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Nick Brandt: On this Earth, A Shadow Falls

Posted on 30 March 2012 by admin

Now showing at New York’s Hasted Kraeutler gallery: Nick Brandt – On this Earth, A Shadow Falls

Photographer Nick Brandt first fell in love with Africa in 1995, when he visited Tanzania to direct Michael Jackson’s “Earth Song” video. While there, Brandt was deeply moved by the beauty and spirit of the continent’s endangered animals, and felt compelled to capture and preserve what he saw.

So, over the past ten years, Brandt has photographed these animals, and sees this project as “my elegy to these beautiful creatures, to this wrenchingly beautiful world that is steadily, tragically, vanishing before our eyes.” Rather than using a telephoto lens, Brandt finds ways to get up close to his subjects, convinced that his proximity to the animals dramatically impacts his ability to reveal their personalities. As he writes, “You wouldn’t take a portrait of a human being from a hundred feet away and expect to capture their spirit; you’d move in close.” For this reason, it sometimes takes Brandt weeks of patience to get close enough to the subject to get a single photograph, often times just weeks before they are killed by poachers.

“What I am interested in is showing the animals simply in the state of Being,” Brandt explains. “In the state of Being before they ‘no longer are.’ Before, in the wild at least, they cease to exist. This world is under terrible threat, all of it caused by us. To me, every creature, human or nonhuman, has an equal right to live, and this feeling, this belief that every animal and I are equal, affects me every time I frame an animal in my camera.”

On this Earth, A Shadow Falls is on view at Hasted Kraeutler through May 19, 2012.
www.hastedkraeutler.com

*All images courtesy of Hasted Kraeutler.

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Miru Kim: Live (With Pigs) at Art Basel Miami

Posted on 30 November 2011 by anc

Artist Miru Kim, known for taking breathtaking nude self-portraits among the world’s urban icons and ruins, is making a splash at this year’s Art Basel Miami Beach fair with a live performance piece during which she’ll spend 104 hours living with pigs. Earlier this year, Kim debuted her newest photography series, The Pig That Therefore I Am, at New York’s Doosan Gallery. In Miami, she’s recreating the piece for not just the art fair’s attendants, but the entire world as well, with a live-streaming video of the performance.

The head-turning series juxtaposes the NYC-based artist’s nude body with those of about 300 pigs. According to Kim, the work explores the spaces and similarities between man and animal and the power of touch in our understanding of the world. In describing the piece, she wishes to offer herself up as an artist, to “see, hear and feel through art, music and poetry. I put my flayed skin on display in the form of a photo.”

The live stream, which runs through Sunday night, is accessible here: www.mirukim.com and http://68.166.116.18:86/broadcamauto.html?src=1&speed=1

A sampling of her work is below. For more info on Miru Kim, check out her website, or my interviews with her for Coolhunting.com and Clear Magazine.

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Postcards from Japan

Posted on 08 November 2011 by anc

After the earthquake, tsunami, and nuclear disaster in northeastern Japan on March 11, power supplies, land lines, mobile phone networks and Internet access went down, making it incredibly difficult to contact family and friends. The Japanese postal service, however, was up and running again quickly. In many cases, in fact, the first news that loved ones were safe was shared by postcard.

Inspired by role of postcards–and the idea that art and culture are vital in celebrating life and nurturing determination to move forward–the Japan Society presents Postcards From Japan, a miniature exhibition of original postcard-size works of art created by 22 artists from Japan in response to the devastation. The results (see slideshow below) are poignant works that give insight into the power and resilience of the human spirit.

The show’s curators, husband and wife Hironori Katagiri and Kate Thomson, were working in their sculpture studio in Iwate when the earthquake hit. While they anxiously awaited news of loved ones on the coast, Takuya Okada, another artist who shares their studio, received a postcard from his parents saying they were alive and well. Inspired by the uplifting effect of this postcard on the whole household, they’ve since volunteered on a series of exhibitions and special projects to support recovery in Tohoku through the arts. As the couple explains, “Many arts and cultural projects in Tohoku have been canceled or cut back as funds are diverted to the relief effort. We feel that the arts and culture are in fact vital to the recovery, helping to boost morale and stimulate hope for the future and enthusiasm to rebuild.”

The traveling exhibit is on view now through November 27th at the Japan Society Gallery in New York.

Postcards from Japan
The Japan Society Gallery
333 East 47th Street between First and Second Avenues
New York, NY
www.japansociety.org

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My Quiet of Gold

Posted on 01 November 2011 by anc

For My Quiet of Gold, Nina Gorfer and Sarah Cooper’s new exhibition at Gestalten Space in Berlin, the artistic duo traveled to rural areas of Kyrgyzstan to collect stories from local inhabitants. The pair then interpreted these often romantic and melancholy tales as carefully choreographed motifs, which were then digitally finessed. The resulting, multi-layered collages are rooted in both contemporary photography and eighteenth and nineteenth century painting.

The Gothenborg-based pair began collaborating in 2006, and also work together as directors, authors, researchers, and editorial and commercial photographers under the name SEEK.

My Quiet of Gold
at Gestalten Space, Berlin
Now through November 27th, 2011

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Now Showing: Steven Klein’s USAnatomy

Posted on 10 August 2011 by anc

Now showing at the Brazilian Museum of Sculpture: “USAnatomy,” an exhibition of sixty dramatic works by famed American photographer Steven Klein. Curated by fashion producer Chico Lowndes, the exhibit launches today with a cocktail event and opens tomorrow to the public. The show celebrates Klein’s talent for turning contemporary fashion photography and celebrity portraiture on its head, with lyrical, sexually-charged, often conceptual images that demand a second-look. “USAnatomy” features thirty large-scale works and thirty Polaroids from Klein’s extensive oeuvre (slideshow below).

The exhibition is part of the annual IGUATEMI Photo Series, which presents photography as an art form of contemporary cultural expression, educating the public on trends in contemporary photography.

Brazilian Museum of Sculpture (MuBE)
August 11th-August 28th
Av. Europa, 218, Jardim Europa, (Tel: 11.3081-8611).
Open Monday to Sunday from 10 am to 7 pm.
Admission is free to the public

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Now Showing: Dawn Till Dusk

Posted on 23 June 2011 by anc

Amy Eckert, Double Sunset. Courtesy of the artist and Jen Bekman Gallery.

Now Showing: Dawn Till Dusk at the Jen Bekman Gallery.

Progressing through the course of a day, the latest group exhibition at New York’s Jen Bekman Gallery explores our impressions of time. Flowing from day to night, the show brings together a diverse set of photographs, paintings, and works on paper by twenty-six established and emerging artists, including Sally Mann, Ed Ruscha, Alex Soth, Michael Lundgren, Todd Hido, Letha Wilson, and Amy Eckert. Curated by Jeffrey Teuton, Dawn Till Dusk encompasses a broad range of artistic approaches-from clearly contrasting light and shadows to more subtle changes in palette and tone-to signify the unyielding passage of time.

Dawn Till Dusk: A Group Show
On view now through July 30, 2011 at:

Jen Bekman Gallery
6 Spring Street
New York, New York 10012

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Under the Bridge: Projections of a Revolution

Posted on 13 May 2011 by anc

Last night, organizers of the 2011 New York Photo Festival brought the spirit of the North African revolutions to the archway under the Manhattan Bridge. Under the Bridge: Projections of a Revolution presented hundreds of images from the struggles in Syria, Tunisia and Libya, shot by photographers from The New York Times, VII, Magnum, Contrasto, Flickr, Reuters, non-profit organizations, citizens and others. Dedicated to the journalists who lost their lives covering the turmoil in these regions over the last several months – and specifically to two, Tim Hetherington and Chris Hondros – the event featured four simultaneous projections under the bridge, including some of the last photographs shot by Hondros, accompanied by a soundtrack by DJ Awesome Tapes from Africa.

Curated by Enrico Bossan and Elisabeth Biondi, the projections depicted the terror, pain, hope, and determination that come with revolution. The images’ power – and the undeniably moved audience – honored the photojournalists who put their own lives at risk to document our changing world with fearless, experienced eyes. At the same time, the sheer number of photographs spoke to the transparency of the modern world, the role of technology in contemporary revolution (as evidenced, for example, by images of a citizen’s hand holding a cell phone high above a scene of protest, revolutionaries at their computers, or a pile of charging cell phones on top of rubble), and governments’ lessening power to control media.

A photo gallery from the evening (including pictures by Lynsey Addario, Rachel Beth Anderson, and others) is below.

The New York Photo Festival continues through May 15th in DUMBO. For more information, visit newyorkphotofestival.com.

*Images courtesy of the New York Photo Festival.

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ASKA: Rising from the Ashes

Posted on 11 May 2011 by anc

Upon returning to her home country in the summer of 2010, Icelandic-born, Austrian-based artist Thelma Herzl found herself considering the parallels between the country’s experiences in the recent financial crisis and the eruption of the volcano Eyjafjallajökull. In each, the Reykjavik-born artist found, when elements which had long-simmered just below the surface finally erupted, their effects were dramatic and globally relevant: on the one hand, destroying entire financial livelihoods on both the island and around the world; and on the other, resulting in a mile-high cloud of ash that almost paralyzed European air traffic for the better part of a week.

Inspired by these two world-shaking events and captivated by the unexpected ash formations at the edge of the volcano, Herzl decided to photograph their fragile beauty. ASKA (Icelandic for “ash”), a new book and exhibition at Vienna’s WestLicht Schauplatz für Fotografie, celebrates the unexpected beauty of these previously destructive ashes, and expresses Herzl’s careful optimism for the potential for new good to spring from past destruction.

The exhibition runs this week at the WestLicht. For more information, visit westlicht.com.

*Images courtesy of WestLicht Schauplatz für Fotografie.

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New York: A Photographer’s City

Posted on 29 April 2011 by anc

New York: A Photographer’s City brings together 250 New York City-centric images (most previously unpublished) to celebrate what editor (and art dealer) Marla Hamburg Kennedy calls the city’s 21st century “avant-garde spirit.” The collection is certainly diverse, and a definite joy, offering unusual, sometimes even playful, perspectives on a the storied and constantly evolving city. The book features black-and-white and color photographs by over 100 artists from around the globe, including Andreas Gursky, Jenny Holzer, Ryan McGinley, Vik Muniz, Tim White-Sobieski, and others. Available now thru Rizzoli and Amazon.

Take a sneak peek below!

New York: A Photographer’s City
Edited by Marla Hamburg Kennedy
Hardcover, 10×10 in., 304 pages, 250 photographs
Published by Rizzoli New York
$45 US, $53 Canadian


*above: Susan Wides’s I, Mannahatta: February 7, 2010 (Guggenheim). Pigmented Ink Print. 52×35 in. Courtesy Kim Foster Gallery. Photographed by special arrangement with the Solomon R. Guggenheim Museum. © 2010 Susan Wides.


*above: Richard Galpin’s The Other Side (New York), 2004. Peeled Photograph. 61×48 in. Courtesy the artist. © Richard Galpin.


*above: Marc Yankus’s Charles Street, 2007. Archival Pigment Print. 17×22 in. Courtesy Clampart Gallery, New York, NY. © Marc Yankus.


*above: Marc Yankus’s Midtown, 2004. Archival Pigment Print. 17×22 in. Courtesy Clampart Gallery, New York, NY. © Marc Yankus


*above: Michael Wesely’s The Museum of Modern Art, New York (7.8.2001-7.6.2004), 2004. C-Print, Diasec, Steel Frame. 49.2×59.1 in. Courtesy the artist. © 2004 Michael Wesely.


*above: Chi Peng’s Day After Tomorrow, 2006. C-Print. 47.25×59.75 in. Courtesy Chi Peng and Chambers Fine Art.


*above: Lynn Saville’s “Columbus Circle, 2007. Chromogenic color photograph, 30×40 in. Courtesy Yancey Richardson Gallery. © Lynne Saville


*above: Jessica Craig-Martin’s Mondrian Teacup Pug (Robert Wilson Center Benefit, Watermill), 2007. C-Print. 33×49.75 in. Courtesy Greenberg Van Doren Gallery, New York. © Jessica Craig-Martin.


*All images courtesy of Rizzoli. © New York: A Photographer’s City, by Marla Hamburg Kennedy, Rizzoli New York, 2011.

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Moveable Feast

Posted on 08 April 2011 by anc

Now Showing: The Museum of the City of New York, the Laurie M Tisch Illumination Fund, and Aperture Foundation present Moveable Feast: Fresh Produce and the NYC Green Carts Program.

Five emerging artists – LaToya Ruby Frazier, Thomas Holton, Gabriele Stabile, Will Steacy, and Shen Wei – have been commissioned to document the ongoing Green Cart Initiative, which has placed 1000 mobile food carts offering fresh fruit and vegetables throughout the five boroughs. Reflecting on the impact these carts have on individuals and their surrounding communities – many of which have otherwise limited access to fresh produce – the artists photographed the carts themselves, the vendors, customers, and the contrasting commercial/ food landscapes around the carts, contemplating everything from interpersonal relationships to urban culture to the health issues related to food deserts.

And while push carts are a historic urban icon – as demonstrated in the exhibition’s inclusion of some fantastic historical photographs by artists like Berenice Abbott – the show documents the Green Cart Program’s attempt to address the very modern civic issue of unequal access to nutritional foods.

Moveable Feast: Fresh Produce and the NYC Green Carts Program is organized by Sean Corcoran, Curator of Prints and Photographs at the Museum of the City of New York, and Denise Wolff from Aperture Foundation.

Moveable Feast runs through July 10th at the Museum of the City of New York.


*above: Gabriele Stabile, Untitled (From the series: Street Smart), 2009, courtesy of the Artist and Aperture Foundation. Gabriele Stabile documented the daily routines of several vendors, including their interactions with customers into whose homes he was invited, and where he was able to document food preparation and meal time – and the impact of fresh produce on individual.


*above: Gabriele Stabile, Untitled (From the series: Street Smart), 2009, courtesy of the Artist and Aperture Foundation


*above: Berenice Abbott, Hot Dog Stand, April 8, 1936, Collection of the Museum of the City of New York


*above: Thomas Holton, 8th Avenue Traffic, 2010, courtesy of the Artist and Aperture Foundation. Thomas Holton followed a group of vendors – new generation Bengali immigrants – who have found jobs in the program, and who balance their lives here with the needs of their families abroad.


*above: Thomas Holton, Hussain and Two Roommates, 2009, courtesy of the Artist and Aperture Foundation


*above: Thomas Holton, Mohammed and Hussain with a Roommate, 2010, courtesy of the Artist and Aperture Foundation


*above: Alta Ruth Hahn , Pretzel Woman, Hester Street, ca. 1935, Collection of the Museum of the City of New York, Gift of Dr. Robert Drapkin


*above: Will Steacy, Empty Grocery Store on Block Lined with Vacant Buildings, Looking South from Fulton Street & Garvey Avenue, Brooklyn, 2009, courtesy of Artist and Aperture Foundation. Will Steacy depicted the urban landscapes surrounding the Green Carts—the streets, sidewalks, and buildings, the fast food restaurants, bodegas, and markets—revealing without shying away from the reality of challenging living conditions.


*above: Will Steacy, Neighborhood Residents in Front of Tony’s, Looking West from Knickerbocker Avenue & Dekalb Avenue, Brooklyn, 2010, courtesy of Artist and Aperture Foundation


*above: Will Steacy, Empty Vegetable Stand on Valentines Day, Looking East from 3rd Avenue & 110th Street, New York, 2010, courtesy of Artist and Aperture Foundation


*above: Byron Company, Street Vendors, Hester Street, 1898, Collection of the Museum of the City of New York, Gift of Percy Byron

*Images courtesy of the Museum of the City of New York

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