are stored.

 

STANLEY KUBRICK, A tale of a shoe-shine boy, 1947, 16x16'
Courtesy Giunti Arte mostre musei / Istituto Veneto di Scienze Lettere ed Arti / Museum of the City of New York

 

The pictures shown testify the ability of the artist to witness everyday life in America during the post-war period thanks to the ironical and withering shot of New York that was becoming the new world capital and of Dixieland musicians and circus’ epic.

The exhibition bring to the attention a less popular feature of the American filmmaker, conveying his way of taking pictures. Alongside with chess, photography is revealed as one of Kubrick’s main passions, activity inherited from his father and that he started as a teenager and terminated after only five years.
The first picture was published on June 26th, 1945 and portraits a newsvendor reacting to the death of Franklin D Roosevelt. A few months later, Look hired Kubrick as a photo reporter: at 17, he was the youngest photographer on the magazine's staff.

 

STANLEY KUBRICK, Personalities of the circus, march 1948
Courtesy Giunti Arte mostre musei / Istituto Veneto di Scienze Lettere ed Arti / Museum of the City of New York

 

The Look Method, which took the form of a narrative by episodes, did not meet with the approval of leading contemporary photojournalists. The Magazine’s owners wanted a constant follow-up of the characters portrayed in every action. This intruding style was fascinating for Kubrick who loved to build up a story starting from those images. In order to obtain a natural posture, Kubrick would remain unseen hiding his camera’s wire below his jacket and pushing the shutter using a device hidden in his hand.

In the indoor shootings, he would try to use natural light as much as possible working on the exposure time and on the diaphragm opening time. Most part of his aesthetic ability shown in his films was already present in his work of those days.
Kubrick is able to give the spectator the ability to personally interpret the psychological features of those appearing in the pictures.

 

STANLEY KUBRICK, Portugal, 1948
Courtesy Giunti Arte mostre musei / Istituto Veneto di Scienze Lettere ed Arti / Museum of the City of New York

 

“In this way, the first pictures taken by Stanley Kubrick see the light right after WW2 and they not only represent an era but they astonish for their surprising deepness. In this way, they cannot be simply considered as visual archives of the joie de vivre of a young and full of humour artist but they represent a conscious attempt to experiment the resources given by the technical mean with its ability to represent and perceive reality. This aspect will be maintained along the years in all Kubrick’s works.” -- Rainer Crone

An important step as the ambiguity of images and movies are the core of post-war cinema thus called modern and of which Kubrick is one unquestioned maestro.

 

STANLEY KUBRICK,  Untitled, 1950
Courtesy Giunti Arte mostre musei / Istituto Veneto di Scienze Lettere ed Arti / Museum of the City of New York

 

The exhibition, divided in eight sections, will display some of the stories captured by the artist like Portugal, a post-war trip made by two Americans, or Crimes, which witnesses the arrest of two criminals, following the policemen activity, their strategy and their tricks in order to make the arrest.

Betsy Furstenberg, the main character of the section, is presented as the symbol of the elated New Yorker Lifestyle during those years and the counter part of the small shoe shine” standing on the street corners.

Furthermore, there are sections reproducing the life within the Columbia University, an elite place where the American ruling class was educated and at Campus Mooseheart, Illinois, a University dorm built up by donors aimed at forming war orphans bound to America’s future middle class. New Orleans Dixieland musicians’ epic and circus performers will close the show.

Produced and conceived by Giunti Arte mostre musei, the exhibition is accompanied by a catalogue published by Giunti Arte wich is the most complete monograph on the topic never issued before in Italy.

 

STANLEY KUBRICK Photographer
28 August - 14 November 2010

Istituto Veneto di Scienze Lettere ed Arti
Palazzo Cavalli Franchetti
Campo Santo Stefano
Venice - Italy

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. 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. 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

Third European Month of Photography in Berlin

The Third European Month of Photography in Berlin take place from 1 to 30 November 2008. For the first time it comes with a motto – 'Never seen before' is its proud claim, and it has inspired the delight in discovery and innovative imagination of the institutions taking part. More than 130 galleries, project rooms, museums and cultural institutes are involved this year, promising a packed series of exhibitions, private views, events, symposiums and workshops. For a period of 30 days the concentrated programme will draw attention to the medium of photography, offering the public new and unusual insights and giving the international photographic scene a platform for discussion.

Besides the many exhibitions and events distributed at venues throughout the city, the Month of Photography is offering two central locations this year as well:

The Berlinische Galerie in Kreuzberg, with the exhibitions 'Mutations II – Moving Stills', 'Soweit das Auge reicht – Berliner Panorama-Fotografien aus den Jahren 1951 – 1952' and 'Hans Robertson – Die Berliner Jahre. Fotografien 1927 – 1933' .The Third Month of Photography was solemnly opened here on Saturday, 1 November at 7.00 pm in the presence of the Governing Mayor of Berlin. At the same time the Award of the European Month of Photography, provided by Alcatel, was awarded in Berlin for the first time.

The Uferhallen in Berlin-Wedding, with five exhibitions from the field of contemporary photography. Here the opening will take place on Saturday, 8 November at 6.00 pm. Starting from Sunday, 9 November and on the following three weekends, the Uferhallen will also be hosting various events, symposiums, screenings and conferences dealing with different aspects and issues of photography.

ORGANISATION: Kulturprojekte Berlin GmbH - Project manager: Oliver Bätz - Curator: Thomas Friedrich - Project coordinator: Kathrin Kohle - FUNDING: Stiftung Deutsche Klassenlotterie Berlin Senatskanzlei Kulturelle Angelegenheiten Alcatel-Lucent - PRESS WORK: Philip Krippendorff / Celia Solf - Stefan Hirtz.

See also : The Month of Photography in Paris (in french / en français)

Updated 

AIPAD Photography Show 1998

 

The Photography Show 98, sponsored by the Association of International Photography Art Dealers (AIPAD), will return to New York City February 13th to 15th, 1998. The Photography Show 98, the world's largest art fair devoted to fine art photography, will be held in the Exhibit Halls at the New York Hilton, 53rd Street and Avenue of the Americas.

Eighty AIPAD dealers from the United States, Canada, Europe and Japan will participate in the 1998 exposition. An extensive range of fine art photography, from rare vintage works to cutting edge contemporary, will be on view and available for purchase. The Photography Show, now in its eighteenth year, is internationally recognized for unparalleled connoisseurship and has become an invaluable event for leading museum curators, established as well as beginning collectors, and interior designers.

To showcase contemporary photography, a special section at The Photography Show 98 will be devoted to cutting edge photography. Photographs on display in this special exhibit area will be large scale images produced after 1990.

For The Photography Show 98, AIPAD will host a symposium, Creating & Collecting: It Takes Two, on February 14th from 9:30 to 11:30. The panel discussion, organised by Stephen Perloff, Editor of The Photograph Collector and The Photo Review, will feature couples who collaborate on photographic projects. The symposium is open to the public at no charge.

The 1998 event will be The Photography's sixth year at the exhibit hall of the New York Hilton Hotel. The popularity has grown steadily since AIPAD's return to NYC in 1993. Week end attendance for the last show in March 1997 was over 7000 visitors.

The Photography Show 98 will be open to the public on three consecutive days: Friday, Saturday and Sunday: February 13th, 14th and 15th. Admission price is $15 daily; $30 for a three-day pass. The admission price includes AIPAD's annual Illustrated Catalogue and Membership Directory, 288 pages, over 200 illustrations. After February 15th, the catalogue can be purchased by mail from the AIPAD office: $25 postpaid; $35 outside the U.S. postpaid.

 

PHOTOGRAPHY SHOW 98 EXHIBITORS

banning + associates
Stuart B. Baum Photography
Deborah Bell Photographs
Joseph Bellows
Bonni Benrubi Gallery, Inc.
Sandra Berler
Janet Borden, Inc.
Christian Bouqueret A.R.D.P.
J.J. Brookings Gallery
Stephen Bulger Gallery
The Camera Obscura Gallery
Zelda Cheatle Gallery
Galerie Michele Chomette
John Cleary Gallery
Stephen Cohen Gallery
Commerce Graphics Ltd, Inc.
Jane Corkin Gallery
Stephen Daiter Photography
James Danziger Gallery
Keith de Lellis Fine Art Photography
Catherine Edelman Gallery
Gary Edwards Photographs
Ehlers Caudill Gallery Ltd.
Etherton Gallery
Kathleen Ewing Gallery
Peter Fetterman Photographic Works of Art
Wm. Floyd Gallery, Inc.
Barry Friedman Ltd.
Galerie Faber
Fay Gold Gallery
Howard Greenberg Gallery
The Halsted Gallery
Hamiltons Galleries Ltd.
Leon Herschtritt Gallery
Paul M. Hertzmann, Inc.
Michael Hoppen Photography
Edwynn Houk Gallery
Hyperion Press Limited
Charles Isaacs Photographs
Jackson Fine Art, Inc.
Ken & Jenny Jacobson
Galerie Rudolf Kicken
Ezra Mack
Robert Mann Gallery
Lee Marks Fine Art
Laurence Miller Gallery
Scott Nichols Gallery
Robert Klein Gallery
Robert Koch Gallery
Paul Kopeikin Gallery
Hans P. Kraus, Jr. Inc.
Lee Gallery
Janet Lehr Inc.
Lewis Lehr, Inc.
LIFE Gallery of Photography
Gallery Luisotti (RAM)
Lunn Ltd.
Photo ART
Alan Klotz/Photocollect
Photographs Do Not Bend
Photography: The Platinum Gallery
Galleria Photology
Picture Photo Space
The Ralls Collections
Yancey Richardson Gallery
Richard T. Rosenthal
Julie Saul Gallery
William L. Schaeffer/Photographs
Scheinbaum & Russek, Ltd.
Howard Schiekler Fine Art
Charles Schwartz Photography
Michael Senft/Masterworks
Lisa Sette Gallery
Singer Photography
Andrew Smith Gallery
Joel Soroka Gallery
Staley-Wise Gallery
Galerie Zur Stockeregg
The Tartt Gallery
Throckmorton Fine Art, Inc.
Vision Gallery
Wach Gallery

 

AIPAD
1609 Connecticut Avenue, NW
Washington DC 20009