Events

Deadly Intent Crime & Punishment

Photographs from The Burns Archive

                               February 6 - March 28, 2009

                               "Soul Rebel: An Intimate Portrait of Bob Marley"

                              February 6- March 14, 2009

                              David Robin, "Homestead Project"

                              February 5 - April 25, 2009   

                              Jason Florio, "Makasutu: Mecca in the Forest"

Please join Adhesive NYC for our next event:

Thursday, January 22nd
ACE Bar
531 East 5th St.
(between Ave.'s A/B)
6:30 pm - ?

Also, we will be collaborating with Slideluck Potshow (http://www.slideluckpotshow.com/) on Thursday, to collect donations for their youth initiative. Please take a moment to read below, and thanks for helping out with this.

DONATE YOUR OLD DIGITAL CAMERAS AND EQUIPMENT!
Slideluck Potshow, is a non-profit arts organization that holds slideshow potlucks that help to build and strengthen community, much like Adhesive.  This fall they launched the Slideluck Youth Initiative (SLYI) in the NYC public schools to foster creative expression and empower students through the use of photography and multimedia storytelling.  Currently the program is sorely lacking in camera equipment. If you have an old point and shoot digital camera, DSLR, memory cards, card readers, hard drives, etc, that you are no longer using, bring them along to make a tax-deductible donation!  (Please also try to include batteries, cords, etc. if possible.)

Thanks, and Happy New Year!
Tim, Wini, Shabnam and Brian

Judged the APA/NY "Tell Us a Story" competition

Panel discussion at PhotoPlus NY 

an overview of how to work in commercial photography

"War in Lebannon"

May 1 - June 17, 2007

Opening talk with Scott Anderson.

"In the Shadow of Power: Poverty in Washing D.C."

March 12- May 8, 2007

"The Price of Oil"

Opening talk with Sebastian Junger

Cycle of Violence

November 6, 2006 - January 7, 2007

Panel discussion about approaching possible work contacts.

Panel discussion on the effects of digital marketing on the advertising industry 

The Outcasts of Slovakia

June 27 - August 22, 2006

Judge of the Undergraduate Photography show.

Review Santa Fe - juried portfolio review

May 12-14, 2006

Afganistan Embedded

April 17 - June 25, 2006

Foto Fest Houston Market Place Reviewer

March 11-12, 2006

March 5th - April 16th, 2009

opening reception: Thursday March 5, 2009 6-9 pm

Buy tickets to benefit the John Szarkowski Fund, an endowment for photography acquisitions at The Museum of Modern Art in New York City.  Each ticket level allows you access at different times.

Register

Adhesive

Transitions: Strategies for the Young Working Photographer

On Wednesday, PDN is hosting a free seminar for emerging photographers at Parsons The New School for Design in New York. Speakers include PDN's 30 honorees Fernando Souto, Lucas Foglia and Toni Greaves. 

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Redux Pictures' photographers have been shooting material for a new book about American youth ages 18 to 24.  The book will be published in the Spring/Summer of 2009 by Contrasto Books (http://www.contrastobooks.com/cultura/IndexBooks.asp) and distributed in major bookstores around the country and in Europe.  Some of the subjects being photographed include Native Americans living on reservations, boxers, organic farmers, young parents, political activists, Muslim teens, young hip hop dancers, firemen, Iraq war widows, children of immigrants, people in love and more.

School of Visual Arts (SVA) presents “Mentors,” an exhibition of work by BFA Photography Department students inspired by their year-long mentorship with key figures in the New York arts community. Drawn from the ranks of city’s best-known photographers, curators, art directors, publishers, art dealers, critics and writers, the mentors are paired with students based upon their field of expertise and the student’s area of concentration. The 2008-2009 mentors include creative director Fabien Baron, cinematographer and SVA alumnus Harris Savides, New York Times writer Philip Gefter, and photographers Ari Marcoupolis, Sally Gall and Gregory Crewdson, among others. 

additional information at link below

For additional information...

Link below for more informaiton

Calumet Photographic is pleased to host the 2009 BFA Exhibition by students from New York University’s Tisch School of the Arts Department of Photography and Imaging. 

This diverse exhibition features work by 28 emerging artists and is comprised of a wide range of media, including traditional black-and-white and color photographs, digital art, publications, web-based projects, video, collage, drawings and sculpture. 

On view from April 16 to May 1, 2009 

Gallery Hours are M-F 8:30-5:30, Sat 9:00-5:30 

Join us for an opening reception on Thursday, April 16th from 6 to 8 p.m.  

SlideFest
13: ICP-Bard MFA Program 
April 24 | Friday | 7:00–9:00 pm
$5/Free for ICP Members
1114 Avenue of the Americas at 43rd Street

The ICP-Bard Master of Fine Arts Program warmly invites you to the sixth annual SlideFest, an artist talk and slideshow by the class of 2010.

This event is hosted by Nayland Blake, Chair ICP-Bard MFA Program, and Marvin Heiferman, ICP-Bard core faculty member. Slidefest is open to the public and will be followed by a reception. 



You may register online, or RSVP at 212.857.0001. Seating is limited, so please arrive early.

ICP-Bard Class of 2010

HOLLY BYNOE
JESSE CHAN
TARA CRONIN
DILLON DeWATERS
RYAN EASTER
SAM FALLS
WAQAS FARID
MICHAEL ITKOFF
TUOMAS KORPIJAAKKO
PIERRE LE HORS
RÓISÍN MORRIS
LIZ SALES
ALEJANDRA UGARTE BEDWELL

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Book launch party 7-9pm

sites of Impact: Meteorite Craters Around the World

Book signing and opening reception 6-8 p.m.

Edge of Vision: The Rise of Abstraction in Photogrpahy

by Lyle Rexer

Opening reception and book signing  7-10 p.m.

What: “Stoked on Spring” – Stoked Mentoring’s Annual Spring fundraiser 

Date: Saturday May 16th 

Time: 6-10pm (6-7pm VIP, 7pm opens to the public) 

Venue: Open House Gallery www.openhousegallery.org 

Event Overview 

May 16th will mark our annual Spring fundraiser, which will include 125 works of art 

and one-of-a-kind items in a silent auction format. We will also have 15 select pieces 

of art sold during a live auction alongside 10 Stoked Scholarships. Our VIP champagne 

reception will be held from 6-8 pm and will provide a chance for guests to learn more 

about Stoked Mentoring in an intimate setting. VIP Ticket holders will also have first 

access to preview the art and will receive an exclusive gift bag. There will be limited 

tickets available for the VIP reception. The event will include an open-bar, celebrity 

hosts and DJ. 

Ticket price: 

VIP: $100, General: $75, Jr. Member: $50 

Confirmed Artists: 

Peter Max, Michael Dweck, Kenzo Minami, Jack Laroux, Chris Gentile, Abe Lincoln Jr.- 

ELC, Matt Siren, J. Strickland, Andrew Kessler, Aaron Aujla, Inga Huld Tryggvadottir, 

Julian Ungano, David Cook, Mara Sprafkin, Dana Veraldi, Tommy Agriodimas, Deryck 

Todd, Agatha Wasilewska, Daniel Zvereff, Adam Gianotti, Russell Short, Bwana Spoons, 

Noh J Cole, Col RWK, Royce Bannon-ELC 

Expected Audience: 

300 young professionals from the action-sports, art, and fashion industries, including 

artists, beginning and seasoned art collectors, as well as on-going supporters. 

Press Coverage from Past Art Events: 

The NY Times, NY Daily News, Gotham Magazine, Juxtapoz Magazine, Nylon Magazine, 

Fashion Week Daily and The Onion 

A selection of contributing artists from last year's event includes: 

Julian Schnabel, Francesco Clemente, Tom Sachs, Jeff Koons, Andy Warhol Estate, Phil 

Frost, Kehinde Wiley, David Hockney 

Personal

May 7th - June 6th

Artists' Reception: May 13 7pm-9pm

Featuring artists: Brad Harris, Timothy Hogan, Henry Leutwyler, Giles Revell, Martin Schoeller, Mark Zibert

Personal examines the personal photographic explorations of six artists who work in multiple realms of contemporary photography.  The exhibition discusses the elements of style and vision and how an artist, be it a fine artist or commercial artist or those that blur the lines, create work for their own personal expression.

Opening Reception: May 16, 2009 7-10 pm

Crown of the Lost

Featured Artists: Eliud Carrizales, Giovanni Cervantes, Debra Holt, Mathias Kessler, Hugo Lopez, Christoph Morlinghaus, Julie Pike.

The show's main focus is the foreboding aspects of nature and the inevitable decay of beauty through the exploration of behavioral aspects of biological and technological ecosystems and environments, their development, peaks, and ultimately their breakdowns.

Opening Reception: Wednesday, May 13  6pm-8pm

Michael Mazzeo Gallery is pleased to present Transmutations: Abstraction in Nature, featuring work by Caleb Charland, Christian Erroi,  Young Hee Kim, Sebastian Lemm, and Chris McCaw.

Transmutations consists of imagery in which either the photographer alters nature or allows nature to alter the photographic material.  The exhibition will be on view from May 13 through June 20.

Closing Reception:

Wednesday, May 13 from 6:30 - 9 pm

Praia Piquinia, Lyon-based artist Christian Chaize's first US solo exhibition, Wednesday May 20, 2009. You may recognize Christian's work from another Jen Bekman Project, 20x200. His editions debuted there back in December of last year and were featured in the pages of Domino Magazine. Christian's large prints (44" x 37") are the perfect way to welcome summer and keep the beach close by all year round!

Opening Reception: Wednesday, May 20, 2009 | 6pm-8pm
Please join us at the gallery Wednesday, May 20th from 6pm-8pm, at a reception for the artist.

12-6pm

Here's what Ken says:

What I have on view—

Early proofs from my new ongoing project The Somnambulist.

3 copies of my new limited edition book A New History of Photography: The World Outside and The Pictures In Our Heads, which I will make available. The edition of 350 is nearly sold out. A trade edition will be available in paperback will debut at the Arles Photo Festival (France) in July.

I am making 2 copies of my book Invisible City available. Invisible City is listed in Auer (#676). It was called "hellishly brilliant" by Vince Aletti in the New Yorker, was a NY Times notable book of the year, won an AIGA award for book design and was exhibited by The Museum of Modern Art in "More Than One Photography," curated by Peter Galassi.

I have limited edition (with print) and used copies of my out of print book The Geometry of Innocence available as well as some other books and catalogs I have work published in.

And some fine deals on proof prints.

Clearing the studio—

And I am also looking to sell three 36" and one 42" set of 5 drawer lateral files ($200 each—I believe they are Steelcase) and two 18.25" 4 drawer vintage steel filing cabinets for $75 each). And architect designed chairs $135 each or the set of 8 for $950. And for the photographers out there I have used Tenba and Lightware portfolio cases for sale. 

12-6p.m.

Here's what Ken says:

What I have on view—

Early proofs from my new ongoing project The Somnambulist.

3 copies of my new limited edition book A New History of Photography: The World Outside and The Pictures In Our Heads, which I will make available. The edition of 350 is nearly sold out. A trade edition will be available in paperback will debut at the Arles Photo Festival (France) in July.

I am making 2 copies of my book Invisible City available. Invisible City is listed in Auer (#676). It was called "hellishly brilliant" by Vince Aletti in the New Yorker, was a NY Times notable book of the year, won an AIGA award for book design and was exhibited by The Museum of Modern Art in "More Than One Photography," curated by Peter Galassi.

I have limited edition (with print) and used copies of my out of print book The Geometry of Innocence available as well as some other books and catalogs I have work published in.

And some fine deals on proof prints.

Clearing the studio—

And I am also looking to sell three 36" and one 42" set of 5 drawer lateral files ($200 each—I believe they are Steelcase) and two 18.25" 4 drawer vintage steel filing cabinets for $75 each). And architect designed chairs $135 each or the set of 8 for $950. And for the photographers out there I have used Tenba and Lightware portfolio cases for sale. 

Thursday, May 28th, 6-8p.m.

Please join Princeton Architectual Press, Griffin Editions, and the Art Department and The Divisions of the Sciences at Marymount Manhattan College in celebrating the publication of 

Sites of Impact

Meteorite Craters Around the World 

by Stan Gaz

Stan Gaz will discuss his photographs, along with special guests Dr.Denton S. Ebel, a curator at the Museum of Natural History who is a geologist specializing in meteorites and Brian Paul Clamp, director of ClampArt.  

Stan Gaz's Sites of Impact photographs will be on display at ClampArt until June 6th.

  7 - 10 p.m.

 Black Star presents: Wishful Thinkers- A Milk        Gallery Project

 Portraits of 50 Inspirational Women to Benefit FINCA  International

 DJ:Seeps

 Reception generously sponsored by Charles Noian  and Andy Tobias

 3rd Annual Sandbox Studio Art Auction and Party

 May 21 - 6 - 10 pm

Hans Gissinger's Exploding Cakes project

The Gallery @ Stockland Martel

Opening: Thursday, June 4th, 6-8 pm

The explosion of the cake sets into motion different mechanisms that go beyond the formal frame of the work.   Each tart gives rise to an installation.

Final live silent auction will be on Thursday May 28th in NYC at:

Jack Studios

601 W. 26th St., 12th floor

(26 Street between 11th & 12th Av.) Google map

New York, NY 10001

Thursday May 28 2009, 6pm to 10pm (silent auction ends at 9pm)

RSVP Please at rsvp@oneimagecharity.com (Strongly recommended)

Online auction is now open, you can place a bid on a photo now. Bids will be accepted online until 48 hours before the exhibit and finale auction event.

Please only place a bid if you intend to purchase the photo, all proceeds go to charity.

• OneImage Charity is entirely run by unpaid volunteers.

• All photos are graciously donated by participating photographers.

• All proceeds of your purchase are donated to charity.

Final bids will be accepted during the live auction event in NYC in the Spring (venue and date to be announced.)

If you are the winner you will be able to either pick up your photo at the event or the following day.

PLEASE NOTE:

- Delivery is available if requested, you will have to pay for the cost of delivery if you cannot come to pick up your photo at the finale auction event on May 28 2009 in NYC.

- Payment methods accepted: We accept credit card and PayPal payments, all payments will be processed securely using PayPal payment processing services.

- Payment is only due if you are the highest bidder and win the auction for this photo at the end of the auction.

- Auction winners will be announced at the finale live auction event.

- Tax exempt receipt: we will provide you with a tax exempt receipt upon payment (at the end of the auction). The winning bidder is only allowed a charitable deduction to the extent that the winning bid exceeds the fair value of the item. The difference between the fair value of an item and the amount paid by the winning bidder may be deductible as a charitable donation. Consult with a tax adviser for further information. Little Children of the World appreciates your generosity.

Sponsors:

models.com, Jack Studio, Chelsea Frames

Curator Marshall Kappel has compiles an exhibition in Dumbo of all Polaroid-based artitsts.

Thursday, June 4th 6:30 - 8:30 p.m.

Thursday, June 11 7-9:30p.m. at Capsule Studio 873 Broadway, suite 204

Thursday, June 11- Sunday, June 13

Please join us as we celebrate the work and achievement of the ICP students in the General Studies and Documentary Photojournalism Certificate Programs with their exhibition Pluperfect.

Curated by Alison Morley, Chair of the Documentary Photography and Photojournalism Program and Marina Berio, Chair of the General Studies Program.

This exhibition will be on view June 27-August 16.  The Education Gallery is open 10:00am-6:00 pm.

Gallery 151 invites yo to the opening of "Coexist: The Universe and I" the newest exhibit from the Urban Green Initiative- an ongoing series of art exhibitions, music concerts and dance performances that encourage an artistic approach to conversations of about environmental awareness.

  Open: June 16- July 16  1-6pm Wednesday-Sunday

  Open house every Thursday from 6-8pm

Inaugural Show in our New Space: Same Address, Now Ground Floor

THE WORLD IN BLACK AND WHITE:

Vintage Prints from the National Geographic Archive

Exhibition: September 17 – October 17, 2009

Reception: September 17th, 6-8pm

Steven Kasher Gallery is proud to present the first exhibition and sale of vintage prints from the archives of the National Geographic Society. The exhibition will feature over 150 unique vintage black and white prints representing the earliest days of the Society (founded in 1888) through the 1940s. It will present premier examples of the most aesthetically and historically significant prints in the archive.

Hey, Hot Shot! 2009 First Edition Exhibition

Opening Reception | Wednesday, September 9, 2009 | 6–8 p.m.

images | statements | press release

Hey, Don't Forget!

Please join us TONIGHT Wednesday, September 9, from 6 to 8 p.m., at the opening reception for the Hey, Hot Shot! 2009 First Edition Exhibition, featuring eighteen works from five photographers: Michelle Arcila, Daniel Cheek, Mike Sinclair, Parsley Steinweiss and Kurt Tong.

The exhibition will be on view Thursday, September 10th through Saturday, September 19th, 2009.

Until the Kingdom Comes

September 10, 2009–October 31, 2009

Artist's Reception

Thursday, September 10, 2009, 6:00–8:00 pm

Yossi Milo Gallery is pleased to announce an exhibition of new images and sculptures by Simen Johan, entitled Until the Kingdom Comes. The exhibition will open on Thursday, September 10, and close on Saturday, October 31, with a reception for the artist on Thursday, September 10, from 6:00 to 8:00 p.m.

In his ongoing series Until the Kingdom Comes, begun in 2004 and first shown at the gallery in 2006, Simen Johan depicts a natural world hovering between reality, fantasy and nightmare.  Merging traditional photographic techniques with digital methods, Johan’s images are crafted over time and may include a synthesis of landscapes from various geographical locations and animals photographed in captivity or in the wild.

An albino deer is camouflaged in a lattice of trees, shadow and light in one image; in another, a weeping willow is enshrined in an apocalyptic fog. Three of Johan’s recent sculptures incorporating taxidermy, insects and foliage into miniature ecosystems will also be included in the show.

In his work, Johan blurs the boundaries between the real and the unreal, re-imagining worlds that, much like our own, are forever a mystery. Majestic animals in fantasy landscapes are set in relief against a darker reality, one of absence and longing. The work addresses primal experiences, shaped by desires and fears—solitary paths towards imagined fulfillment.

Simen Johan’s work is included in the permanent collections of institutions such as the Museum of Fine Arts, Houston; the Brooklyn Museum of Art; the Los Angeles County Museum of Art and the Cleveland Art Museum. He recently received a grant from The Pollock-Krasner Foundation. In 2010–11, work from the series Until the Kingdom Comes will be presented in solo exhibitions at the Frist Center of Art in Nashville, TN and at the Pollock Gallery at SMU, Meadows School of the Arts in Dallas, TX. His work has been featured in solo museum exhibitions at the Kunstnernes Hus in Oslo, Norway and the National Art Museum of Lithuania, and in group exhibitions at the George Eastman House, the International Center of Photography, the Australian Centre for Photography, the Neuberger Museum of Art and the University of Iowa Museum of Art. In 2003, Twin Palms published his monograph, Room to Play. Simen Johan was born in Kirkenes, Norway in 1973. He was raised in Sweden and has resided in New York City since 1992.

The Open Society Institute invites you to its sixteenth group photography exhibition Moving Walls.

Please join us for the opening reception

Tuesday, September 29, 2009

6-8:30pm

400 West 59th street 

The exhibition is open to the public through May 21, 2010.

Dress Codes: The Third ICP Triennial of Photography and Video

International Center of Photography

October 2, 20009 - January 3, 2010

The Triennial is ICP's signature exhibition: a global survey of the most exciting and challenging new work in photography and video. The only recurring U.S. exhibition specializing in international contemporary photography and video, the Third Triennial will mark the closing cycle of ICP's 2009 Year of Fashion, a series of projects that critically examine fashion and its relationship to art and other cultural and social phenomena. Through the lens of fashion—in its broadest conception—the Triennial will look at the proliferation of photo-and video-based work exploring the uses of style, image, and personal presentation.

The theme of fashion encompasses a diverse range of practices and ideas, including explorations of identity and affiliation; the production, distribution, and consumption of images and goods; contemporaneity; age; gender; and global industry. The themes of the Triennial express the exuberance, wit, and astute social observation taking place within contemporary image-making. These artists variously explore fashion—whether in everyday dress, haute couture, street fashion, or uniforms—as a celebration of individuality, personal identity, and self-expression, and as cultural, religious, social, and political statements.

FPS Fest is a film screening event that explores the transition from still photography to motion. The once separate industries of still photography and motion filmmaking are intersecting across a number of realms; from new technology to new demands from clients, today’s image makers are finding a new world in motion. FPS Fest provides information and stimulation about technology, techniques, and strategies to take on the future of a changing industry.

FPS Fest is presented by Dripbook, Resource Magazine, and ROOT Capture. 

With FPS Fest, Dripbook is announcing support of HD video across Dripbook’s promotional platform, continuing a leading-edge commitment to advanced promotion for today’s creative professionals. www.dripbook.com

ROOT Capture provides premier digital services for Drive In, TREC, & ROOT Brooklyn by working closely with photographers and DP’s to create customized, versatile still/motion capture packages for both location & studio. www.rootcapture.com

Resource Magazine presents RETV, an online video magazine presenting photo and video industry content to help creative professionals bridge the gap between stills and motion technology. www.resourcemagonline.com 

http://www.krisgravesprojects.com/

http://www.foleygallery.com/exhibitions/exhibitions_up.php3

Throckmorton Fine Art is pleased to offer an exhibition of thirty-five rare vintage prints by Tina Modotti. Some of the works shown are unique images. Modotti only took photographs during her seven tumultuous years in Mexico, from 1923-1930. It is estimated that her artistic legacy is limited to six hundred photographs, the majority of which are now in museum collections. (The holder of the most images is the Museum of Modern Art in New York.) Gathered for this exhibit is the largest group of Modotti photographs still in private hands. The photographs exhibited are from a number of distinguished collections, including those of Francis Toor, Xavier Guerrero, and Luis B. Traven. A few of the images were loaned to the retrospective of Modotti at the Philadelphia Museum in 1995, which traveled to the Museum of Fine Arts, Houston, in 1996, and then to the San Francisco Museum of Modern Art the same year.

Although Modotti learned photography from Edward Weston, with whom she had a long, intimate relationship, her photography is distinct from his work. Modotti’s images fit into the innovative photography of the 1920s that pushed the boundaries of the medium—and of art itself. This work, often called modernist photography, embraced experimentation, unusual points of view, and unconventional subjects. Modotti’s subject matter varies, including as it does crowd scenes, industrial views, Mexican folk culture, flora, and even portraits. Her compositions, though, mark her work: there are strong angles and an unnerving starkness that give her photographs a captivating immediacy.

During their years together in Mexico, Modotti and Weston were part of a celebrated circle of artists and intellectuals, including Diego Rivera and Frida Kahlo. Modotti’s involvement in politics led to her expulsion from Mexico in 1930. Leaving Mexico, she became even more consumed by politics, ending her work as a photographer. She leaves us, though, a rich body of images, which is amply represented in this exhibit.

http://www.throckmorton-nyc.com/

With more than 140 of her best images reproduced in stunning tritone, including many never published before and others not seen since they appeared in the pages of the legendary Harper's Bazaarof the 1950s, Lillian Bassman: Women offers a retrospective view of an extraordinary career in photography. At 91 and still hard at work, Bassman is a beloved figure in the pantheon of fashion photographers. Her signature style, once described by Richard Avedon as making "visible that heart-breaking invisible place between the appearance and the disappearance of things," offered a sensuous and intimate vision of modern women. Says Judith Thurman, "Bassman's women—perennially soulful,elusively chic—have the poignance of an endangered species." Well-known art writer and journalist Deborah Solomon contributes an introduction. An illustrated chronology gives a cinematic overview of a remarkable life.

jenbekman.com

http://www.marvelligallery.com

Bruce Silverstein Gallery: Martin Denker

http://www.hastedhunt.com/exhibition.php?p=u&e=152

The New York Times, September 4, 2009

Treading in the footsteps of Charles Marville, Brassaï and Atget, German photographer Christopher Thomas creates black and white images of cities in a state of repose, as if only the viewer's gaze could animate these empty streets. After years of photographing his native Munich, Thomas turned his camera on his adopted city, New York. The resulting exhibition of 30 large-scale landscapes feels both nostalgic and contemporary, offering an elusive glimpse of 19th century tranquility while hinting at a cryptic apocalyptic ending just around the bend.

The exhibition, co-curated by Ira Stehmann and Petra Giloy-Hirtz, accompanies the publication of New York Sleeps, by Christopher Thomas, Petra Giloy-Hirtz (editor) Ira Stehmann (editor), with essays by Robert Shamis and Ulrich Pohlmann. (Prestel, Munich, Berlin, London, New York, 2009)

Curator  Bob Shamis writes in his essay Coming Upon New York: “The quietness that these photographs evoke, so at odds with our expectations, is at first unsettling for someone well acquainted with New York. The urban landscape may be familiar, but this is not the city that most of us know and experience. The total absence of people in Thomas’ photographs is the result of shooting in the early morning hours, when even New York’s streets are almost deserted, and because of the necessity of making long exposures with his view camera. With his lens shutter opens for many seconds for each exposure, moving figures did not register on the slow film that Thomas used, reinforcing the impression of the city as the site of a lost civilization.”

From views of an abandoned Staten Island ferry terminal to the deteriorating Coney Island Cyclone, Thomas documents urban scenes that while outwardly static, show a city in perpetual transition. The presence of previous inhabitants lingers heavily within each frame, like dinner plates that have recently been cleared away.

Like a Surrealist flaneur, Thomas explores the complex tension between absence and presence in his dreamlike outer landscapes. Devoid of human figures, his images of winding alleyways, imposing monuments and gleaming mist-filled harbors veer off at random into psychological terrain. Using a custom large-format camera and Polaroid film, he has created a nebulous archive of our collective inner longings.

Born in Germany in 1961, Christopher Thomas has worked for magazines such as Geo, Stern, Merian, and the SüddeutscheZeitung Magazin. He has produced numerous photo essays and received international awards for commercial and fine art photography. He lives and works in Munich and New York.

Christopher Thomas: New York Sleeps will be on view December 3, 2009 through January 9, 2010.

http://stevenkasher.com/html/exhibinfo.asp?exnum=1070

Artists include: Julia Fullerton-Batten, Mercedes Helnwein, Anthony Lister, Ian Whitmore, and Sarah Wilmer.

http://www.randallscottgallery.com/

www.hastedhunt.com

http://www.davidzwirner.com/exhibitions/upcoming.htm

http://www.klompching.com/kcg/upcomfront.htm

Yossi Milo Gallery is pleased to announce an exhibition of two bodies of work by Jacob Aue Sobol, Sabine and I, Tokyo. The exhibition will open on Thursday, January 14, and close on Saturday, February 20, with a reception on Thursday, January 14, from 6:00 to 8:00 pm.

Jacob Aue Sobol’s series Sabine (1999-2001) chronicles three years the artist spent in the settlement of Tiniteqilaaq in Greenland, his life as a fisherman and hunter, and his intimate relationship with Sabine and her family. The series of black-and-white photographs is a visual diary of a love story and daily survival, capturing private moments with Sabine contrasted with the harsh arctic environment of the east Greenlandic coast.

Photographs from the series I, Tokyo were taken between 2006 and 2008 while the artist lived in Tokyo. Overwhelmed by loneliness and isolation due to the unfamiliar culture and large city, the artist used the camera to find “individual human presence” in a swarming metropolis. The photographs offer a personal view of Tokyo, a result of the artist’s need to connect to the people and the city.

Jacob Aue Sobol’s work has been featured in solo exhibitions at the Museet for Fotokunst, Odense, Denmark, and Rencontres D’Arles, Arles, France. In 2006, he received the First Prize, Daily Life Stories, World Press Photo. Jacob Aue Sobol’s recent book,I, Tokyo, was awarded the Leica European Publishers Award 2008. The book Sabine was published in 2004. Aue Sobol studied at the European Film College and Fatamorgana, Danish School of Documentary and Art Photography. He was born in Denmark in 1976 and grew up in Brøndby Strand south of Copenhagen. He currently lives and works in Copenhagen.

http://www.yossimilo.com/exhibitions/2010_01-jaco_aue_sobo/

http://www.sashawolf.com/Exhibition_Upcoming.html

www.yanceyrichardson.com

Amador Gallery is pleased to present the series “New Trees” by German photographer Robert Voit. These large-format color photographs focus on seemingly commonplace trees within urban and rural settings. In their typology, Voit has appropriated the strategy of Bernd and Hilla Becher and his former instructor Thomas Ruff. Yet Voit updates this strategy in a humorous, insightful and visually intriguing commentary on networks and illusion as pervasive mainstays of contemporary life.

Voit’s “Trees” are initially slow to reveal their true nature. Prolonged viewing, however, discloses the artificiality of these central focal points, which, in reality, are cell phone masts that have been meticulously disguised by telecom companies to blend in with their surroundings. One of the photos features a seemingly real palm tree looming above a trailer park in Las Vegas; it stands, dwarfing the other—real—palm trees. Despite its initially convincing appearance, the tree begins to seem uncannily rigid and linear. A subtle, but jarring, sense of artificiality comes to pervade the image, a feeling which is confirmed by the sight of mechanical antenna structures somewhat cloistered within the fake tree’s long, artificial leaves. The trees’ attempts to fit in with their surroundings creates the tension of Voit’s work and make for its great departure from the typological studies of the Bechers; his subjects are aggressively tied to their surroundings and to the social sphere rather than an objective and abstracting gaze. 

The attention drawn by Voit to these all-too-perfect imitations calls to the fore the communications and surveillance networks, which pervade the seemingly natural and commonplace world of our everyday lives. Trees, an emblem of shelter, solidity and the incorruptibility of nature, appear ironically co-opted, channeling information invisibly, through walls and in the service of social, commercial and political interests. Likewise, photography is put under scrutiny in these images, its oft-declared allegiance to verisimilitude undermined and its own artificiality and manipulation highlighted by the very illusionism of the documented scene. Voit’s commentary, however, is not acerbically critical. Rather, by stressing the singularity of these objects in contrast to their intended uniformity with their surroundings, Voit humorously exposes the invisible networks the fake trees represent, and he furthermore quips at the absurdity of the effort. Too valuable to be left open, the massive fake trees are often surrounded by fencing or other protective barriers, emasculated and protected from the world into which they are attempting to blend.

A graduate of the prestigious Düseldorfer Akademie, Robert Voit currently lives and works in Munich. The publication “New Trees” is forthcoming from Steidl. He has won several awards including the Europäischer Architektur Fotografiepreis, the Munich Hausderkunst Preis and the Sophie Smoliar Award. In addition to his native Germany, Voit has exhibited widely in Europe and Asia.

Amador Gallery is located in the landmark Fuller Building at 41 East 57th Street on the 6th floor. Gallery hours are 11 to 6 Tuesday through Saturday and by appointment. For additional information, please contact the gallery at (212) 759-6740, for more information visit www.amadorgallery.com or contact us at info@amadorgallery.com.

Dean Project is pleased to announce, “Parallel States” a group exhibition featuring the work of Palma Blank-Rosenblum, Sangbin IM and Kris Tamburello.

The works in this exhibition explore concepts of structure and visual perception, which includes image construction, deconstruction, transformation and the perspective-dimension of space. The artists in this exhibition have approached these concepts by creating paintings or photography based on abstract geometric compositions or from photographs of city and landscapes.

Through the chosen building process and medium by each of the artists the viewer is presented with a group of works that display elemental and conceptual ideas of image perception.

In the process of layering transparent colors with simple geometric structures Palma Blank-Rosenblum acrylic paintings create both multiple spaces, directions existing in a state of flux, multidimensional evolution and an amplifier of color and light.

Kris Tamburello’s work originates from the use of his architectural photography from in which he chooses details of light and reflections. He then transforms the photo by way of a digital process of stretching and pulling the image in order to uncover the layers of the inner structure of the image.

Sangbin IM’s photographs are the meticulous result of transforming and assembling his own photography and paintings. Acting as a curator he selects a group of images from a pool of his photographs of specific places or subjects. He then organizes imaginary environments of both unfamiliar images of landscape or compositions based on real life elements.

Palma Blank-Rosenblum is based in New York and received her MFA from Yale University in 2006. Sangbin IM is based in New York having received his MFA from Yale University in 2005 and is presently completing his PHD at Columbia University. Kris Tamburello is based in New York where he has been working in photography for fifteen years.

http://www.deanproject.com/

The Walsh Gallery at Seton Hall University is hosting a traveling exhibition by photographer Susan Nolan, Associate Professor of Psychology and United Nations representative for the American Psychology Association. Dr. Nolan’s photographs capture the spirit of post-war Bosnia-Herzegovia, focusing on young people working to improve their lives in the aftermath of war. The images are quite different from the stereotypical depictions broadcast by American media outlets. Instead, Nolan captures youthful subjects engaged in leisure activities, providing positive portrayals of youth expressing their identities through their vocations and avocations. The energy radiated by the young people she encountered during her visits is incredibly uplifting.

Nolan’s photographic essay was inspired by her recent trips to the region, the first of which dated to 2005. She stated, “I was struck by the contrast between the realities of life we saw in Bosnia compared to the images I had come to know through American mass media.” Because Nolan’s initial stay lasted 15 months and her husband Ivan is fluent in the local language, she was able to gain the trust and friendship of the people, resulting in images that penetrate the private worlds of her subjects. The exhibition will subsequently travel to the city of Banja Luka in Bosnia.

http://academic.shu.edu/libraries/gallery/current.htm#budi_

Known for her innovative use of current technology, like search engines and picture sharing services, the work of Brooklyn-based Penelope Umbrico reveals truths within the seemingly ordinary in two new interventions. In Leonards for Leonard, Umbrico investigates the history of the space where she will exhibit – the Leonard Natman Room – creating a project that would draw attention to the disparity between the pre- and post-digital worlds while providing a strange, new subject with companionship. In 5,537,594 Suns From Flickr (Partial) 5/30/09 - for BAM, Umbrico reimagines an ongoing project, using images of sunsets sourced from Flickr in the context of BAM spaces.

Winkleman Gallery is very pleased to inaugurate our new location with This Much Is Certain, the first New York solo exhibition by German conceptual photographer Ulrich Gebert. With selections from two series of his image-cycles, Typus (2005) and Life among beasts(2009), This Much Is Certain serves as an introduction to Gebert’s work in which he examines explosive topics—such as racism and power structures—via unspectacular motifs presented in quasi-scientific and sometimes unsettlingly humorous arrangements.

In each of the three tableaus from the Typus series, for example, Gebert presents 6-7 photographs of coniferous trees ordered by species. Photographed by trekking to remote botanical gardens and parks, often retracing the steps of 19th century scientists, the Typus tableaus are juxtaposed with an “List of Invalid Names”: a list of Latin terms that are no longer in use, making the reconciliation of competing names a difficult process and shattering the fantasies of their original christenings toward an authoritative ordering of nature. In doing so, Gebert also alludes to the darker side of cataloging nature, specifically with regards to totalitarian categorizations of humans.

Similarly, in the Life among beasts series, Gebert presents tableaus of two to five cropped photographs of humans physically interacting with animals. The results are both disturbing and awkwardly tender. New unusual creatures are suggested through the compositions, as impressions of brutality are counterbalanced with an almost absurd humor. Here again, the crisp aesthetics of the presentation suggest a fantasy of order that undercut by closer consideration.

Ulrich Gebert was born in Munich and lives and works in Munich and Leipzig. He received his Masters in Photography at Royal College of Art, London, and studied at the Glasgow School of Art and with Timm Rautert at the Academy of Visual Arts in Leipzig. Recent exhibitions include a solo show at KLEMM’S in Berlin; a group exhibition at project space 176/Zabludowicz Collection, London; and exhibitions at the Kunstverein Hildesheim, the University of Salamanca, and the Pfaffenhofer Kunstverein.

For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com.

Winkleman Gallery
621 West 27th Street (NEW LOCATION)
New York, NY 10001

The Front Room Gallery is proud to present "Wildfire," by Sasha Bezzubov. This will be the first public exhibition of photographs from Bezzubov's recent book by the same name, published by Nazraeli Press. In the "Wildfire" series Bezzubov focuses on the devastation wrought by wildfires on the American west, with dramatic large-scale landscapes containing charred, burned-out forests, houses and neighborhoods. In one image a spiral staircase rises skyward out of the wreckage, the last remnant of a once standing home. Other photographs in this series focus on the damage inflicted on nature, the pine forests, and whole mountainsides reduced to ashes. 

These heartwrenchly beautiful landscapes draw us in and confront us with the uncomfortable notion that we might be somehow to blame. In the introduction to the book "Wildfire," writer Bill McKibben explains these distressing statistics: in the last 35 years the number of fires increased by a factor of four; the average fire went from lasting a week to lasting five; the total area burned increased by six and a half times; the average fire season increased by 78 days, or 64 percent. McKibben then goes on to express that these fires are an indicator of global climate change, caused in part by the earlier thaws of snow in the mountains and longer dry seasons. Within these series of photographs, the larger scope of our involvement with the natural world and our ability to protect and preserve against some of the more devastating effects of natural disasters is brought to question...are we to blame, and can we prevent the onslaught of wildfires, are just a few of the questions that arise from Bezzubov's most recent series. 

This is Sasha Bezzubov's third exhibition at the Front Room Gallery, and a continuation of his ongoing series "Things Fall Apart," landscape photographs of the aftermath of natural disasters. This series, which began in 2001, contains photographs of forest fires, earthquakes, tidal waves, and tornados, around the world. "Wildfire," Bezzubov's most recent presentation from this larger series, targets an intimate look at the catastrophic impact of these uncontrollable fires on many varied landscapes, from urban to wilderness. 

The Front Room Gallery is located at 147 Roebling Street in Williamsburg Brooklyn. Gallery hours are Friday-Sunday 1-6PM and by appointment. Press contact: Daniel Aycock 718-782-2556 

http://farmanigallery.com/en/upcoming.php

Breast cancer is the leading cancer among American women and is second only to lung cancer in cancer deaths. Statistically speaking, about 192,370 new cases of breast cancer will be diagnosed in American women in 2009 and about 1.3 million new cases of breast cancer were expected to occur among women worldwide in 2007

If caught prior to spreading beyond the breast, the five-year survival rate for breast cancer is now 98%. In 1982, a mere 25 years ago, it was only 74%. Thus, greater awareness leading to more early detection has significantly helped save lives. 

There are approximately 2.3 million breast cancer survivors living in the United States today, they make up the largest group of cancer survivors in the country. Thus, there is much to be said for creating awareness.

Moreover, there is much to be said for helping someone get through financial stress and straits of treatment once diagnosed, especially a freelancer without coverage.

According to a 2005 report put out by Freelancers Union, which used data from the Bureau of Labor Statistics, as well as the NYC self-employment statistics, unstable income and lack of health insurance were the two basic issues freelancers face that other regularly employed Americans do not.

This has become a particularly critical issue in an economy where greater unemployment leads to more competition amongst freelancers, because less revenue means less money to cover the cost of health care.  According to the 2005 report, 28% of freelancers simply live without any healthcare insurance at all.

So, please come and help this coming Thursday. Over 30 photographers have already pitched in by donating prints for this important cause.

One Case Silent Photography Auction
6:00PM Thursday, January 7th
Milk Gallery, 450 W 15th, between 9th and 10^th, NYC 

This event is sponsored by Resource Magazine, Milk Gallery, Perrier and Pabst Blue Ribbon (PBR) Beer.

From 8:00 pm to midnight on Thursday, January 14, ICP will be the hottest nightclub in Midtown. Hosted by Kerry Diamond, Benoit Lagarde, and Jed Root, CLiCK will offer 400 of New York's trendiest young art enthusiasts, collectors, and photography and media industry professionals the opportunity to celebrate Dress Codes: The Third ICP Triennial of Photography and Video, and fashion's use as a rich visual language—and be rewarded for it...

DJ Dhundee will keep the crowd movin' and special guest, Eclectic Method, will captivate the audience with a bit of video magic.

Party goers will have their thirst quenched at the all night open bar by Belvedere and Grand Marnier and have their hunger satiated by hors d'oeuvres from Taste Caterers.

Guests wanting to capture the fun—or have a keepsake of the stranger(s) you're bound to meet—can strike a pose at Photobooth by Splashlight Studio.

Get an ICP Membership with your General Admission ticket for only $65, a $10 savings!

Purchase tickets online.

To purchase by phone, email your name, ticket quantity and type, and phone number with the subject line: "CLiCK January 14" to events@icp.org.

TICKETS:

General Admission for 1: $75

General Admission for 2: $100

VIP for 1: $250 includes the following—

 • Admission to VIP reception at 7:30 pm

 • 1-year ICP Individual Membership

 • Party portrait

The first 40 VIP ticket purchasers will receive a fabulous swag bag worth over $900 containing:

1. The Sixties by Richard Avedon (book valued at $75)
2. DJ Dhundee Take Flight CD download (valued at $10)
3. DVF Scarf (valued at $295)
4. Godiva Chocolatier
5. ICP Individual Membership (valued at $75)
6. Lancôme Secret de Vie Ultimate Cellular Reviving Crème (valued at $240)
7. Pentax P80 digital camera (valued at $220)
8. Adrienne Vittadini

Missed out on getting the swag bag? No worries. CLiCK guests can enter Pentax's raffle for the K-x Digital SLR (valued at $650).

The Harlem School of the Arts (HSA) Visual Arts Department presents Hank Paper’s Ascension: The Journey of John Coltrane.

In hopes of designation as a national landmark, The Connecticut Commission on Culture and Tourism provided Hank Paper a grant to photograph the Philadelphia home John Coltrane shared with his cousin, Mary Blair. More than thirty years after Coltrane’s death, Mr. Paper began the task of tracking the musician’s life from birth in North Carolina, through the beginnings of his career in Philadelphia, to his success in New York City. Ascension takes the viewer on a “photographic jazz evocation of a life.” Mr. Paper “wanted his show to be something like a jazz song itself, free-flowing and lyrical, with structure and harmony, and yet with a sense of improvisation, that finally disappears into the air, leaving an ineffable trace of the man and his music.”

The Director of Visual Arts, Adarsh Alphons says, “We are delighted to host Mr. Paper’s ten-year project about the legendary John Coltrane. The exhibition’s photographic journey tells the story of dedication, hard work and perseverance, attributes that the artistic and talented faculty at HSA instill in our students everyday.” During Black History Month, Mr. Paper will also host a Saturdays at Noon discussion about his travels documenting Mr. Coltrane’s life and the subsequent exhibition on February 6th.

Evoking the life of a legend through photos is no easy task yet, Mr. Paper has done so by “visiting surviving neighbors and neighborhood haunts, empty lots and abandoned buildings, old jazz clubs whose sounds had long ceased, and still-thriving venues whose sounds have forever been changed by the music he brought there.” The Harlem School of the Arts is proud to display the talent of Mr. Hank Paper and John Coltrane.

Hank Paper has photographed around the world. His many solo exhibits include The African American Museum in Philadelphia, Hebrew University in Jerusalem, the High Point Historical Museum in North Carolina (Grand Opening Exhibit), The Jewish Museum of New Jersey; the Morgenthal-Frederics Gallery is SoHo, and the Tamarkin Leica Gallery in New York. He has also exhibited extensively in New Haven, has received numerous awards and honors, and been published widely. The Kehler-liddell Gallery in New Haven represents him.

This group exhibition includes five photographers whose work explores fascination with “the other" through gendered, sexual, racial and subcultural costuming. 
The exhibiting photographers depict white Europeans and westerners who glamorize and vilify other cultures, at times presenting them as the enemy, while at 
others declaring them a cultural muse. On the surface, the latter appears to be an attempt to understand or elevate them, but in many cases this actually leads 
to further complication by turning their identities into caricatures. This exhibition also explores the motivations for this role-play: is it an act of mere flattery? What does it mean to try on the skin or cultural signifiers of another?

Helen Maurene Cooper makes studio portraits of white women from varying socio-economic back-grounds as they costume themselves in various adornments and/or stereotypes of American hip-hop culture. Cooper’s images explore these performances of synthetic identities and investigate where she sees them fail. How do women use cultural synthesis to signify identity of race and class? What happens when economically privileged white women use the same props as less privileged 
women? At what point do each of these performances break apart and rupture? What is the obsession with the super-feminine and how does it play into “ghetto glam” culture?

Claire Beckett’s series “Simulating Iraq” focuses on military training for the war in Iraq. Her pictures depict the appropriation of Iraqi culture by Americans (both soldiers and civilians) role-playing as Iraqis, using specific costumes, objects and architecture. Shot with a large format camera, her images also raise questions of the nature of documentary photography and the implicit subjectivity of the photographer.

In Michael Buhler Rose’s series, “Constructing the Exotic,” he photographs American born white women raised with Indian culture, religion, dress, in a new community in suburban Florida. These white women in “foreign” garb ultimately become a new kind of "other" in an environment with which they would generally be associated as a majority group.

Interested in displacements and confusions of cultures, Andrea Robbins and Max Becher’s “German Indians” is a series of photos of Germans participating in an annual celebration called “Karnival”, or “Fashing.” Over a period of several days, participants get together, celebrate, and have parades and parties, all dressed in homemade or store-bought native American costumes which they have mimicked from American movies and other sources.

Humble Arts Foundation is a not-for-profit organization that works to advance the careers of emerging fine art photographers by way of exhibition and publishing opportunities, limited-edition print sales, twice–annual artists grants, and educational programming.

Founded in 2005 by amani olu and Jon Feinstein, Humble has been a pioneering hub for showcasing new fine art photography, and has served as a resource for collectors, galleries, museums, curators, photo editors, and bloggers internationally. http://hafny.org/

Like the Spice is pleased to announce Bennett Morris: Climate Untamed.  This will be the artist's first solo show in New York highlighting twelve photographs made between 2006-2009 that diagram Morris's unique examination on beauty, fear, politics, and the sublime.

Steeped in the visual language of Romanticism, Morris's photographs examine the intimate relationship between beauty and fear while playing on the diluted modern politics of  "shock and awe". Re-examining the classical thresholds like harmony and unity, Bennett follows in the path of painters like Salvatore Rosa who was drawn to the foreboding beauty of the Pyrenees when the term "awesome" was still weighted by a near-religious awe. The result of Bennett's exploration into this godlike fear and beauty creates a show that is more about climate than atmosphere, releasing singular moments to a vast array of emotions.

For Bennett the photograph becomes a means to an end as he begins his process by constructing large-scale dioramas within water tanks using fragments from fallen architectural structures, wax, model building parts, and other found materials. These post-human controlled environments are built for ruin; as he fills his tank with water what took many months to build disassembles in minutes. While paint pigments are added with perfect control Bennett has only minutes to capture with his digital camera these transcendent yet ever ephemeral color reactions. He infuses these underwater landscapes with elements from the German Romantics and the Hudson River School and then steeps them with Gothic Revival. What comes from this is sculpture, forced into false scales, and a strange, terror-stricken beauty, born from a luminiferous aether made ‘simply’ from water and paint. Balancing between beauty and terror in this design one is able to look through this cloud to see the deception and recognize beauty.

Born in Portland, Maine in 1978 Bennett Morris earned his BFA in Graphic Design from the University of Massachusetts at Dartmouth in 2001 and his MFA in Interdisciplinary Studio Art from the Maine College of art in 2007. He is a recipient of the Skowhegan School of Painting and Sculpture fellowship. Mr. Morris work has been exhibited extensively in group shows across the US. Mr. Morris will also be featured in Skowhegan at 92YTribeca: An Alumni Exhibition running concurrently with this exhibition. Bennett is an Assistant Professor at the Maine College of Art. This will be Mr. Morris' first New York Solo Exhibition.

Announcing the launch of 1500 Gallery, located in New York City’s West Chelsea

gallery district at 511 West 25th Street, #607. 1500 Gallery specializes in Brazilian

photography, and is the first art gallery in the world with this explicit focus. 1500

interprets the notion of “Brazilian photography” to comprise photography made

by Brazilian photographers, as well as images bearing a conceptual or thematic

relationship to Brazil. 1500 represents the work of 17 artists, both emerging and

established: 6 of 1500’s photographers are represented in the Sao Paulo Museum

of Art’s Collection of Photography. 1500’s collection of images includes both

contemporary and vintage photography.

1500’s inaugural exhibition is a group show entitled Brazilian, which will run Feb

11 – May 1.

1500 Gallery represents the following photographers: Rémy Amezcua, Julio

Bittencourt, Bruno Cals, João Castilho, Marc Dumas, Antonio Augusto Fontes,

Bina Fonyat (1945-1985), Edouard Fraipont, Garapa (collective), Christian Gaul,

Hirosuke Kitamura, Marc van Lengen, Murillo Meirelles, Gustavo Pellizzon,

Eduardo Queiroga, Vincent Rosenblatt, Jens Stoltze.

For further information about each artist, as well as the works presented, please

see online at www.1500gallery.com

1500 Gallery was founded by Alexandre Bueno de Moraes and Andrew S. Klug.

Alex was born in Rio de Janeiro, and raised in Paris and New York City. He now

lives between New York City and Rio de Janeiro, where he owns a photo

production company and photographers’ agency (www.1500brasil.com), one of

the most prominent in Brazil, with offices in Rio de Janeiro and New York.

Andrew graduated in 2009 with an MBA from Columbia University, and prior to

that worked as a corporate lawyer (specialized in banking and finance) at the

Montreal office of one of Canada’s top-tier national law firms.

Contact: Andrew Klug

c: +1.917.362.0770

e: andrew@1500gallery.com

Luhring Augustine is pleased to present its first exhibition featuring the work of Daido Moriyama, one of Japan’s leading figures in photography. Witness to the spectacular changes that transformed postwar Japan, his photographs express a fascination with the cultural contradictions of age-old traditions that persist within modern society. Providing a harsh, crude vision of city life and the chaos of everyday existence, strange worlds, and unusual characters, his work occupies the space between the objective and the subjective, the illusory and the real.

Moriyama takes pictures with a small hand-held camera that enables him to shoot freely while walking, running or through the windows of moving cars. Blurred, taken from vertiginous angles or overwhelmed by close-ups, his images are charged with a palpable and frenetic energy that reveal a unique proximity to his subject matter. Snapshots of stray dogs, posters, mannequins in shop windows or shadows cast into alleys present the beauty and sometimes terrifying reality of a marginalized landscape. His anonymous and detached approach enables him to capture the “visible present” made up of accidental and uncanny discoveries as he experiences them.

Moriyama emerged as a photographer in the 1960’s at the tail end of the VIVO collective, a revolutionary and highly influential group of Japanese artists who reexamined the conventions of photography during the tumultuous postwar period. William Klein’s loose, Beat style images of New York City in the 1960s also served as a major turning point for Moriyama, who found inspiration in Klein’s free-form photographic style. Taken by these innovative approaches at home and abroad, Moriyama ultimately went on to forge his own radical style.

“Hawaii”, Moriyama’s most recent body of work, was produced over a period of three years and presents his distinct perspective on the daily lives of the people living on the islands of Hawaii and Oahu. Returning to the island five times before feeling prepared to shoot these surroundings, Moriyama’s overall approach is purposeful and considered despite his loose and highly informal style. The series was recently exhibited at the Tokyo Metropolitan Museum of Photography and published in a volume by the institution.

Daido Moriyama was born in Osaka in 1938. He has had museum shows around the world including the San Francisco Museum of Modern Art, the Fotomuseum Winterthur, Switzerland, the Fondation Cartier pour l’Art Contemporain, Paris and the Tokyo Metropolitan Museum of Photography. His work is part of many major public collections such as the Museum of Modern Art, New York, the Centre Pompidou, Paris, the Metropolitan Museum of Art, New York, the Los Angeles County Museum, the San Francisco Museum of Modern Art, the Museum of Fine Arts, Boston and the Getty in Los Angeles.

The Silverstein Photography Annual (SPA) is part of the gallery's ongoing effort to provide exposure to emerging artists whose work incorporates the medium of photography. Bruce Silverstein Gallery with the guidance of curatorial advisor Nathan Lyons, annually invites ten prominent curators to nominate one artist whom they feel deserves the opportunity for further exposure within New York's cultural milieu.

David Zwirner is pleased to present Thomas Ruff’s sixth solo exhibition at the gallery, marking the New York debut of new work in two series: zycles and cassini. 

Among the most influential photographers working today, Ruff has redefined photography’s conceptual possibilities, simultaneously capturing and questioning the essence of photography as both a means and a tool for visual experience. Over the past twenty-five years, he has approached various photographic genres in his work, including portraiture, the nude, landscape and architectural photography. He carries out these investigations using his own analog and digital photographs, computer-generated images, alongside images culled from scientific archives, print media, and the Internet. 

In both of his new series — drawing from the natural sciences, astronomy, neurology, and art history — Ruff creates elaborate, open-ended visual systems that challenge viewer’s perceptions, demonstrating that structures can become increasingly complex the more one contemplates the details. 

The zycles series, grounded in mathematics and physics, shows computer screen-grab recordings of curves modeled in three dimensions. The views captured by the computer are produced as large-scale chromogenic prints, or are printed directly onto canvas. Inspired by 19th century science books, Ruff’s zycles present abstract contours based on “cycloids,” the mathematical curves obtained from rolling one curve along a second, fixed curve. Particularly interesting to Ruff was Scottish physicist James Clerk Maxwell’s (1831-1879) treatise on electro-magnetism, accompanied by copperplate engravings of magnetic fields. Ruff found these delicate traceries, while not intentionally aesthetic, suggestive of minimalist drawings. To explore their visual and spatial possibilities, Ruff used a three-dimensional rendering program to translate the algebraic formulae of the cycloids — regarded in mathematics as “the most aesthetic of curves” — into computer-generated imagery. The resulting virtual structures display the intricate linear filigree of cycloids as they would appear in space. The spiraling formations, always faithful to their mathematical origins, evoke a multitude of forms: the trajectories of planets, cascading ribbons, line drawings, or musical vibrations. 

The works in the cassini series are based on photographic captures of Saturn taken by NASA’s Cassini-Huygens Spacecraft, which launched in 2004 and completed its initial four-year mission in June 2008. The spacecraft orbited around Saturn to provide the first in-depth, close-up study of the planet and its domain, including its rings, moons, and magnetosphere, the enormous magnetic bubble that controls its planetary movement. Ruff acquired these black and white raw images from NASA’s website, where they were broadcast directly from the spacecraft and made available for public download. Through computer manipulation, Ruff infused each gray-scale image with saturated color. The resulting chromogenic prints transform the originals into visual statements that both capture the sweeping enormity of planetary structures while still distancing themselves from concrete forms, evocative instead of abstract and minimalist compositions.

Thomas Ruff (born 1958, Zell am Harmersbach, Germany) is known for his exploration of the mechanical production of images, and how technical mediation can influence a picture’s expressiveness. His telescopic views of the night sky, Sterne, printed from pre-existing negatives; his provocative nudes borrowed from pornography websites; Substrat, his colorful manipulations of Japanese manga and anime; and his jpegs demonstrate Ruff’s approach to reinventing existing images. Together with zycles and cassini, these serialized considerations draw attention to the abstraction that occurs when the visually explicit is re-imagined.

He was the subject of solo museum exhibitions at Castello di Rivoli, Turin; Museum für neue Kunst, Freiburg; Kunsthalle Wien, Vienna; Mu˝csarnok Kunsthalle, Budapest (all 2009); Moderna Museet, Stockholm, Sweden; Sprengel Museum, Hanover (all 2007). His work is held in the collections of many major museums, including The Metropolitan Museum of Art, New York; Hamburger Bahnhof – Museum für Gegenwart, Berlin; Moderna Museet, Stockholm; The Art Institute of Chicago; Essl Museum, Klosterneuberg; Dallas Museum of Art; National Gallery of Victoria, Melbourne; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; National Museum of Photography, Copenhagen; Stedelijk Museum voor Actuele Kunst, Ghent; and the Solomon R. Guggenheim Museum, New York. He was the 2006 recipient of the Infinity Award for Art presented by the International Center of Photography, New York, and in 2009 Aperture published jpegs, 

As the country struggled to regain its sense of direction following the political activism 

and social idealism of the 1960s, photographers embarked on a search to discover new 
subjects, methods and meanings. Color offered an obvious if indistinct way forward, a path 
leading beyond the void left by the 1960s and the era of the "concerned photographer" 
(as defined by Cornell Capa in 1968) toward some new as yet to be defined sense of purpose.
1970s color photography may thus be characterized as a chaotic and disparate search, 
a heterogeneous effort encompassing diverse bodies of work by artists as dissimilar as 
Stephen Shore, Joel Meyerowitz, William Eggleston and others toward the rediscovery of 
something ennobling and purposeful in modern American life. 

Steven Kasher Gallery is pleased to present the first exhibition of previously unpublished and unexhibited photographs that Warhol selected for his 1979 book Andy Warhol’s Exposures.The exhibition will feature over 70 unique vintage black and white photographic prints. It will be accompanied by a new book, Andy Warhol: Unexposed Exposures (Steidl/Kasher, 2010), edited and with an introduction by Bob Colacello (who was executive editor of the original book as well). Starting in 1976, Warhol shot several rolls of film every week and selected images for the 1979 book. He had intended to title it Social Diseases, but his concept was heavily watered down by his publishers at the time and many of the selected images were removed. Colacello writes: 

There is a sense of intimacy as well as of voyeurism, of funny-looking, insecure, wistful Andy, through flattery and attentiveness, trying to connect. Yet, because he was not just any photographer but a famous artist, a star, there is often a sense that the looking is being done at the man with the camera as well as by him. In some cases, the subjects are clearly performing for their fellow luminary, or close friend, or boss. As spontaneous as these images may seem, they are intrinsically staged, with Warhol himself as both chronicler and catalyst of the moments he is documenting.

And what moments they are! Only Andy could get David Hockney in extra-brief running shorts, or Susan Sontag batting her eyelashes across a fancy restaurant table at Gloria Vanderbilt, or Halston’s Venezuelan window dresser and lover, Victor Hugo, sitting under Goya’s Red Boy in Kitty Miller’s Park Avenue parlor. Here’s Faye Dunaway smooching fashion designer Giorgio di Sant’Angelo; Paloma Picasso spreading her hands to indicate the width of one of her father’s paintings; Margaret Trudeau, Canada’s First Lady, chatting up Milos Forman. Indeed, almost all the face cards of the late 70s scene are here, at ease behind the velvet rope: brash Steve Rubell and reticent Ian Schrager, Diane Von Furstenberg and Barry Diller with Henry Kissinger, Mick Jagger beside Catherine Deneuve, Roman Polanski, Diana Ross, Tatum and Ryan O’Neal, Liz Taylor deep in her Senator John Warner period, Arnold Schwarzenegger before politics, and O.J. Simpson when everyone still loved him. So are the footnotes of celebrity history: Elvis’s ex, Priscilla Presley, with her Scientologist model boyfriend, and Ruth Kligman, the woman who was in the car with Jackson Pollack when he crashed it into a tree and was killed. And let’s not forget—Andy didn’t—Don King, boxing impresario; little Edie Beale, Jackie’s batty cousin; Famous Amos, the cookie king, and Norman the neighborhood coke dealer, if your neighborhood happened to be the West Village. Enough! You get the picture. Andy always did.

One of the most important international photography events, The AIPAD Photography Show New York, will be presented by the Association of International Photography Art Dealers (AIPAD) from March 18 through 21, 2010. 

More than 70 of the world's leading fine art photography galleries will present a wide range of museum-quality work including contemporary, modern and 19th century photographs, as well as photo-based art, video and new media, at the Park Avenue Armory in New York City. 

The 30th edition of The AIPAD Photography Show New York will open with a Gala Preview on March 17 to benefit the John Szarkowski Fund, an endowment for photography acquisitions at The Museum of Modern Art in New York City. 

The AIPAD Photography Show New York is the longest running and foremost exhibition of fine art photography. 

Show Hours
Thursday, March 18 11:00 a.m. to 8:00 p.m.
Friday, March 19 11:00 a.m. to 8:00 p.m.
Saturday, March 20 11:00 a.m. to 8:00 p.m.
Sunday, March 21 11:00 a.m. to 6:00 p.m.

Admission 
$40 run of show pass (includes catalogue)
$25 one day pass
$10 one day pass with valid student ID

A.M. Richard Fine Art is pleased to announce an exhibition of new work by photographer Andrew Garn.

In the summer of 2008, Andrew Garn was assigned by the Smithsonian Institution to document biodiversity in a remote area of the Peruvian Amazon. This mission was an incomparable opportunity to photograph an unexplored region of the jungle. Accompanied by six scientists and a number of macheteros, the team traveled throughout the brush, many times creating new trails in untouched rain forest.
Soon the duplicitous nature of the expedition surfaced. The Smithsonian was in place to document the pristine conditions of the forest during the early stages of an extensive oil exploration project initiated by the Spanish energy giant Repsol. Leasing an immense 800 sq mile tract from the Peruvian government, Repsol created over 20 helicopter landing fields by clear cutting immense swaths of forest. Explosive charges were set off to measure the oil reserves under the jungle floor. Eventually, pumping rigs were flown in and a 50-mile pipeline was constructed to bring the oil to market.

Mr. Garn’s experience in the Amazon reveals a place of majestic beauty as well as one of overwhelming chaos, confusion and terror. His photographs and 8 minute video, Lost Amazon, depict a setting of obfuscation, where the boundaries of heavenly reprieve frequently dissolved into torment and wretchedness. 
Two series of photographs detail the jungle inhabitants in their grace and inevitable demise. The Shadow Series illustrates a troubling world where lies an artificial sense of safety. The main body of work, set in a darkened gallery, conveys both the seduction and fear that make up the Amazon.

This is Mr. Garn’s third exhibition at A.M. Richard Fine Art. Mr. Garn is the recipient of numerous grants. His works are in several private and public collections. Most recently, Mr. Garn was invited by the U.S. Consulate General in Russia to participate in the First Biennale of Contemporary Art in the Urals (September 2010).

In the project room, Toxic Molecules, welded steel and paper wall sculptures by artist Christy Rupp. Ms. Rupp has long been pre-occupied with global environmental issues. Her work, deceptively whimsical, is charged with dangerously lucid social concerns.

Sugar is honored to host A sense of Humor, a select group of photographs that will hit your funny bone. Elliott Erwitt, Jacques-Henri Lartigue, Diane Arbus, and more.

Following the Kansas-Nebraska Act of 1854 and the subsequent public survey along the Sixth Principal Meridian, the Great Plains was officially opened to development and the surveyor's grid provided the basis for cataloguing the open expanse. Drawing on the remarkable history of 19th century survey photography, Joe Deal's new series of photographs, West and West, serves as a meditation on landscape and history, and their place in the realms of imagination and representation.

Robert Mann Gallery will exhibit a selection of photographs from this body of work, which continues Deal's keen observation of the forms and markers of built and natural landscapes. While West and Westeschews the imagery of development for which Deal is best known, this project still connotes the impact of human-initiated processes by asking the viewer to think historically and consider what in a landscape has changed and also what has not changed. Focusing on the Great Plains also marks a return to the region where Deal grew up. West and West offered the opportunity to reconnect with what he calls "the dreamed landscape" of his childhood, now framed by the complicating knowledge of the history that shaped the land. In the introduction to the book of the same title, published in 2009 by the Center for American Places, Deal writes,

The act of making a photograph is not all that different from the act performed by the surveyors. Both are essentially visual; both impose a frame around something that has no clear boundaries of its own. In some respects, making these photographs was a kind of reenactment, a way of knowing what it must have been like to lay a straight line down over a vast plain. Only, in my case, and from my vantage point in time, the intention is to reimagine what lies beneath the grid. If the square, as employed in the surveys of public lands, could function like a telescope, framing smaller and smaller sections of the plains, it can also be used as a window, equilaterally divided by the horizon, that begins with a finite section of earth and sky and restores them in the imagination to the vastness that now can only exist as an idea: the landscape contained within the perfect symmetry of the square implies infinity.

West and West: Reimagining the Great Plains is Joe Deal's third solo exhibition at Robert Mann Gallery.Joe Deal: New Work was recently presented as a solo exhibition at the Museum of Art RISD, and travels to the Center for Creative Photography at the University of Arizona this summer. Deal is also included in the touring re-creation of the landmark exhibition New Topographics: Photographs of a Man-Altered Landscape. He is represented in numerous public collections, including the Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Los Angeles County Museum of Art; the Museum of Fine Arts, Boston; the J. Paul Getty Museum, Los Angeles; and George Eastman House, Rochester, New York. Born in Topeka, Kansas in 1947, Joe Deal lives in Providence, Rhode Island.

HASTED HUNT KRAEUTLER is pleased to announce Great Photographs of the 20th Century: Staged and Startled. The gallery will be exhibiting a selection of rare and sought after photographs lent from numerous private collections representing some of the most important photographers of the last 100 years. 

The title Staged and Startled refers to the various processes artists use in achieving their final images including lighting, setting, equipment and planning, or conversely, deliberate eschewal of preparation. The opportunity to compare these works side by side reveals the individuality of the century's most iconic photographers. The exhibition spans from the premeditated studio portraits of artists such as Richard Avedon and Irving Penn to the spontaneous street photographs of such masters as Robert Frank and Lee Friedlander. 

Whether a photographer has staged or startled his or her subject also leads to an important consideration of the relationship of the photograph to truth and reality. Along these lines, Steven Klein's photograph of actors Angelina Jolie and Brad Pitt, in which multiple layers of acting and playing are realized, Case Study #13 (2005) and Irving Penn's posed model in an exotic scene, Woman in Moroccan Palace (1951), present an interesting contrast to Harry Callahan's more sincere but no less nuanced photograph of his wife and child, Eleanor and Barbara, Chicago (1953) and Joel Sternfeld's photograph of a planned fire department exercise that he encountered unexpectedly, Mclean, Virginia (1978). 

Richard Avedon's Nastassja Kinski and the serpent, Los Angeles, California, 1981 was a major turning point for the artist. Shot for Vogue magazine, this photograph received immediate critical acclaim and widespread publicity making both Avedon and Kinski household names. Although Avedon was well regarded in the fashion and photographic communities prior, the celebrity of this image outgrew these spheres. Its presentation here alongside the earlier photograph of a model by Irving Penn and the later photograph by Steven Klein of the early 21st century super celebrities Angelina Jolie and Brad Pitt provides an interesting genealogy of American culture as well as photographic history. 

This exhibition also includes works by Tina Barney, Lisette Model and Garry Winogrand. Imagery ranges from celebrity to unknown subjects who happened to be at the right place at the right time to an artist's friends or family. Many of the photographs possess levels at which they are the staged, controlled presentations of the subject or photographer, and other levels at which they are startled, unplanned and even unintentional. 

HASTED HUNT KRAEUTLER is taking this opportunity to show work that would usually be restricted to a museum setting, but made available here to collectors and the greater gallery going audience. 

For visuals or more information, please contact the gallery at info@hastedhuntkraeutler.com.

Bogdan Mamonov’s great-grandfather, Gregory Speer, found himself at the time of the Bolshevik revolution a German bridge engineer hired by the government of the last czar in Kolomna, a city approximately 100 miles outside of Moscow. The revolution gave his bridge design expertise a renewed sense of purpose in a country set to build a new world, and also simply needing rebuilding itself after World War I and the ensuing civil war.

By 1932, at the height of Stalin’s purges, however, Speer’s luck had run out and he was arrested in a so-called “engineer’s case”. According to the official version, Speer hanged himself in prison. Virtually all of his possessions were confiscated. Speer’s youngest daughter Lidia could not bear the death of her father and died soon after, having suffered a psychiatric break-down.

Speer’s fate forever cast a shadow over the lives of his family. Bogdan Mamonov’s childhood was steeped in his family’s contempt for the Soviet regime. Mamonov’s father (himself an artist) was a staunch anti-Communist throughout Bogdan’s childhood. At one point, he threw out the family’s TV set so as to avoid having his family subjected to Soviet propaganda.

One of the few possessions of Speer’s that was not confiscated after his arrest was his collection of glass plates of stereo photographs capturing the idyll of his family’s life and leisure. Although Speer did not consider himself an artist and captured his family purely as a record of happy times, he possessed an innate sense of composition. The collection of stereo photographs that survived through three generations of Speer’s descendants and twentieth century turmoil became the most tangible, most intimate link for Mamonov to his ancestor whose life and death so directed his upbringing.

Now, Bogdan Mamonov, a mature man and a well recognized artist (who among other things represented Russia at the 51st Venice Biennale), is still deeply affected by the influence of totalitarianism on humanity. The Intimate Life of Gregory Speer is Mamonov’s long-nursed look at the tension between liberty and oppression. The common thread of all works in The Intimate Life is a number of Mamonov’s favorite images from his great-grandfather’s collection, each examined, interpreted and reinterpreted by Mamonov the artist and Mamonov the great-grandson.

The centerpiece of the exhibit is Sapojok (Little Boot), a piece of video produced by Mamonov for the Kandinsky Prize London 2009 and appearing for the first time in a commercial gallery. Sapojok juxtaposes idyllic scenes captured by Speer with a recitation from Tranquillus’s Twelve Caesars of the deeds of Caligula, the Roman emperor who rained between 37 and 41 AD and is best known for using his absolute power for absolute depravity.

In addition to Sapojok, the exhibit will present large-format photography, transparencies, paintings and the original glass plates.

Farmani Gallery is proud to present Select Gender, introducing fourteen rising photographers communicating their contemporary viewpoint within fine art photography. The exhibition, co-curated by budding artists Rafael Soldi, Paolo Morales and Elle Perez, will present a diverse selection of innovative artworks that focus on the theme of gender perceptions and the role of sexual assignments in America and abroad. This exhibition embraces the mission of the gallery and the curators in their support of promising talent and our hopes to further a conversation through photographic works of present-day subject matter.

Select Gender revolves around the themes of gender-based identity, self-awareness and gender-specific culture. Whether they are discussing their own identity or that of others, this diverse group of emerging photographers shows us different aspects and interpretations of perceived gender roles.  The juxtapositions of gender queer, hyper masculinities, and ambiguous representations force the viewer to question his or her own perceptions and the legitimacy of a gender binary.  Ultimately the goal of Select Gender is not to expose, shock, or titillate, but to offer reflection on the constructs and wide range of possibilities for gender expression.

Rafael Soldi is a Peruvian born, New York based photographer. He holds a degree in Photography and Curatorial Studies from the Maryland Institute College of Art. His work has been shown in NY with Humble Arts Foundation and Daniel Cooney Fine Art, Conner Contemporary Art in Washington D.C. as well as in Philadelphia, Atlanta and Baltimore.

Paolo Morales has studied at the Art Institute of Boston, International Center of Photography, San Francisco Art Institute and School of Visual Arts. His work has been exhibited in New York and Boston. He is a curator of Gallery South at the Art Institute of Boston.

Elle Perez is a photographer currently based in Baltimore, MD. She has studied Photography and Gender Studies and she has exhibited in Maryland and New York. Perez is the director of the Wlgus Gallery at the Maryland Institute College of Art.

For press inquiries, to obtain an electronic press kit or to RSVP to the press preview, please contactmail@farmanigallery.com or call 718-578-4478.

For other inquiries please contact team@farmnigallery.com.

Israeli photographer Arye Carmon’s stunning color photographs of people and places around the world create connections between seemingly different cultures.

Arye Carmon heads the Israel Democracy Institute, a “think tank” that fosters strategies and solutions to critical policy issues. A photographer for more than forty years, Carmon’s current exhibition exemplifies the relationship between his work at the IDI and his work as an artist. Both endeavors strive to create harmony between disparate ethnic backgrounds, beliefs, world views and political practices. According to Carmon, the parallels in his photography and career give him “a new perspective on what makes us human and new ways to imagine in our collective futures.”

Duke University curator Alex Harris says that Carmon’s works viewed individually are “beautiful compositions” that compare and contrast his subjects in one photograph. Taking them further as a collection, pairing one photograph with another from a different time and place and looking at the subjects through Carmon’s eyes creates a connection between “what might seem radically different cultures and moments by allowing us to see in a way that connects rather than separates these worlds.”

Presented here are 15 photographs and a photo ‘zine from the series “The Urban Forest” by Kate Glicksberg. This project explores the city as a unique habitat, where nature, humans and the concrete grid co-exist and intermingle. Nature may frame the series, but human presence is a fundamental part of this work. Formal land cultivation tries to contain natural growth within the urban landscape. Yet through pictorial representation, humans invent ways to insert types of wilderness into street life. The inherent desire to integrate nature into built environments competes with the need to control it. The benefits of nature to society at large have recently been re-established. Urban landscaping projects have brought another context for experiencing an outdoor city life. From replanted clusters in public plazas, to mass reforestation of the city’s public/private lands, trees play an increasing role in the shifting urban landscape. In this shift, the city is reimagined.

K&K presents a unique series of new work by two photographers.

The sensation of light is a consistent thread throughout the work of Filipa Castro; it is a third presence (in addition to the photographer and subject) whose mark is felt on various — often empty — spaces, and anonymous figures. Additionally, her images filter the world through a subdued and painterly palette. This combination of the activity of light and subtlety of color project a vision of her surroundings which is at once solitary and beautiful. She currently lives and works in Lisbon, Portugal.

The work of Guillaume Gilbert portrays the urban areas of both New York City and Paris. His dogged use of 35mm black and white film provides a fitting medium for his depiction of social alienation as evidenced in his subjects: archetypes of youth and maturity, commuters and night figures. His work depicts a claustrophobic and harsh space traversed by assorted characters who are often connected only by a glance. Yet ultimately a connection can be made; alienation — like the commute itself — is a transient state.

The tension and surprise emanating from certain works of the great surrealist photographers Claude Cahun, Dora Maar, Man Ray, and Lee Miller equals the greatest of surrealist texts, by Breton, Desnos, and Eluard. Rarely has the force of black and white struck with such peculiarity. And - we are thinking twilight -- the mystery lasts.

Mary Ann Caws, Distinguished Professor of English, French, and Comparative Literature at the Graduate Center of the City University of New York, recipient of Guggenheim, National Endowment for the Humanities, Getty, and Rockefeller fellowships, is the past president of the Modern Language Association, the American Comparative Literature Association, the Association for the Study of Dada and Surrealism, the Academy of Literary Studies, and a fellow of the American Academy of Arts and Sciences.

She is the author of numerous volumes on art and literature, including The Eye in the Text; Essays on Perception, Mannerist to Modern; The Art of Interference: Stressed Readings in Visual and Verbal Texts: Stressed Readings The Surrealist Look: An Erotics of Encounter; Picasso's Weeping Woman: The Life and Art of Dora Maar; Robert Motherwell with Pen and Brush; To the Boathouse: A Memoir; Pablo Picasso; Salvador Dalí, and the editor ofSurrealist Painters and Poets; Surrealism and Surrealist Love Poems.

Register online or call 212.857.0001.

Internationally renowned documentary photographer Stefano de Luigi discusses his working methodology, his collaborations with NGOs such as Médecins Sans Frontières, and his latest book, Blindness (Trolley Books, 2010). Since the beginning of his career as a photojournalist two decades ago, de Luigi's work has evolved into a spectrum of selfinitiated projects, revealing his acute powers of observation, compassionate interest in his subjects, and unique visual expression. He is represented by the VII agency.

Register online or call 212.857.0001.

This highly acclaimed exhibition, on view at the Milwaukee Art Museum through April 25, examines a unique and pivotal moment in American photographic history. The first major examination of street photography of the 1940s and 1950s in nearly 20 years includes work by Lisette Model, Robert Frank, Louis Faurer, Ted Croner, Saul Leiter, and William Klein and uncovers a crucial time in American art, when global media was in its adolescence and photography was just beginning to achieve recognition in the contemporary art world. A highlight will be the viewing of Time Capsule, a recently discovered short film by Louis Faurer.

Moderated by Lisa Hostetler, Curator of Photographs, Milwaukee Art Museum.

Guest Speakers:
Vince Aletti, critic and curator
Deborah Bell, Deborah Bell Gallery
Howard Greenberg, Howard Greenberg Gallery
Brian Wallis, Chief Curator, International Center of Photography

Register online or call 212.857.0001 for more information.

Yossi Milo Gallery is pleased to announce an exhibition of photographs by French artist Mohamed Bourouissa. The exhibition will open on April 22, and close on June 5, with a reception for the artist on Thursday, April 22, from 6:00 to 8:00 pm. This will be the artist’s first solo exhibition in the United States.

Mohamed Bourouissa’s photographs from the series Périphéries are staged depictions of the tensions and issues affecting daily life for young people living in the suburbs of France. The artist orchestrates his photographs in carefully scouted locations, such as apartment building rooftops or subway stations, with specially selected models and strategically placed lighting. The imagined scenarios explore the social and economic issues of the area in which the artist grew up, while questioning stereotypes about life in the suburban territories of Paris and other cities in France.

The images combine documentary-style journalistic content with formal compositions influenced by traditional paintings, such as those by Delacroix and Gericault. Though the scenes are planned in advance, the artist allows the interplay of gazes and gestures to occur spontaneously, infusing the images with emotional friction and the threat of violence.

Mohamed Bourouissa’s photographs were included in the New Museum of Contemporary Art’s exhibition Younger than Jesus in 2009. His work is included in the collections of the Fonds national d’art contemporain and the Maison Européenne de la Photographie in Paris. Mr. Bourouissa was born in 1978 in Bilda, Algeria, and attended the Ecole Nationale Supérieure des Arts Décoritifs, Paris, and the Sorbonne, Paris. He currently lives and works in Paris.

Soho Photo Gallery is pleased to announce that in April 2010, the

entire Gallery will be devoted to SOHOPHOTO 2010, the 15th annual members’ juried

show. Once again, the members’ show is being held to coincide with TOAST—the annual

TriBeCa Open Artist Studio Tour that’s scheduled for April 23 through April 26. Last

year, TOAST brought more than 250 additional visitors to the Gallery during its four day

run; we’re hoping for a repeat performance in 2010.

The juror for this year’s competition will be Lyle Rexer who has written extensively

about contemporary art and culture and has also curated a number of exhibitions

including “The Edge of Vision, Abstraction in Contemporary Photography.” Rexer

writes a column for Photograph magazine; and is the author of The Edge of Vision: The

Rise of Abstraction in Photography (2009); Photography’s Antiquarian Avant-Garde;

and The New Wave in Old Processes (2002).

The work in SOHOPHOTO 2010 will provide a unique opportunity to experience

virtually the entire range of classic and contemporary photography—from pinhole, mixed

media and digital photography to color, black and white, bleached and toned prints and

those otherwise manipulated. One thing is certain: diversity will rule.

All the winners in SOHOPHOTO 2010 will be clearly identified so that Gallery visitors

will be able to compare their favorites with those of the juror, Lyle Rexer. The 2009

members’ show had a wide variety of great work on display and this year’s competition

is sure to produce more of the same.

Clic Gallery is proud to present ASYLUM: PHOTOGRAPHS BY CHRISTOPHER PAYNE. The show will run from April 13 to May 23rd, 2010. There will be an opening reception from 6 to 9 pm on Thursday, April 15.

Massive state-funded mental hospitals, many of them among the largest and most elaborate structures ever erected in America, were a prominent feature of the American landscape for more than a century. Once sources of civic pride before becoming warehouses of neglect, the asylums were emptied towards the end of last century, and now sit crumbling, keeping their secrets. Many of them are already gone. Architectural photographer CHRISTOPHER PAYNEwas granted unprecedented access to document the abandoned buildings and interiors over a period of six years, and the resulting book, ASYLUM: INSIDE THE CLOSED WORLD OF MENTAL HOSPITALS (MIT Press, 2009), has become something of a phenomenon, touching people in unexpected ways. Remarkable both as photojournalism and as art, the images of ASYLUM are elegiac, emotionally gripping, and possessed of a cinematic sensibility. Payne’s photographs have been praised by THE NEW YORKER for their “eerie beauty” and by THE NEW YORK TIMES, which said, “What distinguishes Mr. Payne’s work is not only his knowing documentation of architectural features but his eye for the telling human detail.”

A graduate of Columbia and the University of Pennsylvania, CHRISTOPHER PAYNE trained and practiced as an architect before turning to photography. In addition to ASYLUM, he is the author of NEW YORK’S FORGOTTENSUBSTATIONS: THE POWER BEHIND THE SUBWAY (Princeton Architectural Press, 2002). ASYLUM is his first gallery show in New York.

Andrea Meislin Gallery is pleased to present a solo exhibition of Rina Castelnuovo. Although Castelnuovo considers her work photojournalism, her moving images have captured the daily life of Israeli people in a way that few other photographers – fine art or otherwise – have.

Castelnuovo was recently awarded First Place, International News Picture Story in the Best of Photojournalism 2010. She has been photographing for the New York Times in Israel since the mid-nineties, as well as for Time Magazine, Stern Magazine, and the Associated Press since the eighties. Her work presents a look into the complex forces that drive the ongoing conflict between Israelis and Palestinians. The award-winning series focuses on the West Bank settlements and outposts, which Israel has promised to dismantle as part of its commitment to a two-state solution. In the image above, a Jewish settler prays at sunrise from the top of Mt Gerizim where an outpost once stood and was evicted, overlooking the Palestinian city of Nablus and the surrounding “Hills Of Fire” dotted with Jewish settlements. Settlers are holding a permanent presence here despite the eviction as according to their belief that no authority is allowed to relinquish “any portion of the land.”

Castelnuovo captures this and many other moments up through the present day in her exhibition at Andrea Meislin Gallery. Some are dramatic and moving, while others are everyday scenes of the families and people inhabiting this land. Castelnuovo’s striking ability to capture both the extraordinary and the habitual puts her in a class of her own. Rina Castelnuovo studied at the Academy of Fine Arts in Rome, and is the recipient of many prestigious prizes for her photography.

Christopher Henry Gallery is proud to present Christopher Makos Polaroids, an exhibition of 55 original vintage SX-70 Polaroids. Much more than photographs, Makos’ Polaroids are, in fact, precious artifacts – historic one-of-a-kind mementos from the 70s and early 80s, an era famously celebrated for its decadence but less often noted for its remarkable innocence Decades before the age of flatbed scanners, digital cameras and desktop printers, Polaroid cameras had the unique ability to capture private, unreproducible moments in time – it was a seductive producer of images that developed magically before your eyes in the privacy of your own hands. Calvin Klein reminisced, “No one was afraid of being photographed back then because it was more likely a picture would end up in the back of someone’s drawer than on Facebook, YouTube or the front page. So people were free, spontaneous, a little exhibitionistic. There was a sort of shared promise that things could remain a secret.”

This unrestricted sense of intimacy and spontaneity is captured brilliantly in the warm hues and pure poetic forms of Makos’ Polaroids. From the innocent to the sensual, from a dated automobile (i.e. 1976 AMC Pacer) to a timeless torso, objects take on a magical allure as in Beach Ball and Flippers, Champagne and Donuts, World Trade Center, and Boxing Gloves, 1981 (worn by Andy Warhol and Jean-Michel Basquiat for their iconic Collaborations / Shafrazi Show poster). Even in celebrity shots of Warhol, Deborah Harry, and John F. Kennedy Jr., all were shot with varying degrees of wit and humor – for Makos the Polaroid was not just a camera, it was an instrument of exploration. Having apprenticed with Man Ray, Makos understands the inner essence of things and it is this luminescence that radiates from his photographs. Time stands still – ephemera are immortalized.

The exhibition is presented concurrent with the launch of a 180 Polaroid monograph Christopher Makos Polaroids, published by Photology with text by Calvin Klein available for sale at the gallery.

David Zwirner is pleased to present Edward Kienholz’s (1927-1994)renowned installation Roxys, 1960-61. First exhibited at Los Angeles Ferus Gallery in 1962, this significant large-scale assemblage represents the first of the artist’s environmental installations, or as he called them, and has been credited as being one of the earliest examples of what is now ubiquitously referred to as installation art.

This exhibition follows the recently acclaimed presentation of a related work by the artist (in collaboration with Nancy Reddin Kienholz), The Hoerengracht National Gallery, London, in November 2009 - February 2010. An important figure in postwar American art, Kienholz has become best known for evocative assemblages and environments made from disparate found objects and discarded, everyday materials. His work draws from the vernacular of contemporary American life,confronting the viewer with issues surrounding cultural existence and the inhumanities of twentieth-century Western society. In 1953 Kienholz moved to Los Angeles from his hometown in Fairfield, Washington, and quickly became an active participant in the Southern California art community. Although his early work took the form of abstract wall reliefs and paintings, by 1960 Kienholz’s practice shifted to three-dimensional, free-standing constructions and environmental assemblages. His groundbreaking tableaux, which addressed themes surrounding the vulgarity of humanity, gave him the reputation of being a significant socio-critical artist and pioneer of Assemblage art.

Set in 1943, Roxys presents a life-size recreation of a well-known Las Vegas brothel. In a furnished room filled with objects and figures, Kienholz accurately displays the history and patina of the period—evoking the era of the artist’s adolescence—with vintage props such as a 1943 calendar, movie magazines, a juke box playing familiar songs from the forties, a slot machine, brand-name beer bottles and cigarette wrappers, a call-to-arms portrait of General MacArthur, period furniture, and miscellaneous bric-à-brac. The room is populated by disturbing, provocative figures that represent the remnants of human experience. This elaborately detailed tableau evokes the brutalities of the human condition: by offering an all encompassing, visceral sensory experience, the viewer is fully and unavoidably confronted with the bleak realities of its subject matter.

The installation consists of a series of figurative assemblages, each placed on tile pedestals to indicate a deliberate separation from their environment. Each of these “characters” has a curious and descriptive name: Ben Brown; Dianna Poole, Miss Universal; Miss Cherry Delight; Cockeyed Jenny; Fifi, A Lost Angel; A Lady Named Zoa; Five Dollar Billy; and The Madam. These figures—one “male” and seven distorted “women” made out of mannequin body parts combined with absurd, surreal objects—demonstrate the dismal social realities of prostitution. In 1977, thinking back on Roxys, the artist recalled: “I went back in memory to going to Kellogg, Idaho, to whorehouses when I was a kid, and just being appalled by the whole situation—not being able to perform because it was just a really crummy, bad experience, a bunch of old women with sagging breasts that were supposed to turn you on, and like I say, it just didn’t work.”1

A recurring concern addressed throughout Kienholz’s practice, which is clearly pronounced in this important tableau is the effect time has on environments, objects, and human experience; the installation intertwines the past with the present, and the artist uses “junk” as a way of referring to, and symbolizing, the relationship between time and death. As Kienholz stated in 1977, “all my work has to do with living and dying, our fear of death.”2

Upon entering the installation, the viewer is greeted by The Madam, the operator of the brothel, who has a boar’s skull as a head and is dressed in dark, draped garments which appear to be in a state of decay. As one proceeds into the space, the scene becomes increasingly disturbing, as each figure, stained with splatters of paint, illustrates a grotesque portrayal of prostitution. Another figure, Five Dollar Billy, demonstrates the morbid realities of her occupation. She rests horizontally on top of a sewing machine stand; her torso is tarnished and carved with names (presumably of those who have possessed her). The rose in her throat represents, as Nancy Reddin Kienholz suggests, “the innocence which separates her mind from what her body is doing. She is the whore with a purpose as represented by the squirrel which is stashing nuts (money) against the future (ugliness and old age).”3

The artist’s deliberately awkward juxtaposition of materials is evidenced in Fifi, A Lost Angel, in which the face of a child is combined with the torso and legs of a mature woman. A clock is embedded in her stomach, suggesting a method of timing her customers and referring to Kienholz’s concerns with the passage of time. Other figures, such as Cockeyed Jenny, a spread-legged, faceless body made from a pop-lid garbage can with mannequin legs, address the use of women as “‘dumping’ grounds for man’s physical and emotional advances.”4

Each character in Roxys has a background story which the artist addresses through various details, such as a letter from the prostitute’s sister in Miss Cherry Delight; the papier-mâché jack-o-lantern head of Dianna Poole, Miss Universal; and the letter-dispensing machine which acts as A Lady Named Zoa’s torso. The only male represented is Ben Brown, the towel boy. Written on his head are the words “See No—Hear No—Speak No,” referring to the common pictorial maxim of the three wise monkeys. Wrapped around his waist is a metal chastity belt, suggesting that he is protected from the establishment’s customers.

Roxys, which gives visual form to a broad archetypal experience, was radical when it was first presented and is a crucial work in the artist’s oeuvre. All of the figures depicted in the installation are made to be repulsive, while functioning metaphorically. Kienholz created a vivid and somewhat theatrical experience of the horrific qualities of prostitution; his bordello is grotesque and morbid rather than erotic. The work addresses themes which the artist continually concerned himself with, such as the oppression of women, the bleaker aspects of memory and time, and the troubling cruelties of contemporary culture. Kienholz finds his inspiration in the detritus of modern existence, and much of his practice can be seen as a vehicle for social critique. His large-scale tableaux, which not only incorporate the physical aspects of human existence, but also draw attention to society’s distorted social conditioning, stand alone within the history of 20th century art.

HASTED HUNT KRAEUTLER is pleased to announce an exhibition of new photographs from the body of work Lowdensitypolyethylene by JULIAN FAULHABER.

The German-born photographer made his United States debut in Chisel curated by Kathy Ryan of the New York Times at the first annual New York Photo Festival in 2008. His first gallery show in New York followed in the fall of that year at Hasted Hunt Kraeutler. Since then, Faulhaber has been named a new and emerging photographer to watch in 2009 by Photo District News (PDN) and has been included in the exhibition Reality Check: Truth and Illusion in Contemporary Photography at the Metropolitan Museum of Art.

The photographs in Faulhaber’s body of work, Lowdensitypolyethylene, are created in newly constructed spaces in the time between when they are completed and when they become occupied or in use. The intense colors and sheen result from exposure times of 10 to 20 seconds, the perspective selected and the artificial light at the location, rather than from post-production. The resulting image often appears abstract, even unreal, but it is in fact a straight document of the space, reflected in such direct titles as “Supermarket” and “Garage”.

Faulhaber’s work comments on the discrepancy between the material reality of construction, the daily experience of a space, and the utopian ideals that inspire the avant-garde of the architectural field. The actual formal points of an architect’s utopian vision are often inspired by the other arts: painting, writing and photography. His work is also embedded in a tradition of German photography that considers the investigation of architectural forms to be important social commentary, a history that spans the work of Albert Renger-Patsch, Bernd and Hilla Becher, Andreas Gursky and Thomas Demand. Faulhaber’s work is included in the permanent collections of such esteemed institutions as the Metropolitan Museum of Art, the Harvard Art Museum, and the Princeton Art Museum. 

JULIAN FAULHABER is represented in the United States exclusively by HASTED HUNT KRAEUTLER. For visuals or more information please contact the gallery at info@hastedhuntkraeutler.com.

curated by Dean Daderko

THROCKMORTON FINE ART is pleased to offer an exhibit of work by France’s greatest living photographer—Lucien Clergue. The exhibit consists of 35 photographs from throughout his lengthy career, all portraying one of his cherished subjects—the female nude. The works are in black-and-white. Many nudes are set in either water or sand, both of which are drawn on to accentuate the sculptural qualities of the human body. Clergue is inventive, a master of composition and of the use of light and shadow. The resulting images look effortless and natural; they are clean, sensuous yet pure, and attain a quiet, understated elegance. Jean Cocteau described Clergue as “a poet with a camera.” Pablo Picasso proclaimed Clergue “the Monet of the camera.” The first collector of his work was Max Ernst. Great artists recognize their brethren—and the images exhibited here also testify that Clergue is an accomplished artist. Clergue, however, has not been as well known in the United States as he is in Europe. This exhibit is an effort to build at least a small bridge across the Atlantic Ocean. Clergue was born in 1934 in Arles, an ancient port city. He is rooted in Mediterranean culture. He began taking photographs in 1953—at the age of just nineteen. He quickly achieved renown, but he declined offers from Paris-Match and Vogue, adhering to a vocation as an artist. Even after five decades of labor, his enthusiasm is tireless and he retains a gift for growth. He has stayed close to Arles, but he always sees something new, and he keeps working. His illustrious admirer and friend, Picasso, would be proud.

Graphic Intersections is a collaborative project loosely based on the old Surrealist and Dadaist game, the Exquisite Corpse. Designed to unite disparate artists in an interconnected photographic relay of images inspired by one another, this project strives to emphasize a system of response entirely rooted in unmediated visual reaction.

The exhibition includes photographs by Ben Alper, Anastasia Cazabon, Thomas Damgaard, Scott Eiden, Grant Ernhart, Jon Feinstein, Elizabeth Fleming, Alan George, Hee Jin Kang, Drew Kelly, Michael Marcelle, Chris Mottalini, Ed Panar, Bradley Peters, Cara Phillips, Noel Rodo-Vankeulen, Irina Rozovsky, Brea Souders, Jane Tam and Grant Willing.

In the inside gallery space, a second exhibition, The Portrait as Allegory, examines the work of Timothy Briner, Birthe Piontek, and Susan Worsham, three artists who utilize the figure metaphorically in service of a broader discourse on the human experience. In addition to exploring the personal identities of their subjects, these portraits simultaneously become vehicles which speak to a variety of social, historical, and familial histories.

In a major departure from his usual practice of working in the rural landscape, Andy Goldsworthy will present photographs, sculpture and videos made exclusively in New York City. In New York Dirt Water Light, Goldsworthy’s subjects include debris, passersby, and the interplay of natural and artificial light-demonstrating the artist’s broad, compelling understanding of nature. The exhibition at Galerie Lelong will include nine photographic suites, a triptych of “rain shadow” videos, and a sculptural installation made of dirt collected from the city streets. The exhibition will open to the public on Thursday, May 6 from 6 to 8 pm, and the artist will be present.

Since 1993, when Goldsworthy presented his first solo exhibition in New York City, the artist has sought to find a way to convey the nature in urban environments. The heart of New York Dirt Water Light is a series of time-based photographs that represent Goldsworthy’s most intensive work in an urban setting to date. On two separate trips, he spent several weeks in New York, choosing Times Square as the city epicenter and the site for most of his experiments. Often working at night, he drew lines and circles on the ground with water and documented them in the vagaries of natural and artificial light as they evaporated. Amid the frenzied activity of the city, Goldsworthy’s works are radically quiet, using the simplest of means.

Goldsworthy will also show a video triptych of his “rain shadows,” a motif he has revisited throughout his career. In these works, Goldsworthy lies outside as it begins to rain, remaining still until the surrounding ground is wet. After he stands, the dry imprint of his body lingers, fading slowly as the rain continues to fall. To make his rain shadows in an environment as congested and fast-paced as Manhattan posed an interesting challenge for the artist.

The final piece in the exhibition is a sculptural installation composed of dirt collected over several days from different locations in the city. By concentrating and displacing the common, unassuming substance, Goldsworthy challenges and heightens our perception of our physical environment. “People and dirt,” says Goldsworthy, “are nature in New York.” As displayed in the exhibition, Goldsworthy’s recurring themes-effects of time, the relationship between people and environments, the persistence of cycles-are as present and provocative on the densely populated, hyper-developed streets as they are in the remote landscapes of his most recognized works.

Since his last exhibition at Galerie Lelong in 2007, Goldsworthy has completed numerous public and private commissions, including Spire at the Presidio of San Francisco; three prominent works at Jupiter Artland, a sculpture park in Edinburgh; and En las entrañas del árbol, an installation presented by the Museo Nacional Centro de Arte Reina Sofia. Thames and Hudson recently published The Andy Goldsworthy Project, a book on his work at the National Gallery of Art, Washington, D.C. and other permanent commissions. Currently, the artist is at work on projects at the Saint Louis Art Museum, Albright Knox Art Gallery, and Storm King Art Center, among others

Winkleman Gallery is pleased to present “American ReConstruction,” a group exhibition of new photography by emerging artists Matthew Albanese, Jowhara AlSaud, Jeremy Kost, Mark Lyon, Curtis Mann, and Cara Phillips. Organized by New York collector Michael Hoeh, “American ReConstruction” features artists who construct photography-based work through an array of pre- and post-printing considerations or processes.

“Reconstruction” is the act of rebuilding an object or structure that had been destroyed. Hence, the post-Civil War years in US history were called “The Era of Reconstruction.” In contemporary America, we are witnessing a new need to rebuild a wide series of systems: our economy, healthcare system, political system, consumer confidence, and in the new age of iPads and Facebook even our methods of communication and visual language. In this exhibition, Hoeh has brought together a group of artists whose work all touch upon these issues. Some of the artists’ work is created by physically altering the raw material of photography or its subject matter—by scratching (AlSaud), bleaching (Mann), or directly building detailed models (Albanese) for the making of their images. Others work by innately focusing their camera gaze on society’s impulse to rebuild or reconstruct our appearances (Phillips), personas (Kost), or environments (Lyon).

For his “Strange Worlds” series, Matthew Albanese first creates highly detailed models in his studio from surprising simple materials. By then maximizing the capacity of photographic techniques (such as scale, depth of field, white balance and lighting), he produces highly emotive landscape photographs from these models in which telltale signs of the artifice compete with the astonishing illusions. Jowhara AlSaud, whose “Out of Line” series deals with the language of censorship as applied to photographic images in her native Saudi Arabia (where it’s not uncommon to find skirts lengthened or sleeves crudely added with black markers in magazines or blurred out faces on billboards), etches line drawings directly onto her film and prints her photographs in a traditional darkroom process. By eliminating the faces and skin of her chosen subjects, she circumvents the cultural taboos of photography even as she illustrates how malleable the medium is.

Whether the subjects of Jeremy Kost’s Polaroid collages are drag queens, club kids, or barely clothed young men, his work always presents a remarkable intimate portrait of someone attempting to present themselves in a fabulous light. The paradox of the subtle insecurities Kost’s portraits of extreme extroverts reveal is echoed by the complex, chaotic structure of his collages in which glamor mingles with reality. Mark Lyon’s “Landscapes for the People” series focus on the use of romanticized wallpaper landscape photographs found in everyday environments. For Lyon, these photographic murals seem to serve a psychological function, given their potentially intimidating or banal locations, like dental rooms and Laundromats, as they allow the viewer an alternate mindset to nerve racking procedures or the mundane activities of everyday life.

Also currently on view at the 2010 Whitney Biennial, Curtis Mann’s photography begins with found images from online sources and photo-sharing websites that he orders as printed photographs and distorts with household bleach, which he uses to erase and obscure portions of their compositions. His latest series begins with photographs of the Golan Heights found on flickr. Even more abstract than his previous work, these images reference Rorschach test blotches. Titled “foldings” (referencing how they are made [being folded in half]), they also reference the two sides of the conflict in the Golan Heights and who is the rightful owner of this stretch of land. The two series included by Cara Phillips operate from opposite ends of the reality spectrum on personal beauty. In the “Singular Beauty” series of cosmetic surgeon’s offices, Phillips captures the emotional significance of the chairs, beds, machines, and tools through which so many seek happiness. For “Ultraviolet Beauties,” she takes head-on portraits using ultraviolet light (a tool plastic surgeon) use to show patients the damage underneath the surface of their skin. This filter allows us to see what beyond the capacity of the human eye, deeper than what a normal camera lens can record.

SPECIAL EVENT
On Saturday, June 5, 2010, Cara Philips will set up her UV studio at the gallery and offer collectors the opportunity to commission an Ultraviolet portrait. Please call or email for cost information and to reserve your spot if you would like to participate.

Michael Hoeh is a member of the Guggenheim Photo Acquisition Committee, the Co-Chairman of Aperture Foundation’s 2010 Winter Auction, and was interviewed in the January 2010 issue of Art+Auction as one of the “New Guard” of contemporary art collectors. Hoeh is also the author of the art blog www.ModernArtObsession.com, which is listed by The Metropolitan Museum, The Walker Art Center, and The London Times as a top online resource for contemporary art. He has been widely quoted in the press, such as the Wall Street Journal, Smithsonian Magazine, Black & White Magazine, and The Brooklyn Rail about the state of the contemporary art market. Hoeh has also guest lectured or opened his collection to graduate classes at the SVA, FIT, UCONN, and The New School.

“As my artwork has moved towards working with light, water and fog, evoking aspects of architecture, space, and the more ephemeral aspects of nature and life, it seemed that, in response to the expedition’s mission—creating art in the context of the sail in the Arctic—it was most appropriate to make temporary, ephemeral light/earth works with traces of light suspended above water.” -Raphaele Shirley

Dorfman Projects presents Arctic Lights, five photographs by Brooklyn based artist Raphaele Shirley, documenting her expedition to the Arctic Circle, October 2009. The exhibition runs concurrently with Shirley’s 0910 Light Shots at the Chelsea Art Museum, NY.

Raphaele Shirley, a multi-media artist, explores geometrical and architectonic forms and the different ways they relate to their surroundings. During her voyage to the arctic, Shirley transposed the idea of the light sculpture to the icy, nighttime waterscape using a makeshift “light brush” attached to a zodiac boat. From the rolling hull of the expedition’s vessel, she used time-lapse photography to capture the movements of the light as it sculpted across the surface of the water. Frozen by the Shirley’s lens, the lights form three-dimensional structures made up of cylinders, lines, and prisms, existing for an instant and leaving nothing behind, save for the specters that appear in her photographs.

Raphaele Shirley has exhibited in numerous galleries and museums in New York and abroad in addition to creating installations for public commissions. She was an assistant to Nam June Paik and is one of the originators of Perpetual Art Machine, an interactive video installation and online web community. Most recently, she completed Shooting Stair, a laser and water fog sculpture produced by Dorfman Projects and Jewels of Kvinesdal, a large-scale installation in Kvinesdal, Norway. Her newest laser sculpture, 0910 Light Shots, opens at the Chelsea Art Museum this May, followed by her short video, StarGaze in Sandes, in Sandes, Norway.

Elizabeth Dee Gallery is pleased to present an exhibition of new sculptural, photographic and video works by Josephine Meckseper. For this exhibition, Meckseper transforms the gallery into a mirrored achromatic showroom, drawing comparisons between current and past US political strategies.

Meckseper alters the gallery interior through a series of architectural interventions, including a reflective ceiling grid, mirror slat wall and dark fluorescent lighting installed on the perimeter of the gallery floor. The entire exhibition space is activated as a showroom and oversized display vitrine, reflecting its contents on the walls and ceiling. Reminiscent of chrome surfacing in 1980s architecture, the car dealerships along 11th Avenue and the discount stores of the Garment District, Meckseper’s signature shelves and industrial sculptures hang from hooks on a slat wall like merchandise in a discount store. Meckseper’s interventions emphasize both the display and retail functions of gallery space, while the dark fluorescent lighting casts a discomfiting, perpetual and artificial twilight.

Meckseper presents a number of new sculptures including chromed wheels on mirrored pedestals, and a double-sided metallic display rack showcasing disembodied car parts, metal chains, paintings and newspaper images of luxury watches, the US Supreme Court, and Iraqi Shiites protesting the US occupation. These conjunctions in the works manifest the nature of the mirror, both reflective and diatonic. Mirrored surfaces multiply, fracture and expand the space, creating infinite juxtapositions. Images of elusive affluence and phantom notions of economic recovery confront a judiciary declaring an interest in expanding the rights of corporations. Chains binding the hands of Iraqi Shiites echo the chains on the sculptures, evoking the shackling of the US to its automotive-centric industrial past; grids in the racks, ceilings and achromes conjoin to expand the space into an immersive minimalist geometry; and reflections of the viewers collide with subjects and images of American consume rism, media and foreign policy.

Additionally, two new films are exhibited in the context of the installation. Meckseper’s newest film focuses on the glorified depiction of the American oil industry and the perpetuation of US imperialism. Here, images from the 1980s television shows Dynasty and Dallas are juxtaposed with an acid house soundtrack from the same decade, creating the context for a renewed debate on offshore oil drilling and the recent catastrophic explosion of the Deepwater Horizon drilling platform in Louisiana. Meanwhile, installed alongside empty display racks in the second gallery, Shattered Screen depicts a flickering image of television static on a broken monitor, echoing the smashed mirrors in the sculptural works and creating its own fiendish glow.

This is Josephine Meckseper’s fourth solo show with Elizabeth Dee and follows the gallery’s solo presentation of her work at The Armory Show earlier this year. Her film Mall of America is presently on view at the Whitney Museum of American Art, New York, as part of the 2010 Whitney Biennial. In 2009, Meckseper had solo exhibitions at the Blaffer Gallery, The Art Museum at the University of Houston, Texas, the Ausstellungshalle zeitgenössische Kunst in Münster, Germany and the Migros Museum in Zürich, Switzerland. Her work was presented at the Museum of Modern Art, New York, in the exhibition New Photography 2008: Josephine Meckseper and Mikhael Subotzky, and in 2007, her work was the focus of a mid-career retrospective presented at the Kunstmuseum Stuttgart, which traveled to Gesellschaft für Aktuelle Kunst, Bremen. She has been featured in numerous national and international exhibitions including Brave New Worlds, Walker Art Center, Minnea polis, MN, touring to Fundación/Colección Jumex, Mexico City; Resistance Is, Whitney Museum of American Art, New York, NY; Second Moscow Biennial of Contemporary Art, Moscow; Biennial of Contemporary Art of Seville, Seville; USA Today, Royal Academy of Arts, London, which traveled to The State Hermitage Museum, St. Petersburg; Media Burn at the Tate Modern, London; and the Whitney Biennial 2006: Day for Night at the Whitney Museum of American Art, NY.

The exhibition will open concurrently with New York Gallery Week, a new initiative presenting 50 solo gallery exhibitions and special programming by galleries around New York City, scheduled for May 7 – 10.

Book signing: Sunday, May 9, 2 pm

Extended hours during New York Gallery Week: Sunday, May 9 and Monday, May 10 open 11-6 pm

For his fourth solo show at Metro Pictures, T. J. Wilcox presents three new films installed within a series of free-standing collaged screens. In these films, Wilcox celebrates the eccentric, historic, personal and ephemeral using his signature romantic yet concise narrative. In each gallery space is one film and a series of related, large-scale collages mounted on hinged wooden panels reminiscent of traditional Japanese screens.

The Heir and Astaire tells the tale of Nebraska native Adele Astaire, sister of Fred and the biggest vaudeville star of her day, who became Lady Charles Cavendish upon her marriage to the second son of the Duke of Devonshire in 1932. The film explores Adele’s ill-fated fantasy of introducing American show business style to the English aristocracy at Lismore Castle, the family’s ancient home in the Irish countryside. Wilcox intercuts archival footage with his filmed interview with the 90-year-old Dowager Duchess of Devonshire, sister of Charles and the last of the famous Mitford sisters.

With a nod to nature films, L’eau de Vie strings together three stories: the tale of Wilcox’s young friend who discovers an endangered turtle in her swimming pool; a history of Ukai or bird fishing, a traditional method of Japanese river fishing that has been practiced for some 1300 years; and documentation of the artist’s own backyard-attempt at making eau de vie de poire, or pear brandy.

The third new film immortalizes the country and western star Patsy Cline whose wistful music of loss, sorrow and longing still captivates audiences nearly 50 years after her tragic death at age 30.

Wilcox was born in 1965 in Seattle and currently lives in New York. He attended the School of Visual Arts in New York (BFA 1989) and Art Center College of Design in Pasadena, California (MFA 1995). One-person exhibitions include the Stedelijk Museum, Amsterdam; Museum Ludwig, Cologne; Kunstverein Munich; UC Berkeley Art Museum; Kunsthaus Glarus, Switzerland; and the Institute of Contemporary Art, London. His films have been screened at the Museum of Modern Art, New York, and the Tate Modern, London.

LMAKprojects is pleased to present three series of work by Penelope Umbrico: Broken Sets (eBay), 2009- 2010, Zenith Replacement Parts, 2009, and Desk Trajectories (As Is), 2010. Mining the Internet for its idealized fictions of a technologically obsessed society, Umbrico creates taxonomies of images that point to a deflation or rupture in these fictions. Employing methods of appropriation, extraction, and accumulation, Umbrico extracts details from these images that belie an optimism usually associated with this content.

Broken Sets (eBay) are images of the screens cropped from pictures of broken LCD TVs Umbrico found on eBay.com, where they are sold for parts. The sellers turn on the TVs while photographing them so that potential buyers can see that the electronics behind the screens work. Umbrico became interested in the incidental abstract beauty of the screens because they are derived from the breakdown and failure of their own promising technology. By presenting these inadvertent abstract compositions as formal compositions in their own right, Umbrico collapses the obsolescence and breakdown of new technology with the aesthetic formalism of utopian Modernist abstraction.

Zenith Replacement Parts are photographs, also taken from eBay, of dusty cardboard boxes containing Zenith replacement parts. What intrigued Umbrico about these images was the seller’s belief in the photograph – that a picture of the box storing the part would lend more veracity to the objects inside, than to simply list the parts numbers. The reductiveness of the box form and its repetition is further emphasized by Umbrico’s gridding of them, turning them into a Judd-like eulogy.

A reoccurring theme in Umbrico’s work is the examination of how unattainable lifestyles are marketed, lusted after, and devoured by consumers. She highlights underlying cultural longings of a consumer subject allowing it to be replaced by a fictional, idealized, non-existent abstraction. This sentiment is poignantly illustrated in Desk Trajectories (As Is), 2010. If a new office desk promises the ultimate in organization and productivity, these same desks on craigslist and eBay, by virtue of the fact that they are “used” and out of commission, represent the exact opposite: a deflated and empty sign of productivity. No longer useful, and taking up too much space, these desks have been subsumed to an economy of re-appropriation, value deflation, and physical degradation.

The term As Is indicates a good bargain with perhaps some flaw, but taken here as an ontological statement, As Is points to a sort of existential anxiety: its reason for being is hinged on its potential for facilitating productivity, and its form is a testament to ideologies of a clean, elegant modernist aesthetic. In these pictures, all efficiency, productivity and elegance is in question.

Penelope Umbrico has had numerous solo exhibitions, including International Center of Photography, NY; Julie Saul Gallery, NY; Bernard Toale Gallery, Boston; P|M Gallery, Toronto; and her work has been included in group shows at the Museum of Modern Art, NY; Gallery of Modern Art, Brisbane Australia; Bard College, NY; Massachusetts College of Art, Boston; Art in General, NY; Gallery 44, Toronto; Dazibao, Montreal; Ansel Adams Center for Photography, CA; Santa Barbara Museum of Art, CA. Umbrico’s work is included in the collections of the Museum of Modern Art; San Francisco Museum of Modern Art; International Center of Photography; Metropolitan Museum of Art, among others. She is the recipient of an Anonymous Was A Woman Award; New York Foundation for the Arts, Artists Fellowship; a New York Foundation for the Arts, Catalogue Project Grant; an Aaron Siskind Foundation Individual Photographer’s Fellowship Grant; and a Harvestworks Scholar Fellowship.

Camel Art Space presents Photogenic: An investigation into current photogram practices, featuring Brian Buckley, Millie Falcaro, Bryan Graf, Jeffrey Rothstein, Drew Wiedemann and curated by James Isherwood.

Photogenic is an investigation of current photogram practitioners and their efforts to mine the alchemical and physical roots of the medium. By getting back to basics, the artists delve into the mysteries and magic of core photographic principles that generated their original fascination with image making. The photogram demands their physical presence as well as that of man-made and natural elements.Process and approach are dominant. Chance and mistakes play major roles in refining and integrating the creative act. This witch’s brew forms the catalyst for inhabiting the visceral experience created by the artists. They are seekers of beauty and tragedy, poetics and higher meaning,all within the boundaries of the photogram.

A photogram is the immediate result of a constellation of light,three dimensional objects and photosensitive material.The image results from the process of light-bending or refraction caused by the placement of the objects themselves. A source of light can be used as well as invisible waves such as microwaves,infrared light and x-rays. Due to its immediacy,its quality as index caused by potential contact and physical distance relationships,the photogram imparts more to imprint techniques and the phenomena of shadow. -J.Isherwood

The School of Constructed Environments of Parsons The New School for Design is pleased to present “See Through City,” an exhibition of photographs by Jill Corson, in the Cases Gallery in the School of Constructed Environments, on the second floor of 25 East 13th Street in New York City.

Corson’s multi-layered jewel-toned photographs of New York City’s built environment reveal her unique manner of seeing and recording our consumer culture. A colorist, Corson creates psychedelic montage in the moment by using reflection in glass to juxtapose pedestrians with luscious store window displays.

The work provides keen social commentary. Made between 1999 and
2005, Corson’s pieces record the retail boom years along Fifth Avenue and in Manhattan’s other high-end shopping districts during the years preceding the current economic downturn.

“There is enormous visual pleasure in these photographs,” writes Jerry Cullum, Senior Editor of Art Papers Magazine. “There is also visual information, for the would-be sociologist of the contemporary street. This is what Walter Benjamin would have called the phantasmagoria of consumer culture, the oh so trendy razzle-dazzle of its bling-bling.”

In his 2005 book, La Ville: Entre Reprèsentations et Rèalitès, (SCÉRÉN/CNDP Press), French architectural writer Claude Loupiac compared Corson’s photographs with work by photographer Eugène Atget.

Corson is Associate Director of Academic Advising for the School of Constructed Environments. Meter Gallery and Gallery Stock represent her work.

Sitting on the outskirts of the five boroughs, the world famous pleasure beach of Coney Island has been the summer destination for New Yorkers since its heyday in the 1890s. Towards the end of the 1960s, one year after he first picked up a camera, Bruce Gilden took the subway train through Brooklyn to capture the sunbathers, the weekenders, the sideshow booths and the Cyclone rollercoaster. Coney Island's reputation has steadily slipped since Gilden started to photograph there, and is now known as a place where the poor who cannot escape the summer city heat go for thrills. Regardless of this reputation, Gilden's ability to eke out the characters and eccentricities give the beach and its surrounding neighborhood a humorous view of daily life from the sixties through until the late 1980s.

In Yong Hee Kim’s delicate photographs of cherry blossoms, an ephemeral part represents the beloved whole.
-Russell Hart, Courtesy American Photo magazine

A blooming cherry tree is such a beautiful thing to behold—and so invested with human notions of natural perfection, especially in the cultures of east Asia—that an artist depicting it may struggle to rise above pure representation. This difficulty is still greater in photography because of the medium’s literal inclination. Yet photographers have long been seduced by the cherry’s ineffable pink blossoms, called Sakura in Japan, where its namesakes have included the country’s first color film and its first commercial camera.

So it was aesthetically brave that Yong Hee Kim, in his first photographs of cherry blossoms, chose to sap their very color—shooting them with flash against the sky’s dark zenith and printing them in black and white with such density that they struggle to emerge from the surface of the print. Unable to resist the blossoms’ hue, the South Korea-born photographer has since returned to depicting them in color. His color images don’t represent cherry trees as rooted beings, though. Instead, they form abstract networks of branches exploding with blossoms.

Kim’s show will be up for only seven days, because that’s about how long cherry trees hold onto their blossoms before depositing them in a pink carpet on the ground below. That’s also the time period during which the artist created the entire body of photographs that is on display.

Sikkema Jenkins & Co is pleased to present a dual exhibition of new video works by Burt Barr and recent photographs by Valerie Belin on view from May 21 through July 2, 2010.

Burt Barr has claimed that “black and white are the only two colors I’ll ever need.” The current exhibition maintains this assertion with works like The Sprinkler, The Ship, and The Arrows (all 2010). Each of these works are projected on the walls in approximate square shapes, shot and projected in 4:3 ratio. The nearly still images have no narrative content – intended to be pure visual works that “hang” on the wall.

There are two notable exceptions to Barr’s claim to only need black and white on display here. The ironically named Black and White (2010) is a two-channel installation in color showing the feet of two female dancers – one black, one white. The other exception, Self Portrait (2009-10), greets visitors on a monitor as they enter the gallery. As Barr puts it, “Self Portrait is the creeps,” with a sound track of laughter and showing the artist wearing a horse mask and smoking a cigar.

Burt Barr has exhibited extensively both nationally and internationally. He has had solo exhibitions at the Whitney Museum of American Art, New York City; Museo Nacional Centro de Arte Reina Sofi?a, Madrid; Platform Garanti Contemporary Art Center, Istanbul; and P.S. 1, Long Island City. Other installations have taken place at The Yale University Art Gallery, New Haven, CT; ZKM Center for Art and Media, Karlsruhe, Germany; The Museum of Fine Arts Houston; Museum Boijmans van Beuningen, Rotterdam; the Philadelphia Museum of Art; the USF Contemporary Art Museum, Tampa, FL; and MUDAM, Luxembourg.

Barr is the recipient of numerous awards, including grants from the National Endowment for the Arts, the New York State Council on the Arts, The American Film Institute, The Andrea Frank Foundation, The John Simon Guggenheim Memorial Foundation, The Foundation for Contemporary Art, and The Massachusetts Council on the Arts & Humanities. In the summer of 2008 he was a visiting artist at the Skowhegan School of Painting & Sculpture.

Post-production for Burt Barr’s videos are provided by Steve Hamilton and Johnny Luisi at Whitehouse Productions.

Concurrent with Barr’s exhibition, the gallery will be showing recent works by Vale?rie Belin. Like Barr, Belin has worked primarily in black and white. Belin’s work captures her subject’s “object-hood” by isolating the subject from its contextual surroundings and accentuating abstract material qualities through the play of light and shadow. On exhibit here are examples from several recent series including a monumentally scaled photograph of a pair of ballroom dancers, four photographs of a single lido girl dressed in different performance costumes, and a still life of a bouquet of “Victorian flowers”- all in back and white.

Again, as with Barr, there are exceptions to Belin’s use of black and white. Her most recent foray into the use of color is a series of fruit baskets, two examples of which are on view here. These works are a response to still-lifes by Edouard Manet created for a solo exhibition at the Musee D’Orsay as part of the museum’s Correspondences series.

In addition to the Musee D’Orsay, Belin has been included in recent exhibitions at Galerie Je?ro?me-de-Noirmont, Paris; Museum of Modern Art, New York; International Center for Photography, New York; and Centre Georges Pompidou, Paris. A retrospective if the artist’s work traveled to the Huis Marseilles in Amsterdam, the Maison Europeenne de la Photographie in Paris and the Musee L’Elysee in Lausanne in 2007-08. In 2009, she had her first US museum solo exhibition at the Peabody Essex Museum in Salem, Massachusetts.

Belin’s works are in the collection of the Museum of Modern Art, New York; San Francisco Museum of Modern Art; the Norton Museum of Art, Palm Beach; Los Angeles County Museum of Art; Maison Europe?enne de la Photographie, Paris; Muse?e des Beaux-Arts et de la Dentelle,Calais, France; the Cartier Foundation, Paris; and the Bibliothe?que Nationale de France, Paris.

A phantasmagoric mix of bodies, light, sex, and ether reside in Ellen Stagg’s multi-exposed photographs. Stagg embraces the unexpected and opts for a toy Holga camera using film and Polaroid over the manufactured guise of digital. The multiple exposures cause the women's nude bodies to melt into one another as well as their surroundings. The fluid nature of the images – produced through the manipulation of light leaks, finger prints and film type – offers the viewer 
a surreal visual that is simultaneously in flux and static. Each piece is presented in a unique steel frame constructed by metalsmith Sullivan Walsh.

Ellen Stagg began shooting photos at 16 years old, and instantly fell in love with the art form. She has a BFA in Photography from the School of Visual Arts and is currently based in New York. As a professional photographer, she has worked extensively in advertising and fashion. Stagg has always been drawn to the erotic. Her muse, model Justine Joli, introduced Stagg to many models from the adult industry. Too “artsy” for porn magazines and too “adult” for commercial, Stagg’s stockpile of erotic images found a home on her popular website StaggStreet.com. This outlet has garnered international exposure, including gallery shows, a documentary series on IFC.com, and shoots for Penthouse and Playboy.

“Melting Flesh,” Photographs by Ellen Stagg runs May 22 through June 19, 2010, at Fuse Gallery, 93 2nd Ave (between 5th & 6th Sts, 2nd Ave stop on the F), NYC, NY. The opening reception, on Saturday May 22nd, from 7 to 10 pm, is free and open to the public. For more information, contact Fuse Gallery at 212.777.7988 or fusegall@fusegallerynyc.com.

A special selection of extraordinary photographs from the gallery's private inventory

More information about this show will be available soon.

For press inquiries, to obtain an electronic press kit or to RSVP to the press preview, please contactmail@farmanigallery.com or call 718-578-4478.

For other inquiries please contact team@farmnigallery.com.

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Steven Kasher Gallery is proud to mount an exhibition introducing the autochromes of the National Geographic Society Image Collection. From an archive of over 14,000 color plates made between 1907 and 1930, 65 have been selected as among the most fascinating, and as representative of the scope of the collection. They are being printed in limited editions for the first time.

Autochromes: Early Color Masterpieces from National Geographic will run concurrently with 1.3: New Color Work by Joel Grey, an exhibition of cellular phone photographs by the award-winning actor and photographer Joel Grey. The two shows will juxtapose one of the newest forms of color photography with one of the earliest, and serve to highlight their surprising similarities and differences.

As we are dizzied by new photographic media we can take solace in the pre-modern world of the earliest and maybe most beautiful, color photographs ever made. Autochromes are fragile glass plates: few in number, difficult to exhibit, largely forgotten in photo history. What they show us is a world before highways, before airlines. It is a world without plastic, without neon, without electronics.

In 1895 the Lumiere brothers invented cinema. They immediately set to work on color photography. In 1904 they patented the autochrome (meaning “self-color”). In 1907, they began to mass-market these first practical, accurate color photographic plates, the first true color photographs. Autochrome plates were immediately adopted by the reigning art photographers of the era. Steiglitz, Steichen, Coburn, Kuhn, Struss, White, Eugene, de Meyer, Seeley, Haviland and Genthe sprang to the creation of autochromes. Steiglitz said, “Soon the world will be color-mad, and Lumiere will be responsible. The Lumieres have given the world a process which in history will rank with the startling and wonderful inventions of those two other Frenchmen, Daguerre and Niepce.” Coburn said, “It’s the greatest thing that ever happened to photography.” Over the next several years these Photo-Secessionists produced a small, luminous body of work in autochrome, seeking their Symbolist effects. In the first few years of the autochrome, thousands were shown in important exhibitions throughout Europe and America, and hundreds of articles were written about them in art and photography journals.

Like the daguerreotype and tintype, the autochrome was not susceptible to manipulation. One simply made the exposure and developed the plate, which was a small unique object, impossible to enlarge, difficult to illuminate. It was quickly deemed too “mechanical” for serious artistic expression. The Secessionists abandoned the autochrome. But deficits for the artiste were ignored by a rank of professional autochromists who took the medium in a thoroughly modernist direction. They set out to document the world in color. They invented a realist vision to which art photography didn’t catch up until two decades later. These documentary autochromists worked primarily for two institutions, which today house the two most significant autochrome collections in the world. They are Albert Kahn’s Archives de la Planete in Paris and the National Geographic Society in Washington.

The autochromes featured in this exhibition are printed from plates in the National Geographic Image Collection and are by Jacob J. Gayer, Gustav Huerlin, Hans Hildenbrand, Franklin Price Knott, W. Robert Moore, Pierre Manchard, Joseph Rock, Kiyoshi Sakamoto, Willard Culver, Charles Martin, Maynard Owen Williams, and Jules Gervais-Courtellemont. Gervais-Courtellemont is represented in this exhibition by over 25 prints. It is our belief that on the basis of the discovery of over 2,200 of his autochromes in the Image Collection, many of them inspired and haunting, Courtellemont will go down in future history books as the first great color photographer.

Autochromes: Early Color Masterpieces from National Geographic will be on view May 27 to July 10, 2010.

Steven Kasher Gallery is located at 521 W. 23rd St., New York, NY 10011.

Gallery hours are Tuesday through Saturday, 11 to 6 pm.

For more information or press requests please contact Kirsten Bengtson at 212 966 3978, kirsten@stevenkasher.com.

RVH FIne Art presents an exhibition of work by Louise Dudis. In haunting, yet stunningly rich images of silhouetted trees Louise Dudis catches the elusive moment at late dusk when light from the rising full moon is balanced with the light of the falling sun.

By hand-holding her camera and using long exposures to capture what little light is available she achieves a soft focus similar to that made by the early, unsophisticated photographic lenses used in latter half of the 19th century and captures the fleeting experience of day passing into night. The unfocused limbs and leaves appear flat, losing dimension and detail and define the waning light which becomes as much the subject of the image as the trees themselves. The indistinct and mysterious imagery that results is a metaphor for a search of the intangible and results in lush, deep chromatic blacks and luxurious colors that appear otherworldly.

At the end of the 19th century photography was in the process of defining itself through a dialogue that occurred between the Pictorialists, who believed that by manipulating a photograph’s development and printing they could heightened its emotive and aesthetic value, and photographers who employed a “straight” technique which did not try to emulate other art forms like painting but remained true to photography’s unique technical qualities, one of which was the documentation of reality. By the early 20th century, the “straight” argument had won the debate. However, today, almost a century later, artists using contemporary technology — digital cameras and software such as Photoshop — have an unlimited freedom to alter photographs and we no longer believe in a photograph’s ability to reveal the “truth.”

In a somewhat ironic way Dudis’s work emphasizes beauty of subject matter, tonality and composition rather than the documentation of reality and thus mirrors the goals of Pictorialism. However, like the “straight” photographers she uses only straightforward means, no filters, no Photoshop, seeking not to document a literal reality but to find an evanescent, impalpable “truth.” She says, “My work is not about ideas but about experience, the unfocused: the questions that can not be answered.”

Ms. Dudis earned her BA (Cum Laude) in Studio Art from Connecticut College in New London , CT in 1972. She has exhibited her work nationally since 1975 and maintains her studio in New York City. This is her first exhibition withRHV Fine Art.

K&K is pleased to present One Time Use: a project using disposable cameras. Six artists were commissioned to shoot a disposable camera and then deliver their film to us. We are displaying every frame from this process online, while selected prints will be on view in the gallery for the duration of the exhibition.

The limitations of the project subjected six distinct individual aesthetics to the filter of the disposable camera. The disposable provides a medium which — in its lo-fi-ness — is capable of distilling the photographic process away from the technical distractions of photo gear. It is within this deliberately simplistic medium that the artists pursued their work.

The results are at once conceptually varied yet stylistically coherent. The imagery oscillates between landscape, infrastructure, portrait, travel, food, architecture, interior, and the street. Yet it consistently retains shared marks of the medium: obvious grain, distorted rendering of the subject, and a certain consumer haze.

Ultimately the end result of the process — a series of limited edition prints hanging on gallery walls — completes the alchemical cycle from budget / ephemeral back into valued / permanent which began when the artists themselves picked up the one time use camera.

Nature, and how we cohabit with nature, is the subject of my photographs. Vapor trails are a physical phenomenon. At certain altitudes, the jet exhaust of the engine condensates and makes a line of H20 visible in the sky. The atmospheric conditions play with the condensation creating infinite patterns. Each vapor trail also represents an episode of human activity and the hundreds of passengers traveling the sky. Manufactured goods are circling the globe, packages are mailed for next-day deliveries, fruits, vegetables, and ammunition make their way to their final destinations.

On any given day, as we look up, we see multiple trails. One could be walking along the Charles in Cambridge, traveling up the Nile in a boat, sailing in the Mediterranean, or in the China Sea, no matter where one is the sky is criss-crossed. These trails present a symbol of a globalized world and a shrinking, borderless planet. One hundred years ago, it was rivers, sea, and the railways that formed the highways for people in commerce. We have now added the sky, free and flexible, allowing us to travel the shortest routes, defying geography.

While the vapor visually present pure H20 and seem harmless to the environment, they remind us that they are accompanied by burned jet fuel. I am reminded that the beauty observed in the sky has also a price. During a fuel shortage in the past, the question was asked, “Is this trip necessary?” Surely we must now ask, “Is that flight necessary?” for indulging in fruits and vegetables out of season, drinking French spring water in New Zealand and New Zealand spring water in the United States.

My fascination with the trails is to observe the extraordinary and unpredictable beauty of pattern, a vivid demonstration of chaos theory, where winds, temperature, and other atmospheric conditions act upon a vapor emission, and over a brief period of time create wiggles, arches, fractal patterns, or simply disintegrating to merge into the clouds, all to slowly diminish and disappear to nothingness. Like all patterns in nature, the waves in the sea, the formation and disintegration of ice on the river, we are mesmerized, transfixed, as we observe the endless possibilities. At the same time, we are reminded of our own activity and mark on these patterns.

Stephan Stux Gallery presents Barakat: The Gift.

Barakat: The Gift, curated by Italian curator and art critic Gaia Serena Simionati consists of paintings, sculptures, videos, sound installations, photos and works on paper from nine noted contemporary artists from the Middle East and Africa. Ms. Simionati believes that the language of art rather than dwelling on the theme of separation should communicate in ways that defy verbal, ethnic, religious, gender and age barriers.

The nine artists invited to participate: Moataz Nasr and Hamdi Attia from Egypt, Navid Azimi Sajadi, Shadi Ghadirian and Reza Derakshani from Iran, Halim al Karim from Iraq, Nabil Nahas from Lebanon, Maimouna from Senegal and Baris Saribas from Turkey, were specifically chosen for their strength and poetic approach to the theme of communication between different cultures, acceptance, identity and transformation. Their work includes spiritual or ironic socio-political content expressed both in verse and textures that resonate with the curator’s own artistic inclinations. Many of the works on view are shown for the first time in New York.

The show focuses on the word Barakat, meaning Blessing in Arabic and in a broader sense it is translated to “Gift”. Barakat acts as a bridge since it has different connotations in the Iranian, North African, Jewish and Arabic cultures. In addition, in French society the term has taken on a new meaning, that one of Luck due to the increasing Arab influence.

In Arabic, Baraka stands for “a gift from God” in spiritual terms. It is a gift one can choose to either improve upon or ruin oneself and the world in which one is submerged. The selected artists chose to interpret the idea of an ironic and spiritual gift, but there is the proposition of both acceptance and diversity as well. There is a knowledge between various cultures of the Great Gift. This is not a form of oppression; Barakat brings in the end luck and fortune. It leads to a transformation towards a better world, one made of intercultural understanding.

A fully illustrated English/Italian catalogue written by Gaia Serena Simionati with an essay titled Yes, We Can: Inshalla!accompanies the exhibition. The catalogue was produced in Verona, Italy by the art publisher Adriano Parise, it includes an interview with Hamdi Attia conducted by the curator Abdellah Karroum.

This exhibit has been made possible in part through the generosity of Paolo Ingegnoli of Leggiuno and the Gallery Olkay Art with the help of Baris Saribas and Selin Maldonado.

Tria Gallery presents Interior Perspectives, featuring works by artists Sandra Burns, Tricia Wright and Lynne Allen, through July 2, 2010.

Despite the disparate media and styles employed by these artists, their work is nevertheless connected by the universal theme of Home and the physical and psychological interiors thereof. As a photographer, Ms. Burns deconstructs and reconstructs the spatial relationship between body and structure without photographic manipulation. Tricia Wright’s paintings explore decorative interior and exteriors, while her mixed media work utilizes everyday objects to convey both the simplicity and beauty in ordinary daily chores. Hook, Line and Sinker, a neon piece by Ms. Allen, openly expresses her thoughts about her everyday world.

One’s relationship to Home, particularly a woman’s relationship, is often fraught with incongruity. These three artists use the physical materials of the domestic environment as metaphors for the psychological interior. Pattern and repetition play a central, defining role in their work, suggesting interior beauty, or routine, or perhaps even the bars of a gilded cage.

Sandra Clark Burns states that her work “roots in the relationship between past interior environments and the systematic chaos that can occur within.” She explains:

It’s the fragment of resistance between a structure and the action taking place that I find intriguing. The repetitious aspects of my work are a utilization of accumulated imagery that continually compiles upon itself. It is within this accrued imagery that an act or performance is emitted and documented.

Burns received a BFA from Parsons School of Design and an MFA from the Yale School of Art. She is currently a Lecturer at the Yale School of Art in the Department of Sculpture. In 2008-09 she was an artist in residence at The MacDowell Colony and the recipient of the Chenven Foundation Grant. She has received an artist grant from the Connecticut Commission of the Arts and the Vermont Studio Center Clowes Fellowship. Burns’ work has been shown and collected throughout the country. This is her first exhibition in New York.

Tricia Wright states that her work draws on “our complex, often ambivalent, relationship to the Home,” and employs the physical materials of the domestic environment as metaphors for the psychological interior:

Pattern plays a central, defining role in my work, and has its roots in my background growing up in England in a culture with a long tradition of decorative interiors. My sources are primarily wallpaper and textile designs, often from the 60s and 70s, chosen for their potential to conjure personal and cultural associations and – paradoxically – for their generic, mass-produced anonymity.

Born and raised in England, Wright received her degrees from Hertfordshire College of Art and Design, and the Camberwell and the Chelsea Schools of Art in London. She moved to New York ten years ago, and now runs a full time studio on the Hudson River, regularly exhibiting her work in solo and group exhibitions throughout the New York area and on the West Coast. She is the recipient of numerous residencies and awards, and a frequent lecturer and panel member throughout the region on general topics of art and color theory. Her work can be found in the United States Embassy; the Hove Museum of Art, the 20th Century British Art Collection in the U.K. Corporate collectors of Wright’s work include Alliance Bernstein, White & Case, Metromedia International Group, Kent County Council, and the University of Wales. David Bowie is among the many personal collectors of her work.

Lynne Allen works in different media, including photogravure, miniature glass objects and neon sculpture, all of which she infuses with a unique sense of style and humor. In Interior Perspectives her neon sculpture, Hook, Line and Sinker, is on display as a complement to the work of Tricia Wright and Sandra Burns. It amusingly evokes the all-encompassing, mechanized nature of running a Home. Allen writes that the neon sign “is a kind of lure, seducing the viewer under false or misleading pretenses.” She adds, “Things are not always as they seem, and we are not to believe appearances, even in art.”

Allen received her MA from the University of Washington, a Master Printer Certification from Tamarind Institute in Albuquerque, and her MFA from the University of New Mexico. She has had numerous solo exhibitions and dozens of group exhibitions. Her work is in the permanent collections of museums and corporations throughout the world, including the Whitney Museum of Art, the Museum of Modern Art in New York, the Victoria and Albert Museum in London, the Corcoran Museum of Art in Washington D.C., Johnson & Johnson Corporation, and countless others. She is also recipient of numerous awards, honors, fellowships and residencies.

2010 Yale MFA Thesis Show 

25CPW

Our awkward program name – photography, video, and related media – is becoming ever more apt. This year, the thesis show includes photographic prints, videos, multi-media installations, sculpture and oil paintings. With the swift advance of digital technology, students are using still or moving images merely as points of departure to invent a wide array of forms. Željka Blaskic, for example, produces a five-channel video installation inspired by her childhood in war-torn Croatia. Jan Ebeling (aka Janosch Parker) commissions oil paintings based on photographs of his witty performances. Irene Bermudez combines projected images, freestanding sculpture and a neon sign to create an immersive environment meant to evoke bodily sensations. Allyson Ross creates sculptural reliefs devoid of color based on iconic nineteenth-century photographs of Yosemite National Park. And John Messinger installs a small historical exhibit based on the life of a homeless man. These results and others are exciting to behold and, I confess, daunting for a curator trying to make visual or conceptual order from it all.

If there is an overall trend, it is the trust that students place in personal experience. Robert Gill, for example, embraces the obsession with fitness in our culture. Selena Salfen explores the crushing effects of post-traumatic stress disorder through the history of her own family. Tamar Latzman investigates themes from Jewish-European history by inventing memories of dreams and performing them for the camera. And Laura Oberg explores race in America by interviewing members of her mixed-race family. It may be that the confessional turn of our culture – much enhanced by social networking media – explains the willingness of students to reveal themselves in their work. But the students are not self-centered; they look inward in order to look outward. Growing up with the caveats of identity politics and challenges to the objectivity of representation, our students no longer feel at home with the relatively simple norms of documentary or straight photography. Instead, each student invents a new strategy for using images to make art.

Bonnie Yochelson Curator

Featuring the work of:

RENE BERMUDEZ
ŽELJKA BLAKŠIĆ
LORNE BLYTHE
JOHN CYR
BEATRIZ DIAZ
JOHN DUNWOODY
NATAN DVIR
JANOSCH PARKER
MARTHA FLEMING-IVES
J.A. FOLKS
ROBERT GILL
EUGENE GOLOGURSKY
KATE GREENBERG
DEBBIE GROSSMAN
STONE KIM
TAMAR LATZMAN
VIVIAN LEE
ELIZABETH LIBERT
DINA LITOVSKY
JOHN A. MESSINGER
LAURA OBERG
ALLYSON ROSS
SELENA SALFEN
ANDREA SANTOLAYA
LEIGH WELLS

Michael Mazzeo Gallery is pleased to present Down These Mean Streets, an installation of photographs and ephemera by the American documentary photographer and writer, Will Steacy. This is the artist’s first solo exhibition at the gallery.

Down These Mean Streets provides us with photographic evidence of America’s abandonment of it’s inner cities.

Prompted by the pervasive fear gripping the country and our preoccupation with homeland security, America has diverted its attention and resources away from those most in need, divesting itself of the basic responsibilities of affordable housing, medical care and essential infrastructure.

Working only at night, Steacy walks alone from the airport to the central business district of each city he explores. With map in hand, he follows a loosely planned route through the barren streets and neighborhoods routinely avoided by all but local inhabitants, while stopping to document his observations and chance encounters on film.

Illuminated by the saturated, artificial colors of the urban night and marked by long, patient exposures with his large-format view camera, Steacy’s images seductively draw us into a country of foreclosed homes and vacant lots, broken economies and neglected people. With a combination of carefully composed urban views, subtly precise detail images, and insightful portraits, he allows us the time and space to enter this world and question our role in it.

This project marks a continuation of Steacy’s extended paean to the American working class. He has received numerous awards and praise for his work including the prestious Tierney Fellowship and The Aperture Foundation New York City Green Cart Photography Commission. Steacy was named as a 25 Under 25: Up-and-Coming American Photographers by powerHouse Books and The Center for Documentary Studies at Duke University. His photographs have been featured in The New Yorker, Harper’s, New York Magazine, Newsweek, The Paris Review and on HBO andCNN.

Limited Edition Prints for Sale

Proceeds from the show will allow 12 students to attend an intensive, week-long photography camp in Syracuse, NY this summer, all expenses paid. In addition, NYC Salt student Ruben Ramirez has been awarded a prestigious partial scholarship to study global leadership in Prague, Czech Republic this July.

NYC Salt is a nonprofit 501c3 photography program founded by photographers whose mission it is to use digital technology to engage inner-city teenagers through photography classes, inspire them through the creative job market & college visits, and empower them, by wakening hidden talent and showing them how to use their voices to contribute to NYC culture.

artless is a group exhibition featuring conceptual and installation art, as well as film, photography and paintings. Located at Sacred Gallery 424 Broadway at Canal Street, NYC. Opening is Thursday June 10th from 7-11pm.Exhibition runs through June 27th.

Artist Lance Rautzhan produces artless, a group exhibition of works by artists parallel in their inartificial admission of responsibility to the creative impulse: artless, open and without reserve.

Featured artists include Jay Blohm, manipulator of 8mm and 16mm film, musician cum visual artist Ed Harris, best known for his work with the band Lake Trout, Hanna Toresson, photographer and apprentice of legendary rock and roll photographer Bob Gruen, painter and 2008 exhibitor at Art Basel Lance Rautzhan, conceptual artist and Fountain Art Fair Producer Brian Balderston, and Jackie Roman, rock and roll photographer and regular contributor to music institutions such as Spin Magazine and LimeWire Music Blog.

Curation and exhibition management by Michelle Halabura.

Horton Gallery is pleased to present Berlin, an exhibition of paintings by German-born Brooklyn-based painter Daniel Rich, and a video, photographs, and soundtrack by Berlin filmmaker, Wieland Speck. The exhibition centers on Berlin as a politically charged space, a sense embodied by the eponymous wall that divided the city from 1961 to 1989. The exhibition coincides with the gallery’s opening of a summer project space called Sonntag in the North Mitte / Prenzlauer Berg neighborhood of Berlin.

Wieland Speck’s 1978 video “Berlin Off/On Wall” depicts a young man, the painter Per Lüke, climbing the wall to play the harp seated on the structure. Though the musical instrument that he plays has generally peaceful associations – or at least peace-imbuing possibilities – the locus of Lüke’s performance makes it a transgressive act. The performance draws crowds on either side of the wall until the authorities intervene to end the protest-performance. It is a documentary short, shot with a hand-held Sony Portapack video camera.

Daniel Rich’s “Basement/Berlin Wall” continues the exhibition’s examination of the division between East and West through his depiction of a basement passageway sealed with brick because it happened to fall directly on the dividing line. Coupled with the artist’s series of three paintings of the Berlin airports, twenty years after the fall of the wall, these remnants of East and West Berlin become emblems of entrance and exit, articulating with equal potency the frustrating immobility dictated by Cold War politics. Depopulated scenes, as in all of Rich’s works, lend these structures a menacing quality, further enhanced by the technique Rich employs. The process and materials by which these paintings are produced – enamel on Dibond, and made using stencils – more closely resembles sign making than academic painting technique. In their depersonalized, mechanized quality they resemble Moholy–Nagy’s “Telephone Pictures,” or paintings bereft of the proverbial “artist’s hand.”

The work of both artists is formally divergent: Speck’s video is a shaky, cinéma-vérité reel, unmediated by any extraneous stylistic concern whereas Rich’s work is slick and considered. However, it is the notion of specificity of place, moreover specific built structures as articulators of political circumstance that constitutes the strongest relationship between Speck and Rich’s work. If Speck’s video deals directly with the physical symbol of political upheaval – i.e. the wall – Rich’s take on the same conflict is refracted in time and space, though it is rendered with comparable urgency.

Daniel Rich (b. 1977, Ulm, Germany) lives and works in Brooklyn, NY. He received a MFA from the School of the Museum of Fine Arts, Boston and a BFA from the Atlanta College of Art. In addition to Horton Gallery (Sunday L.E.S.), his work has been featured at Perry Rubenstein and Elizabeth Dee galleries, New York, NY, as well as the Maramotti Collection, Reggio Emilia, Italy. He has received grants from the Skowhegan School of Painting and Sculpture and the Marie Walsh Sharpe Foundation, where he will have a studio in the fall.

Wieland Speck (b. 1951, Freiburg, Germany) lives and works in Berlin, Germany. He studied Germanistik, theatre science, and ethnology at Freie Universität Berlin. As a director, writer, and actor, his films have received international acclaim at numerous festivals an on television – most notable is “Westler” from 1985, which depicted an east/west homosexual love story.

Wieland Speck’s “Berlin Off/On Wall” is exhibited in collaboration with Exile, Berlin

KLOMPCHING GALLERY is pleased to announce the concurrent exhibitions As Above So Below by Odette England andMicro Mundi by Elaine Duigenan.

With Micro Mundi, Elaine Duigenan continues her fascination with transforming the ordinary into the extraordinary. In this intimate series of images, she has photographed the arterial wanderings of snails, as they graze upon algae, leaving behind an aftermath of claw-like patterns—caused by the rasping action of the snail’s spiky tongue. On a micro level, these rambling, chaotic and protracted patterns, attest to a seemingly plodding yet vigorous life-form. On a macro level, they’re dendritic appearance resemble earth’s estuaries as viewed from far above. By presenting the images within a circular frame, these stunning monochromatic photographs are transformed into floating planets, as we would imagine them to be on a cosmic scale. The planetary metaphor is further enhanced with titles that refer to cartographic terms of old, that placed Earth in a philosophical and religious setting.

“Elaine Duigenan’s images in Micro Mundi show how the random exceedingly slow wanderings of a mollusk feeding can depict our planet’s network of paths, roads, and rivers as we view them exceedingly fast from the portal of space, circling our globe every 90 minutes.”—Leland Melvin, Astronaut.

Odette England’s new body of work is also concerned with the sensory and philosophical interpretation of our world. The phrase, As Above So Below, refers to the widespread indigenous cultural belief that the heavens and earth are the foundation of all creatures, including themselves. In this context, land and sky are more than just geographical icons, they are mirrors in which they see themselves reflected. England has documented the vast desert landscape of Southern Australia, photographing the land and sky from a single standpoint as a double exposure, thus merging the space between as a primal ‘middle ground‘ in which humankind resides. The resulting color photographs are quiet, metaphysical studies that astutely span time and space.

Odette England is an Australian artist currently based in London. She is a graduate of the University of South Australia and City of Westminster College (London). Her photographs have been exhibited in France, United Kingdom, Canada and the United States. In 2010, she was named a winner of the Flash Forward Emerging Photographers award for the second year running.

Elaine Duigenan is a British artist living and working in London. She is a graduate of Goldsmiths College, University of London. Her photographs have been exhibited in the United Kingdom, United States, Syria, China and can be found in the collections of the Victoria & Albert Museum (London) and The Museum of Fine Art (Houston). Paper for Micro Mundi supplied by Hahnemühle.

The artists are available for interviews upon request. Please contact the gallery for inquiries regarding purchases, press images, to schedule an interview or for more information about their work.

Luhring Augustine is pleased to present its first solo exhibition of work by Icelandic artist Ragnar Kjartansson. Kjartansson (b. 1976, Reykjavík) is fascinated by the tragicomic spectacle of human experience in which sorrow coexists with happiness, horror with beauty, and drama with humor. Though he is primarily known for performance, Kjartansson also pursues more traditional media such as painting, drawing, and video. His work taps into nostalgic imagery from bygone eras of theater, television, music, and art, allowing him to blur the border between reality and fiction.

In 2009, Kjartansson became the youngest artist to represent Iceland at the Venice Biennale and it was there that he created The End (Venice). Merging his continued interest in durational performance with the classical practice of portraiture, he set out to create a painting on each day of the Biennale. The exhibition at Luhring Augustine will display all 144 paintings created during the Biennale, and the installation will follow an approximate chronological order corresponding to the six months of artistic production. Vitrines in the exhibition space will include archival notes and correspondence related to the project. Kjartansson viewed this long durational performance as an opportunity to surrender to his own romantic ideals and to elaborate on the performative, almost theatrical aspect of painting. 

The second gallery will debut a new video work by Kjartansson that was filmed outside Austin, Texas in 2010. Titled The Man, this piece features legendary blues pianist Pinetop Perkins, the oldest living original Delta Bluesman. Kjartansson's exploration of repetition and endurance, apparent in his own performances, is here transferred to this revered musician who has been staging and performing this music for over seven decades. 

Kjartansson lives and works in Iceland. His work has been the subject of numerous solo and group exhibitions, most recently at the Walter Phillips Gallery, Banff, Canada, The Sundance Film Festival New Frontier, Park City, Utah, and Hafnarborg, The Hafnarfjordur Centre of Culture and Fine Art, Hafnarfjörður, Iceland. The artist has also participated in the 2nd Turin Triennial, Turin, Italy, Manifesta 8, Rovereto, Italy, and Repeat Performances: Roni Horn and Ragnar Kjartansson, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York, among others. His work is included in numerous museum collections including the Museum of Modern Art, New York, The Dallas Museum of Art, Texas, North Miami Museum of Contemporary Art, Florida, and The National Gallery of Canada, Ontario. Ragnar's work was first featured at Luhring Augustine in the 2008 group exhibition It's Not Your Fault: Art from Iceland.

For further information, please contact Kristen Becker at 212.206.9100 or via email at kristen@luhringaugustine.com 

Yossi Milo Gallery is pleased to announce Retratos Pintados, an exhibition of hand-painted vernacular photographs from Brazil. The exhibition will open on June 24 and close on September 18. This will be the premiere presentation of these one-of-a-kind photographs.

Since the late 19th century through the 1990s, hand-painted photographic portraits were a common feature in homes in the rural areas of the northeastern Brazilian states. At a time when black-and-white photographs were not considered dramatic enough, the retratos pintados (“painted portraits”) glamorized and idealized their subjects. Black-and-white family photos were enlarged and painted, conferring status on members of the family and portraying them as icons or saints. Using oil washes and other techniques specific to the region, local artisans embellished clothing with pattern and color, smoothed wrinkles, added jewelry or resurrected deceased relatives, illustrating the fantasies and desires of their customers.

Due to advances in technology over the past 25 years, hand-painted photographs have become a rarity in the region, and the tradition of analogue portrait-making is being lost. Most portraits are now computer-generated, eliminating the charm and distinctiveness of each artist’s individual style. The exhibition will include approximately 150 unique, vintage painted portraits ranging in size from 8” x 10” to 16” x 20”. The photographs were selected from those collected by Titus Riedl, a European who has lived in the region for 15 years. Fit into simple frames and hung together in clusters, the exhibition reflects the way family photos might be displayed in the home.

Retrados Pintados, a book of 61 four-color plates of photographs from the collection of Titus Riedl with an introduction by Martin Parr and edited by Parr and Riedl, was published by Nazraeli Press in 2010 and is available at the gallery. The publication is the only documentation of a fading art form unique to the tradition of vernacular photography.

Lombard-Freid Projects is pleased to announce Heat Wave, a group show of works by Fikret Atay (b.1976, Turkey), Bani Abidi (b. 1971, Pakistan), Maya Schindler (b. 1977, Israel), Mounira al Solh (b. 1978, Lebanon), Eko Nugroho (b. 1977, Indonesia) and Noa Charuvi (b. 1979, Israel).

Heat Wave brings together six fresh voices from Southeast Asia, the Middle East and Turkey. Though varied in terms of geography, language and tradition, these international artists are bound generationally and unified by an interest in representing elements of cultural and political specificity through expressions and symbols of the everyday. Using humor, critique, irony and introspection, the work of each artist proposes a distinct strategy for active engagement – whether borrowing from popular culture (Atay, Nugroho) or photojournalism (Charuvi), expanding the language of documentary into the realm of fiction (al Solh) or examining tensions (Abidi) and repositories of national identity (Schindler).

Fikret Atay lives and works in his hometown of Batman, Turkey, a Kurdish city near the border with Iraq. In his most recent video work, Batman v. Batman (2009), the mayor of the city plays a superhero who brings a lawsuit against Warner Bros. over rights to the name of the famed comic book character. As with all his videos, narrative simplicity and modest filming techniques produce insightful works that insist on their local context without being didactic. Recent exhibitions include, Fikret Atay, Viafarini, Milan, Italy; Bonner Kunstverein, Germany; King of the Ring, E.N.S.A.D, Strasbourg, France; L’argent, Le Plateau, Paris, France. Atay has participated in the biennales of Lyon, Istanbul, Sydney and Cairo.

Bani Abidi’s Karachi series (2009) treats one of the central dilemmas of Pakistani nationalism at the level of quotidian experience. The six photographs that together constitute the series are all taken at dusk during the month of Ramadan when observant Muslims break the ritual daily fast. Each photograph stages an incongruous scene of a lone figure engaged in a domestic task under the glow of a street lamp. The names of the photographed, as indicated in the titles, call attention to the fact that they belong to the non-Muslim minorities (Christian, Hindu) in Pakistan. Abidi implicates the intersection of private and public space as the site of the increasingly problematic conflicts of this multi-religious city. Recent exhibitions include the 10th Lyon Biennale, France; Hanging Fire: Contemporary Art from Pakistan, Asia Society, NY; The View From Elsewhere, Queensland Art Gallery, Sydney; 7th Gwangju Biennale, South Korea.

Born in Jerusalem and living in New York, Maya Schindler addresses the aesthetics and semiotics of political, social and linguistic boundaries. Included in the exhibition will be, White Flags (2010), an installation of seven flags made of fiberglass and thick layers of white acrylic paint. The raw materiality of the colorless sculptural flags becomes a poignant way to reinvent a symbol and question expressions of allegiance that are commonly taken for granted. Recent exhibitions include, Present Progressive, California State University Art Museum, Long Beach; Seeing is Believing, Zaum Projects, Lisbon, Portugal; Wishful Thinking Wishful, Carnegie Mellon University, Pennsylvania.

Heat Wave will showcase two works from Mounira al Solh’s series, The Sea is a Stereo, which focuses on a group of men who sit on the beach in Beirut everyday, without concern for weather or war. In the 13-minute video, Paris without a Sea (2008), the boundaries between reality and fiction are blurred as the artist interviews the men and then voices-over their lines herself. The comic effect of this technique and light-hearted jest of the dialogue masks a more profound, yet present, reflection on the habits and routines one holds onto in the face of uncertainty. A series of four photographs entitled Elvis (2009), depict the gesture of one character showing the artist photographs of himself as a young man and of his son living abroad with his family. Recent exhibitions include, Volkskrant Prize, Stedelijk Museum Scheidam, Netherlands; 2009 Istanbul Biennial, Turkey; Be(com)ing Dutch, Van Abbemuseum, Netherlands and the Lebanese Pavilion, 2007 Venice Biennale, Italy.

A native of Yogyakarta, Eko Nugroho is a self-made artist whose work has come to international attention in the past several years. Working in a diverse range of media, from murals to shadow puppets, video projections to paintings, Nugroho’s images reflect Indonesia’s politically charged environment through fantastic and darkly humorous satires populated by surreal characters that fuse human, machine, animal and plant. Featured in Heat Wave will be new pieces including a vibrant large-scale embroidery and several smaller scale works of textile and watercolor, whose graphic comic book quality portrays figures with alien-like heads. Recent exhibitions include, It’s all about Coalition, National Museum of Singapore; 2009 Jakarta Biennial, Indonesia; Dorodoro, Doron!, Hiroshima Contemporary Art Museum, Japan; 10th Lyon Biennale, France; Beyond the Dutch, Centraal Museum, Netherlands.

New York based, Israeli artist Noa Charuvi paints from photojournalistic images taken in Gaza. Her colorful canvases abstract the demolished buildings ravaged by the ongoing Israeli-Palestinian conflict. The Bedroom (2010) depicts the traces of life in what was once a domestic setting; furniture and belongings are strewn across the interior as the torn walls expose the room as a destroyed landscape. The site-specificity of the source images, in contrast with her process of deconstructing the photographed forms creates a body of work that demands attention and observation.

EXHIBITION:

Wed, 16 Jun 10, 10:00 AM - 5:00 PM
Thu, 17 Jun 10, 10:00 AM - 5:00 PM
Fri, 18 Jun 10, 10:00 AM - 5:00 PM
Sat, 19 Jun 10, 10:00 AM - 5:00 PM
Sun, 20 Jun 10, 1:00 PM - 5:00 PM
Mon, 21 Jun 10, 10:00 AM - 12:00 PM

AUCTION:

Session 1: Mon, 21 Jun 10, 5:00 PM, Lots 1 - 100

Session 2: Tue, 22 Jun 10, 10:00 AM, Lots 101 - 237

Session 3: Tue, 22 Jun 10, 2:00 PM, Lots 238 - 363

Session 4: Tue, 22 Jun 10, 5:00 PM, Lots 364 - 485

From the time of its introduction in 1948, the Polaroid camera has inspired photographers and artists to push the limits of their creativity. Photographs from the Polaroid Collection comprises an astonishing range of photographic approaches and sensibilities: from the masterful landscapes of Ansel Adams to the surreal explorations of Lucas Samaras; from the massive self portraits by Chuck Close to the cultural commentaries of Robert Heinecken. Polaroid cameras and films have spurred some of the most interesting photographic work of the latter part of the 20th century. In addition to multifarious works in Polaroid media, the Polaroid Corporation also acquired traditional gelatin silver prints of photographic icons by Harry Callahan, Dorothea Lange, Imogen Cunningham, Minor White, Edward and Brett Weston, and Paul Caponiogro, to name but a few. Replete with photographic masterworks and little-known gems, Photographs from the Polaroid Collection offers collectors an unprecedented opportunity to acquire images from one of the largest and most distinctive corporate collections to be sold at auction.

A.M. Richard Fine Art presents Polaroid: Instant Joy!, a group exhibition of photography curated by Andrew Garn.

Lately, a resurgence of young photographers have been revisiting the wonders and quirkiness of Polaroid film. Using expired Spectra film, and a new film manufactured in a former bankrupt Polaroid plant in Belgium; this generation has created a novel vernacular language in instant photography. Blog sites of Polaroid art permeate the internet. With a new generation of advocates, the continuation of Polaroid art seems assured.

The artists selected include: Lynka Adams, Michael Anton, Jimmy Baynes, Todd Boebel, Ellen Carey, Brendan Carroll, Chuck Close, William Coupon, Melanie Einzig, Andrew Garn, Stan Gregory, Jack Johnston, Till Krautkraemer, Eric Kroll, Richard McCabe, Barbara Mensch, Ber Murphy, Nagatani/ Tracey, Bill Ray, David Stock, Molly Surno, Jennifer Trausch, Robert Vizzini, Robert Warhover and William Wegman.

Special thanks to Chuck Close, William Wegman, Ellen Carey, Luc Sante, Jennifer Trausch, Rachel Weingeist, Jayne Baum, and Bill and Marlys Ray.

Andrew Garn is a photographer and curator who lives in New York City. His work will be featured in the first Ural Industrial Biennale at the National Center for Contemporary Art in Ekaterinburg, Russia this fall.

Jen Bekman Gallery is pleased to present Land Use Survey, a group exhibition featuring photographs, paintings and works on paper by twenty-seven artists.

Land Use Survey functions as a critical appraisal of land use across the country, as a document of the changing landscape vernacular, and as a celebration of the artists who take diverse approaches to capturing this genre. The show opens with a series of landscapes that remain untouched by man. Slowly, signs of human intrusion begin to appear: car tracks, empty bottles, a retaining wall and piles of dirt. As one progresses through the exhibition, both in the gallery space and within the areas described by the works, increasingly more land turns over to commercial and residential development, before finally giving way to the dizzying geometries of the modern metropolis.

The exhibition features work by Ian Baguskas, Chris Ballantyne, Beth Dow, Christoph Gielen, Todd Hido, Liz Kuball, Nick Lamia, Scott Lawrence, Michael Lundgren, Alex MacLean, David Maisel, Paho Mann, Louisa McElwain, Sarah McKenzie, Joel Meyerowitz, Dana Miller, Brad Moore, Matthew Moore, Michelle Muldrow, Justin Newhall, Ross Racine, Tyson Anthony Roberts, Andrew Scott Ross / Scott Lawrence, Aili Schmeltz, Bryan Schutmaat, Alec Soth and William Wegman.

Team is pleased to present a group exhibition organized by Miriam Katzeff. Forced Exposure will run from the 1st of July through the 30th of July 2010. The exhibition will include paintings, video and sculptures by Lutz Bacher, Tom Burr, Ross Knight, and Bjarne Melgaard. Team Gallery is located at 83 Grand Street, cross streets Wooster and Greene, on the ground floor.

This exhibition focuses on works of art that position the viewer as an interloper in the gallery. As technology encourages people to expose themselves to unknown audiences online, the idea of privacy has relaxed to reflect these developments. The works on view test whether this lack of boundaries extends into the physical world. While the artists in the exhibition do not have a strictly confessional style, the works force an immediate and awkward intimacy onto the viewer.

For over a decade, Lutz Bacher has produced an ongoing body of work entitled Do You Love Me? Interviewing curators, friends, and dealers about her life and her work, Bacher asks the questions but never appears on film. Using whatever technology was available, the seemingly casual interviews reveal more about the person answering the questions than the evasive artist. It is easy to imagine how Bacher’s relationship with the subjects must change as a result of uncomfortable revelations.

Using minimal forms and personal dedications, Tom Burr’s sculptures recreate private architectures as public stages. Through his transformation of domestic objects, Burr produces a sense of access to interrupted encounters. Black Wall Skirt simultaneously alludes to conceptual, physical and psychological spaces. The forms are loaded with possibilities of the fulfillment and failures of concealed desires.

Ross Knight’s formalist sculptures combine utilitarian materials with corporeal references to suggest secret rituals that are deliberately unresolved. In Void Fill, a cardboard box that is the height and width of an average man is punctured by a plastic bag filled with air. While Knight operates on his works with a reductive precision, the sculptures aspire to a precarious quality as though they were hastily abandoned in the gallery.

In Bjarne Melgaard’s most recent paintings, old pornographic magazines are defaced with crudely executed figures and scrawled texts from a continuous novel that relies on the violent mythology surrounding the artist. Like the rest of Melgaard’s work, the fragmented and diaristic qualities of the text lures the viewer into the artist’s constructed personas and manipulates the relationship between fact and fiction.

Team is open from Monday through Friday, 10am to 6pm. For further information and/or photographs, please call 212 279 9219.

Arario Gallery is proud to present Irrelevant: Local Emerging Asian Artists Who Don’t Make Work About Being Asian, an ambitious survey exhibition featuring the work of nearly fifty artists curated by Joann Kim and Lesley Sheng.

Irrelevant wishes to highlight artists who are more American than Asian, based in New York, and embedded in an expansive community of emerging artists struggling to show and succeed in this cutthroat city. You will not find paintings about the Cultural Revolution or Mao Zedong that sell for hundreds of thousands of dollars. You will not find manga-infused characters performing acts of hypersexuality nor will you find decorative miniature drawings with motifs embedded within a specific cultural history.

What you’ll find is a surging flow of creativity where artists actively engage in their practice, exploring the absurd within everyday experience, the use and misuse of materials both new and found, and the curiosity of defining artistic practice. Food and consumption is considered within an urban agricultural environment, and social interaction is taken out of norm and reenacted in refreshing alternative ways. Pictured narratives gear toward a dark and isolated realm and obsession is the source behind abstracted images.

A major focus of this exhibition is to formulate a community, building a foundation for artists to gather and exchange ideas and experiences. There is an endless array of amazing underrepresented artists in NY, thriving yet unheard. Through this exhibition we get to see artists engaging with their given role and their interests within a particular medium, exploring on both conceptual and idealistic levels with painting, photography, performance, sculpture and installation. We get to see abstraction within the everyday and the everyday within abstraction. We get to see materials unfolded, manipulated, reworked and dysfunctioned. We get to feel self-conscious and hyper aware of our stance as viewers, where time and space is altered and questioned.

Irrelevant is a friendly and humorous, and somewhat ridiculous, rejection of a neurotic art market and its obsession with specifying artists to a particular culture and ethnicity. This exhibition purifies and de-labels the artist as Asian, by labeling the artist as Asian, to be shown inside a contemporary Asian art gallery.

Artists: Seong Min Ahn, Shin Young An, Sophia Chai, Louis Chan, Karen Chan, Rona Chang, Gigi Chen, Yoon Cho, Micah Ganske, Hyoungsun Ha, Geujin Han, Takashi Horisaki, Jane V Hsu, Hidenori Ishii, Hong Seon Jang, Kyoung Eun Kang, Heige Kim, Seung Ae Kim, Nancy Kim, Hein Koh, Shizuka Kusayanagi, Amy Fung-yi Lee & Caroline Jung-ah Park, JaeEun Lee, Sinae Lee, Soo Im Lee, Jiyoun Lee-Lodge, Pixy Liao, Juri Morioka, Tadashi Moriyama, Joel Morrison, Dominic Neitz, Christian Nguyen, Asuka Osawa, Eung Ho Park, Youngna Park, Jung Eun Park, R&D, Ruijun Shen, Satomi Shirai, Hidemi Takagi, Tattfoo Tan, Kikuko Tanaka, Jason Tomme, Mai Ueda, Kako Ueda, InJoo Whang, Wenjie Yang, Mika Yokobori, Yejin Yoo, Jayoung Yoon, Seldon Yuan

Visit the gallery’s website for information on performances and workshops.

For one night only, BARE BONES invades a corner of NYC as the trans-atlantic love affair continues.  Our first US exhibition will be on @ envoy enterprises will feature London/Euro-exports and a gang of NYC locals.  Following will be a tear-a-strip-off-it after party downstairs at Home Sweet Home from 9-11 with live performances by the mighty Jugger-Nut & The Giggle Fits.

Featuring: 


ART:
Harry Malt*, Chris Bianchi, Neal Fox, Frank Laws, Hannah Bays, Robert Rubbish, Kate McMorrine, Stephanie von Reiswitz, Billy Bragg, LeGun, Heretic Print Studio, Leigh Fox, Lie-Ins & Tigers, Nervous Stephen, Simon Dara, Amelia Johnstone, Hanna Hanra, Matt Lambert, Peter Rapp, Kate Merry, James Pecis, Tom Jennings and Zoe Taylor.

PHOTO:
Niall O’Brien*, Jamie Daughters, Ross McDonnell, Brian Daly, Shane Deegan, Richard Gilligan, Jacob Lillis and Andreas Laszlo Konrath.

LITERATURE:
Michael Smith*, Richard Milward, Gary Fairful, Sebestian Horsely, SC Breen, Svetlana Graudt, Gavin Bennett, Jamie Putnam and Slavko Vukanovic.

FILMS:
Matt Lambert* (dieLAMB), Sean Pecknold (Rokkit), Andy Martin (Passion Pictures), Matt Smithson aka Man vs. Magnet, (Curious Pictures), Niall O’Brien, Ross McDonald, Superelectric and several more film makers to be announced soon will be premiering original works. 

*group curator

Vogt Bernal is pleased to present a solo exhibition of Brian McKee. On view is McKee’s new photography series “The Power Suites”, to be seen for the first time in New York.

During a period in which the world seeks to rebuild itself “The Power Suites” examines how we must destroy in order to create and how we create out of destruction. The subject of this project is the massive construction site for the 2014 Winter Olympics in Sochi, Russia. It is currently one of the largest construction projects in the world. Its end goal is to build a city and infrastructure that runs from the shoreline of the Black Sea to the top of the mountains in Krasnaya Polyana. This work reflects not only on the colossal undertaking of such a task but questions the deeper meanings of what such an undertaking implies, especially in our current global climate.

The works of this series depict landscape as well as architectural settings. The volume of the series comprises 16 images so far and is growing as McKee continues to document the ongoing process in Sochi.

Brian McKee’s work unfolds in challenging series dealing with sociopolitically urgent matters that he detects in various parts of the world. He was born in 1977 in Excelsior Springs, Missouri and attended the Interlochen Arts Academy and Bard College. McKee was awarded The Eugene Atget Prize in 1999. His works have been shown widely on an international level including venues such as the Moscow Biennale of Contemporary Art, The Columns Art Center in Seoul (South Korea), Haus der Kunst, Munich. His works are part of major private collections and museum collections such as the Pinakothek der Moderne in Munich. He currently lives and works in New York City and Vienna, Austria.

Umbrage Editions presents Coming Back: New Orleans Resurgent, an exhibition of photographs by Mario Tama.

With the eyes of the world once more on the Gulf Coast, we are reminded of the fragility of ecosystems and the profundity of the impact of disasters like the oil spill on communities and their surrounding environment. Award-winning Getty Images photographer and filmmaker Mario Tama spent the last five years grappling with the devastating legacy of such a disaster, creating in the aftermath of Katrina a series of hallucinatorily beautiful, land-gripping images that made the headlines at the time and helped to galvanize public opinion nationally. But the greater power of this body of work is the emphasis it places on the spirit of resistance, redemption, and reconstruction that has been a powerful force in the city and environs— a resolve that will be needed again for the Gulf Coast in the months ahead.

Opening July 8 Laurence Miller Gallery will feature highlights from our previous exhibition season, along with a preview of the season to come. One of New York City's greatest treasures is the sheer number of galleries showing art, and trying to see everything they have to offer is one of her greatest frustrations.  In addition, museums, non-profits, teaching institutions and graduate shows compete for visibility, making it easy to miss even the most highly-publicized shows. For this reason, we have chosen to dedicate a portion of the summer schedule to the best of our shows that were wonderfully conceived and received, and a preview of those that are on the horizon.

Highlights from upcoming shows include water imagery from Jessica Backhaus's series I Wanted to See the World;  a selection of images fromOjos Privados (Private Eyes), Laurence Miller's private collection; and images by Bruce Wrighton in anticipation of his upcoming exhibition and monograph.

Highlights of the season gone by will include: color and black-and-white photographs by Helen Levitt from her acclaimed Memorial Tribute show, along with First Proofs from the equally acclaimed New York Photographscity-wide initiative;  a new landscape by Peter Bialobrzeski from his seriesParadise Now, referencing our Abstracted Landscape show; extraordinary Ray Metzker photographs from the AutoMagic show, along with an important and newly-acquired Nude Composite from 1966 also by Metzker; an image from Stephane Couturier's extraordinary Barcelona Parallel series; a rare Maggie Taylor Girl with a Bee Dress; exhilarating images from the major debut of Denis Darzacq's Hyper series; and of course the wildly popular Philippe Halsman's  JUMP

In this age of so little time to see so much, the Past (Present) Future shows give us the opportunity to continue to keep our artists in the public eye, reward viewers who did not catch things the first time around, and offer a preview of extraordinary things to come.

A second installment of the 2007 summer exhibition Epilogues, Epilogues 2 features recent works by artists that exhibited at Robert Mann Gallery from 2007 to 2010: Holly Andres, Joe Deal, Elijah Gowin, Chip Hooper, and Michael Kenna. Produced following their respective solo exhibitions at the gallery, the inclusion of these 5 artists' work within a single space explores the visual relationships and dynamics between very distinct styles of contemporary photography.

Holly Andres continues to photograph subjects whose inquisitive gazes are transfixed out of frame, expanding the two-dimensional picture plane into a cinematic world with elusive narrative. Though similar in its brilliant color and staged composition to her previous series Sparrow Lane, this latest body of work, Anna's Birthday Party, abandons the sense of fantasy for a more pragmatic plotline and also marks the first time Andres includes adults in her photographs.

In Joe Deal's recent exhibition West & West: Reimagining the Great Plains — in which he surveys the expansive man-altered terrain of the titular region — Deal exhibited a photograph of a lava tube in Pecos Valley, New Mexico. This led to an expanded interest in the subterranean aspects of the Great Plains shown through images from his body of work Karst & Pseudokarst, wherein Deal continues to dichotomize the natural flux of the American landscape versus the manmade.

Continuing on his series Of Falling & Floating, Elijah Gowin creates poetic imagery by depicting his subjects in midair stasis — their fates unknown as they approach what is either above or below. The charged emotions instilled by this composition are again achieved through Gowin's meticulous method of hand-cutting and layering photographs — both found and authored — to create a collage. This re-appropriation of images is then scanned and reprinted, resulting in a paper negative with a grainy, distressed appearance that combines its enigmatic subject matter with an eerie sense of nostalgia.

Chip Hooper expands on his ongoing series of capturing the delicate intervention between light and water from different oceans and seas around the world. These meditative studies were most recently seen in his 2007 exhibition New Zealand's South Pacific & Tasman Sea. However, in recent years, Hooper revisited his earlier subject California's Pacific, adding new work to the series. These black-and-white prints, though quietly elegant in their refined, minimalist aesthetic, overwhelm in scale and technical aptitude.

After his pensive interpretation of the iconic city Venezia, Michael Kenna presents a photographic examination of sites including China, Egypt, Georgia, and again, Italy. Kenna's latest work retains his romanticized, tranquil appro