Tag Archive | "Photography"

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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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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New York: A Photographer’s City brings together 250 New York City-centric images (most previously unpublished) to celebrate what editor (and art dealer) Marla Hamburg Kennedy calls the city’s 21st century “avant-garde spirit.”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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Lisa Elmaleh: Everglades

Posted on 25 March 2011 by anc

The Everglades hold a very special place in Brooklyn-based photographer Lisa Elmaleh‘s heart. Born and raised in Miami, Florida, Elmaleh documents the area’s flora and fauna, hoping to both honor and call attention to the rapidly-diminishing ecosystem. She uses a large format 8×10″ camera (named Fitzgerald Fitzwilliam Fitzgeorge) and the wet collodion process, a nineteenth century process requiring images be exposed and developed on site. The process reveals the passage of time, a quality Elmaleh says is essential to her work. (She also uses the trunk of her 1996 Toyota Tercel as a darkroom.)

Images from Elmaleh’s Everglades series are currently on view as part of 4 on the Verge, a group show at Brooklyn’s 440 Gallery, which runs through April 3rd.

Describing her subject, Elmaleh says:

“The Everglades is the only ecological system of its kind. In the dedication of Everglades National Park, president Harry S. Truman stated, ‘Here are no lofty peaks seeking the sky, no mighty glaciers or rushing streams wearing away the uplifted land. Here is land… serving not as the source of water but as the last receiver of it. To its natural abundance we owe the spectacular plant and animal life that distinguishes the place from all others in our country.’

“To date, more than half of the Everglades have been repurposed for urban and agricultural use. ‘Freshwater flowing into the park is engineered,’ reads the brochure given to all visitors of Everglades National Park. ‘With the help of pumps, floodgates, and retention ponds along the park’s boundary, the Everglades is presently on life support, alive but diminished.’ I hope to preserve an essence of the Everglades, a land we are rapidly losing without knowing the magnitude of our loss.”


*above: Mangrove, Coot Bay Pond. 2010.


*above: Palm in Sawgrass. 2010.


*above: Alligator Grass. 2009.


*above: Water Trail. 2010.


*above: Mangrove Roots. 2010.


*above: Slash Pines. 2010.

*All images: gelatin silver print from collodion on glass negative, and courtesy of the artist

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Yusuke Nishimura’s Dayscapes

Posted on 22 March 2011 by anc

Yusuke Nishimura‘s exquisite Dayscapes series explores shifting light and color temperatures throughout a given day. Nishimura sets up a piece of paper by a window right as the sun comes up, takes a picture on transparency, and patiently waits til the color of daylight changes. Then he takes another picture, and another, and continues the process until the sun goes down. The result is a beautiful series of monochromatic transparencies.

Describing his work, the Okayama, Japan-born, New York-based photographer says:

“Depending on the season, the weather, and time of day, the sun emits different colors of light due to the refraction and the distance from the sun to the earth. Each day’s gradual shift in the color temperature is subtle yet unique…I start by scanning the transparencies of the daylight color. I compose a 40 x 30 image on a blank file whose vertical axis represents the entire time from sunrise to sunset during the day. I layer each monochromatic image on top of one another, and apply a gradation mask so that each image gradually appears and becomes 100% visible at the corresponding time when it was captured. Oddly, the resulting image looks as if it is a painting, although the way I compose an image is different to that of a painter. The colors I apply to my work are obtained photographically, so they are indexical to the time they are observed.”


*above: 07:29:47, 07:50:03, 08:05:11, 10:19:37, 14:11:45, 16:42:12, 1/16/08, Brooklyn


*above: 07:24:32, 07:41:07, 08:18:01, 09:13:47, 09:45:42, 13:33:19, 14:42:59, 17:55:57, 18:36:22, 18:52:56, 3/17/08, Long Island City


*above: 05:31:32, 05:46:51, 06:19:30, 06:46:10, 06:59:56, 14:44:11, 16:52:01, 17:03:51, 17:25:18, 18:30:23, 18:46:58, 19:18:38, 19:23:33, 19:34:48, 19:46:16, 5/22/08, Williams Town


*above: 08:02:55, 09:03:11, 09:59:59, 10:07:44, 11:21:59, 12:13:05, 14:32:03, 16:51:04, 17:25:34, 17:43:00 , 17:49:01, 10/22/07, Jackson Heights

To see more of Nishimura’s work, visit yusukenishimura.com.

*Images courtesy of the artist.

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Chris McCaw: Sunburn

Posted on 17 March 2011 by anc

Sunburn, an ongoing series by San Francisco-based photographer Chris McCaw, is the haunting and beautiful result of sunlight literally scorching a negative. The series offers a nod to the art form’s historical roots, and an immediate sense of antiquity, while, at the same time, seemingly honoring the power of the sun on the modern world around us.

McCaw describes Sunburn‘s origins this way:

“In 2003 an all night exposure of the stars made during a camping trip was lost due to the effects of whiskey. Unable to wake up to close the shutter before sunrise, all the information of the night’s exposure was destroyed. The intense light of the rising sun was so focused and powerful that it physically changed the film, creating a new way for me to think about photography.


*above: Sunburned GSP#400(Pacific Ocean), 2009. 4-8″x10″ unique gelatin silver paper negatives.
private collection

“In this process the sun burns its path onto the light sensitive negative. After hours of exposure, the sky, as a result of the extremely intense light exposure, reacts in an effect called solarization- a natural reversal of tonality through over exposure. The resulting negative literally has a burnt hole in it with the landscape in complete reversal. The subject of the photograph (the sun) has transcended the idea that a photograph is simple a representation of reality, and has physically come through the lens and put its hand onto the final piece. This is a process of creation and destruction, all happening within the the camera.

“In the beginning, after that first experience in 2003, I began experimenting with burning film and printing the resulting burnt negative in the platinum palladium process. The results were very interesting yet very confusing. The film negative has solarized into a positive and I then printed that into a final print with a negative image, and a generation loss of the burn.”

The series continues to evolve, as McCaw experiments with varying combinations of exposure, negative, subject and process. For those interested in seeing the Sunburn effect face to face, the artist’s work is currently featured in a group exhibition (along with company such as Richard Misrach, Zoe Crosher, Dru Donovan, and others) called “CALIFORNIA CONTINUED: New Approaches in West Coast Photography,” through April 15th at California’s Smith Anderson North, as well as in the V&A’s “Something That I’ll Never Really See” at the National Gallery of Modern Art, Jaipur House, India Gate, until April 10.

McCaw’s also gearing up for a second solo exhibition at the Stephen Wirtz Gallery in San Francisco, slated for the fall, and is currently working on a custom-made Cirkut style camera that will help him capture 24 hours of daylight in a 360 degree panorama at the Arctic Circle in June.

For more information, visit chrismccaw.com.

*All images courtesy of the artist.

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Albert Watson at Hasted Kraeutler

Posted on 16 November 2010 by anc

Now showing at New York’s HASTED KRAEUTLER Gallery: Albert Watson.

Hasted Kraeutler presents famed photographer Albert Watson‘s first major gallery exhibition in the United States. Spanning nearly forty years of Watson’s career, the show is expansive, covering everything from HItchcock with Goose, (according to Watson, “the first famous person that I shot…”) to the surreal images from Watson’s Vegas series.

As James Crump wrote in Albert Watson (Phaidon, 2007), “although Watson’s subjects may seem disparate at first, on closer inspection they plot an artistic trajectory held tightly together by a thread of perfectionism, casting objects, bodies, fashion into finely honed symbols of desire, ennui and dreamlike immersion.”

Albert Watson has created an exclusive edition of Platinum prints of some of his most iconic photographs (including Hitchcock with Goose, 1973, Christy Turlington, 1990, and Kate Moss (back), Marrakesh, Morocco, 1993), especially for this exhibition. The exhibition also coincides with the release of two new limited-edition books and archival pigment prints of 500 copies, Strip Search: Las Vegas and UFO: Unified Fashion Objectives (PQ Blackwell in association with Abrams, 2010).

Born and raised in Edinburgh, Scotland, Albert Watson studied film and television at the Royal College of Art in London before he moved to the U.S. to launch a career in photography in 1970. Last year, readers of Photo District News named Albert Watson one of the twenty most influential photographers, demonstrating that he is a “photographer’s photographer,” and has had a huge impact on his peers and photographers of future generations. Watson has received many honors, including a Lucie Award for lifetime achievement in photography, a Grammy Award for the cover of the Mason Profitt album, Come and Gone (1975), and three ANDY Awards for creativity in advertising. On September 9, 2010, the Royal Photographic Society awarded Albert Watson their Centenary Medal, which recognizes outstanding contributions to the art and science of photography.

The exhibition runs through December 4th at:
Hasted Kraeutler
537 West 24th Street,
New York, NY 10011
hastedkraeutler.com


above: Alan Shepard’s Lunar Suit, Apollo 14, NASA, 1990. Chromogenic print. 96 x 72 inches. Edition of 5. Courtesy Albert Watson/ Hasted Kraeutler.


above: Alfred Hitchcock, Los Angeles, 1973. Platinum print. 30 x 22 inches. Edition of 3. Courtesy Albert Watson/ Hasted Kraeutler.


above: Monkey with Gun, New York City, 1992. Platinum print. 30 x 22 inches. Edition of 3. Courtesy Albert Watson/ Hasted Kraeutler.


above: Mick Jagger, Los Angeles, 1992. Chromogenic print. 96 x 72 inches. Edition of 5. Courtesy Albert Watson/ Hasted Kraeutler.


above: Road to Nowhere, Las Vegas, 2001. Chromogenic print. 70 x 112 inches. Edition of 5. Courtesy Albert Watson/ Hasted Kraeutler.

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Destroy This Memory

Posted on 12 September 2010 by anc

Five years after Katrina devastated New Orleans, a powerful new Aperture book – photographer Richard Misrach‘s Destroy This Memory- explores the post-Katrina world, considering the storm’s
psychological and physical impact on the city and its people.

Shot on Misrach’s 4 MP pocket camera between October and December 2005, Destroy This Memory focuses specifically on disaster-inspired graffiti. Sometimes desperate, other times ironic, but always very, very raw, these messages – made in spraypaint, chalk, and whatever other materials lay around at the time – drive home citizens’ very real perspectives in the wake of Katrina.

All artist royalties for the project are being donated to the Make It Right Foundation, which is currently rebuilding the Lower Ninth Ward of New Orleans.

Destroy This Memory
by Richard Misrach
140 pages pages, 70 four-color images
Published by Aperture
Available for purchase here.

*All images by Richard Misrach, and courtesy of Aperture.

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New Topographics & Picturing Modernity at SFMoMA

Posted on 18 August 2010 by anc

A potent pair of photography exhibits at San Francisco’s MoMA – New Topographics and Picturing Modernity – examine the concept of place and identity in American photography.

The first, New Topographics: Photographs of a Man-Altered Landscape, is a restaging of an exhibition first held in 1975 at the George Eastman House in Rochester, New York. Signaling a new approach to landscape photography, and the impact of Conceptualism and Minimalism on 1970s photography, New Topographics marks a dramatic shift in attitude towards the subject of landscapes.

Unlike their predecessors, such as Ansel Adams and Minor White, the New Topographics photographers did not use their work to express transcendent, personal experiences with nature. Rather, they depicted the ordinary landscapes that surround us, including elements of the built environment often overlooked or considered eyesores: gas stations, tract homes, motels, and parking lots. The show’s reincarnation features nearly 150 photographs from all ten photographers from the original show – Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Joe Deal, Frank Gohlke, Nicholas Nixon, John Schott, Stephen Shore, and Henry Wessel – all representative of this dramatic re-conceptualization of landscape, and a reflection of the complex and ambiguous relationship between humans and the environment. As Nixon described the approach, “The world is infinitely more interesting than any of my opinions concerning it. This is not a description of a style or an artistic posture, but my profound conviction.”


*above: from New Topographics: Bernd and Hilla Becher (German, 1931-2007 and b. 1934), Preparation Plant, Harry E. Colliery Coal Breaker, Wilkes Barre, Pennsylvania, USA, 1974; © Hilla Becher, 2009


*above: from New Topographics: Robert Adams (American, b. 1937), Mobile Homes, Jefferson County, Colorado, 1973; George Eastman House collections; © Robert Adams, courtesy of Fraenkel Gallery, San Francisco, and Matthew Marks Gallery, New York


*above: from New Topographics: Lewis Baltz (American, b. 1945), East Wall, McGaw Laboratories, 1821, George Eastman House collections; © Lewis Baltz

The second, complementary exhibition, Picturing Modernity, further explores the concept of place and identity in American photography with work made from the 19th century to the present by Berenice Abbott, Walker Evans, Timothy O’Sullivan, Joel Sternfeld, Alfred Stieglitz, and many others. Highlights include an installation of sculptures and photographs by William Christenberry and a selection of photographs from Wright Morris‘s series Home Place to mark the centenary of the photographer’s birth. Photographs of a decimated Charleston, South Carolina by George N. Barnard – best known for his photo-documentation of the American Civil War, during which time he followed Union General William Tecumseh Sherman’s infamous march to the sea – further reinforce the concept of man’s vulnerable relationship to place.


*above: from Picturing Modernity: William Christenberry, T. B Hick’s Store, Newbern, Alabama, 1991/2008; Collection SFMOMA, purchase through a gift of Randi and Bob Fisher; © William Christenberry, courtesy Pace/MacGill Gallery, New York


*above: from Picturing Modernity: Milton Rogovin, Lower West Side, 1972. Gelatin silver print, 8 in x 10 in, Gift of Ellen and Jon F. Vein. © Milton Rogovin.


*above: from Picturing Modernity: Wright Morris, Reflection in Oval Mirror, Home Place, 1947; gelatin silver print; Collection SFMOMA, Gift of Robert Fisher; © 2003 Center for Creative Photography, Arizona Board of Regents


*above: from Picturing Modernity: Berenice Abbott, Shelter on the Water Front, Coenties Slip, Pier 5, East River, Manhattan, 1938; gelatin silver print; Collection SFMOMA

New Topographics and Picturing Modernity are both open to the public til October 3, 2010.
For more information, visit SFMoMA.org.

*All images courtesy of the San Francisco Museum of Modern Art.

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David LaChapelle: American Jesus

Posted on 02 August 2010 by anc

Now showing: David LaChapelle’s American Jesus

In 2006, famed photographer and director David LaChapelle made a conscious break from his successful fashion and celebrity career to focus instead on fine art pursuits. Since that time, LaChapelle’s photographic work has maintained the fabulously dramatic, evocative nature we’ve come to expect from him over the years, now elevated by more complex subject matters. Consistently incorporating references as varied as art history, street art and pop culture, LaChapelle’s new work addresses concepts such as consumerism and cultural hierarchies.

Now, for his first New York solo show since 2008, LaChapelle‘s brings three dramatic series to the Paul Kasmin Gallery: American Jesus, Thy Kingdom Come and The Rape of Africa (images below). American Jesus – a series began over a decade ago – includes three large-scale photos depicting Michael Jackson as a modern day, Biblical martyr (from LaChapelle’s final photo shoot with Jackson). In Thy Kingdom Come, LaChapelle considers the relationships between greed and corruption amongst the religious establishment.

And The Rape of Africa - perhaps LaChapelle’s most famous work of recent years – makes its New York debut this month as well. Inspired by Sandro Botticelli’s Venus & Mars (1484), the well-known allegorical work depicts the poised and beautiful Venus, goddess of love, having tamed and diffused Mars, the vengeful god of war, who soundly sleeps, while small cherub figures play with Mars’ instruments of warfare.

In LaChapelle’s interpretation, he subverts the meaning of the original work by proposing a black Venus (Naomi Campbell), striking in her beauty, yet completely powerless to both her treatment as property and to the destruction of her land through mining and war depicted in the background. LaChapelle’s Mars is not sleeping as much as satiated by his own victories, sitting on top of his plunder gained by conquests. The contemporary allegory is layered with imagery, as seen in the jarring combination of young children with deadly weapons. For the exhibit, the photograph is presented alongside studies for the work, illuminating LaChapelle’s background in the traditional medium of drawing and watercolor.

David LaChapelle’s work has been exhibited internationally at museums and institutions including the Museo de las Artes, Guadalajara; the Antiguo Colegio de San Ildefonso, Mexico City; the MOCA, Taipei; the Tel Aviv Museum of Art; the Los Angeles County Museum of Art (LACMA); The National Portrait Gallery, London; The Helmut Newton Foundation, Berlin; The Brandhorst Museum, Munich; and the Kunsthaus Wien, Vienna.

American Jesus runs through September 18, 2010.

And to learn more, check out my recent interview with LaChapelle for Dazed & Confused here.


*above: American Jesus


*above: Sketch for The Rape of Africa. LaChapelle’s photographs typically begin with a series of compositional graphite drawings, collages, watercolors, and mixed media sketches—a little known facet of his artistic process.


*above: The Rape of Africa

*All images copyright David LaChapelle and courtesy of Fred Torres Collaborations.

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