Poetic Pictures of Horizon Lines by Sze Tsung Leong
See the rest from Fubiz
Via The New Yorker
The “Photography and Discovery” show at the Clark Art Institute, in Williamstown, Massachusetts, is small (around thirty photographs, mostly pre-1900, all from the Clark’s own amazing collections), curatorially unpretentious (no challenging art-historical theses are advanced), and well worth a visit, especially for people, like me, whose interest in photography is mainly indulged through books or online. Because one of the things in the show you’re quickly struck by is the painterliness of the pre-digital photographic image. It’s not surprising; painting was the paradigm for visual art in the nineteenth century. But it’s not only the composition that’s painterly; it’s also the tactility.
Read the rest from The New Yorker
The images are marked by errant light leaks, several are out of focus, and the exposure is never quite perfect — but that’s all part of the appeal and what makes the exhibition so memorable. Matt Titone, founding partner of LA-based creative agency ITAL/C and surf lifestyle publication Indoek, sought to bring some of the spontaneity back to photography by taking the medium back to basics. He sent some of his favorite artists a disposable camera with no directive. The eclectic results are on display in 27 Frames
Julie Saul Gallery is pleased to announce our twelfth solo show with Sally Gall during our thirty years of representation. The large scale color photographs in Aerial were made between winter 2014 and fall 2015, as she continues her ongoing investigation of the sensual world. In these images, the sun, wind and brilliant color animate laundry into painterly color fields of biomorphic shapes.
Billowing skirts, bed sheets, and undergarments transform into orchids, sea creatures, celestial bodies, and reference painters such as Miro and Klee. Gall says, “what started as an exploration of humanity and an appreciation for the most basic of activities, hanging laundry to dry, has expanded into an exploration of the abstract and otherworldly.Ordinary identifiable objects become mysterious, strange, outside the human realm. An element of eros is added as I am literally looking up someone’s skirt.”
Photographed in Italy, Cuba, and Croatia, the lines of laundry publicly expose the intimacies of domesticity. The delicate dance of hanging laundry morphs into a conversation between the figurative and abstract. Clothes embody the presentation of the self to the world. Gall is searching for the poetry in the quotidian, the marvelous in the every day choreography of blowing lines of laundry.
Source: Julie Saul Gallery
In some parallel universe where we’re all smarter, richer and better looking, Bernard F. Eilers would be as well known as, say George Eastman and the vast Kodak empire.
For Eilers (1878-1951) was a Dutch photographer, inventor, businessman and chemist who among his many other career highs devised (over several years) an astonishing three-color process of photography called foto-chroma eilers in 1935. This was a simple yet effective separation technique which delivered (as it was described at the time) near perfect color reproduction. In this parallel universe it is foto-chroma eilers that became the dominant photographic process and not Kodak.
Read the rest from Dangerous Minds
“In my serial self-portrait I found a world which Rembrandt forgot. I am trying to extend his moment.” —Zhang Huan, Family Tree, 2000 (Nine chromogenic prints)
This group exhibition features more than 70 works by ten artists: Claudia Angelmaier, Erica Baum, Anne Collier, Moyra Davey, Leslie Hewitt, Elad Lassry, Lisa Oppenheim, Erin Shirreff, Kathrin Sonntag, and Sara VanDerBeek. The exhibition and its accompanying catalogue will examine an important new development in contemporary photography, offering an opportunity to define the concerns of a younger generation of artists and contextualize their work within the history of art and visual culture. Drawing on the legacies of Conceptualism, these artists pursue a largely studio-based approach to still-life photography that centers on the representation of objects, often printed matter such as books, magazines, and record covers. The result is an image imbued with poetic and evocative personal significance—a sort of displaced self-portraiture—that resonates with larger cultural and historical meanings.
November 20, 2015–March 23, 2016 at the Guggenheim Museum.
People look at exhibition hang above a river during the 27th ‘Visa pour l’Image’ Annual international festival of photojournalism in Perpignan
In a world where larger women are all too often shamed for their bodies, asked prying questions about their health, and not allowed to feel beautiful, a photographer has set out to reclaim the word “fat.”
Source: The Independent
Martin Gusinde’s haunting photographs of the Selk’nam, Yamana and Kawésqar peoples—now collected and published in The Lost Tribes of Tierra del Fuego—present a way of life that has since ceased to exist.
Source: The New York Review of Books
Daidō Moriyama, Transit series
From its beginnings in experimentation by mid-19th century scientists and gentlemen of leisure, photography has been shaped by the desire to understand and explore the medium’s essential materials. Taking that spirit of invention and discovery as its point of departure, this exhibition features the work of seven artists—Matthew Brandt, Marco Breuer, John Chiara, Chris McCaw, Lisa Oppenheim, Alison Rossiter, and James Welling—who focus their investigations on the light sensitivity and chemical processing of photographic papers, challenging us to see the medium anew.
The exhibition also includes an overview of experimental practices during the twentieth century, drawn from the Getty Museum’s collection. The works on view in Light, Paper, Process provide a glimpse into the continued interrogation and reinvention of the medium of photography by artists working today.
Light, Paper, Process: Reinventing Photography
April 14–September 6, 2015, Getty Center
Photos courtesy of getty.edu
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