Jack Shainman Gallery
513 West 20th Street
New York, NY
-through May 22, 2010
click to enlarge
Transplants. A photography show in conjunction with MOPLA.
4.30.10 – 5.14.10.
Opening night – 4.30.10 7-10PM.
This 3rd show is co-presented with the good people from MOPLA (Month of Photography Los Angeles). 10 renowned and award winning photographers, living and working in Los Angeles but born and raised elsewhere.. in other words 10 Transplants:
from 58 Gallery:
VESTIGE - Works by Justine Reyes and Sonja Thomsen
Through May 2nd
Closing Reception May 1, 7-10pm
58 coles st jersey city nj. 07302
These Last Things consists of large-scale color photographs of the interior of four drawers. I took these drawers out of my uncle's dresser after he passed away. The title refers to the Novissima or the Four Last Things that every man must face; Death, Judgement, Heaven and Hell. I chose this title not only because my uncle was Catholic and very religious but also because it refers to the things we leave behind when we die. These drawers are the last physical trace or vestige of my uncle, left untouched in his memory.
As the word lacuna references both intellectual and physical gaps, the temporal installation titled lacuna is a metaphor for memory and aging. 70 small images hang on the wall, some in stacks of reproductions waiting to be peeled away. Throughout the duration of the installation the images are removed, fade and reveal an impression in plexi of the image that was once there. Place and person become symbol and impression in the work creating an emotive narrative suspended in the gap between; a man straddling dementia, a boy in his teenage prime, hands cradling the last harvest of raspberries.
from The Exhibition Lab:
THURSDAY, JUNE 3RD
Come join us and see what it's all about...
Or just have a beer and hang out.
Gallery owners Michael Foley and Sasha Wolf are thrilled to announce the formation of The Exhibition Lab, a new study center for fine art photography.
The Exhibition Lab will provide a vibrant modern-day salon for artists, scholars and others who are interested in engaging the world's diverse and vital photography community through the gateway of New York City.
Classes, in the form of seminars, workshops and semester-long courses, will be offered on subjects geared to practitioners of the medium (i.e., Critique Levels 1 and 2, Book Publishing and Photography Blogging), as well as to those in the academic community (i.e., The Art and Ethics of Documentary Photography and The Philosophy of Being an Artist). The Lab will be a significant contributor to the photography community for a number of reasons. Located in central Chelsea in a new space shared by Sasha Wolf Gallery and Foley Gallery, the Lab will function as a hub for the study of photography outside of traditional academic venues. Its impressive list of committed artists and scholars who will be teaching classes and seminars for the first session speaks for itself. Working in collaboration with Foley and Wolf, these teachers have been encouraged to design their classes and seminars based on their unique expertise and interest.
the EXHIBITION LAB
548 West 28th Street, 2nd Fl
New York, NY 10001
Annie Leibovitz (exhibit) opens new museum of contemporary photography in Stockholm
World's largest museum dedicated to contemporary photography opens in Stockholm on May 21st. "Annie Leibovitz: A Photographer's Life, 1990-2005" will open the museum as the main exhibiition. Premiering exhibitors also include Vee Speers "The Birthday Party", Joel-Peter Witkin "Bodies" and Lennart Nilsson".
Located in the Stockholm harbor, Fotografiska is the new meeting point for influential contemporary photography.
Candace and I were introduced to the work of Sara Applegren when we were invited by Tema Stauffer and David Andrew Frey to guest curate an issue of Culturehall; for that feature - titled Framed- we included images from Sara's series View of a Passing Landscape.
Sara's work is a fresh and modern as her name and we are delighted to present this conversation today.
© Sara Appelgren
NP: Tell us a little about yourself.
SA: I was born in 1975, in Nyköping, Sweden, and now I'm living and working in Stockholm, Sweden. I got my Master of Arts at Konstfack (Stockholm University College of Arts Crafts and Design) in 2004 and since then I have been freelancing as an artist and photographer.
© Sara Appelgren
NP: How did you discover photography?
SA: I started taking lots of personal pictures of myself and my friends during my teens, so I actually started learning photography and darkroom techniques fairly early on, yet during my first three or four years of art studies I focused almost entirely on sculpture and drawing. It wasn't until my studies at Konstfack (1999–2004) that I started to seriously incorporate photography in my art. There I learned more about lighting and advanced camera techniques, and how to use it all in a more controlled and conscious way. So ultimately it took me several years of art studies to kind of shift into photography, and to this day I suppose I approach my work in a kind of sculptural manner.
NP: Where do you find inspiration?
AG: I'm very interested in how experiences are created; and I'm easily inspired by situations where experiences are the main focus, for example concerts, shows, movies, stories, sporting events and so on. I find it really interesting to contemplate all the parts that are in play in these kinds of situations, and especially all those things that aren't in the spotlight but still has such a great impact on our experiences. I've been focusing on the spectator for quite some time now, and I find that solely contemplating any given audience often give birth to new ideas. I also find it interesting how we position ourselves against others at social events, how we communicate (or not) and how we approach others in various situations – myself included, naturally. Pictures from outside the arts and culture scene might also inspire, like news photos or instructional pictures. One of my first photo projects “Scenes” 2002–2003 is based on pictures from self defense books.
© Sara Appelgren
Pictures meant to communicate one particular thing or point of view have always fascinated me, everything from religious icons to illustrations in classical fairy tales, and lately all sorts of propaganda. I find propaganda's extreme simplification of complex issues interesting, as well as how it uses such overblown drama and black and white thinking to reinforce it's message. It could be argued that propaganda is a kind of aggressive extension of the essence of scenography – influencing and persuasive, a one way communication.
© Sara Appelgren
NP: How do your projects come about?
SA: Timewise, the actual photo shoot is a fairly minor part of my work process even though I usually end up taking a huge amount of pictures to achieve the end result of any art project. I typically lose myself in a subject doing some form of research for an extensive period of time, like collecting pictures and texts related to any particular subject. I often begin a process without a clear idea of what the end result will be, and I seldom fit an entire concept in one single image. I have a spatial approach to my ideas and I always take the viewer into consideration early on in the process. Nearly all of my work revolve around various aspects of scenography and experiences, particularly from the spectators point of view. I often set out from one specific situation or occurrence to provide some sort of frame for a project to make it easier to handle, but the point of origin isn't always relevant to the end result as I often strip so much out of the pictures that they end up approaching something else entirely or at the very least become quite ambivalent. I'm not interested in telling a story that can be read in one way only. There is no definitive key, I feel more like I'm providing the viewer with a space to project onto.
© Sara Appelgren
Most of my works are closely related conceptually; one work often leads to another. In “Portraits” you can see an audience's fascination and presence, and the following work “Settings” focuses on the space of expectation: the foyer – the space we're in before and after a show. In “Mingle” we meet the spectator as a social and mingling being that's both watching others and being watched. The environmental depictions of fairy tales play an integral part of “Telling Stories”. The first part of the ongoing project “Stage” shows the stage prepared for a concert. I suppose it's all some form of deconstruction, disassembling a greater whole into it's elemental parts and giving all the parts the same significance.
© Sara Appelgren
When I've worked on public commissions I've based them both spatially and conceptually on the specific places for the final works and created a sort of scenographic photo installation for them. With “View of a Passing Landscape”, a commission for a long corridor in a psych ward in Stockholm, I created a condensed train trip in the form of a number of train windows with various views from actual train rides. Each view can be seen as scenography for widely different moods. The choice of depicting views from a trip also emanates from the idea of how traveling relates to longing, searching and expectations. A trip is always a forward motion, regardless of whether the destination matches our expectations or not. We leave something behind to meet something new. It's like life itself – a trip with a variable view.
NP: What’s next?
SA: I've just started working on a new series of portraits based on rituals in front of a mirror in preparation for a night out, or before a show or concert. I am interested in the preparations themselves in combination with the expectations for the evening, but I'm perhaps even more interested in the rituals moments of introspective concentration where we meet our own gaze in the mirror – unavailable for anyone else. I'm providing some samples of the first few photos in the series.
© Sara Appelgren
N: Thank you so much!
To see more of Sara's work please visit: www.saraappelgren.com.
SLOW BURN [recent experiments]
by Klea McKenna
Reception: Sunday April 25th, 4- 6 pm
Rayko Photo Center
428 Third Street (at Harrison St)
San Francisco, CA 94107
Exhibition dates: April 25th - May 30th 2010
Suicide with Gun, Male, 40 years old (I) © Sarah Sudhoff
Illness, Female, 60 years old © Sarah Sudhoff
Suicide with Gun, Male, 40 years old (II) © Sarah Sudhoff
Heart attack, Male, 50 years old (III) © Sarah Sudhoff
This week we are sharing some images from Sarah Sudhoff's new series At the Hour of Our Death. While confrontational in nature, these fluid stained surfaces are somehow poetic as they linger in your thoughts. Here's a snippet from her statement.
These large-scale color photographs capture and fully illuminate swatches of bedding, carpet and upholstery marked with the signs of the passing of human life. The fabrics which are first removed by a trauma scene clean up crew, are relocated to a warehouse before being incinerated. It is in the warehouse that I photograph these fragments stained with bodily fluids. I tack each swatch to the wall and use the crew’s floodlights to illuminate the scene. The images are my attempt to slow the moments before and after death to a single frame, to allow what is generally invisible to become visible, and to engage with a process from which we have become disconnected.
"At Her Age" - Call for Artwork
Curated by Martha Wilson, artist and founder of Franklin Furnace
An open call for artwork by women artists that address women, age and sex to be exhibited at A.I.R. Gallery.* The exhibit will examine how women view their changing bodies. A.I.R. welcomes an open interpretation of the theme.
DEADLINE: May 14, 2010
This call inaugurates A.I.R.'s new yearly CURRENTS exhibition series that addresses issues that warrant expanded critical attention in the art world.
For more info, to apply online or to download an application click HERE
Or mail SASE to A.I.R. Gallery, 111 Front Street 3228, Brooklyn NY 11201
*All self-identified women artists world-wide are invited apply
Model Release Forms Go Mobile with New iPhone App
For $9.99, you can replace paper release forms with an app that incorporates industry-standard legal language that is accepted by the world's leading stock photo companies.
Read more at: http: www.creativepro.com.
© Alison Brady
4 x 4: four figurative photographers, four images each
8810 Melrose Ave, west of Robertson Blvd
Los Angeles, CA
April 24th - June 5th
Opening Saturday April 24th from 6 - 8 pm
revisit our conversation with Alison Brady, by clicking here.
Thrills and Chills Photographs by Isa Leshko
April 8 through May 9, 2010
An opening reception is April 15, 6-9 PM. All are welcome.
While some people see pure fun in amusement park rides, photographer Isa Leshko explores "the fantastic and sinister place these rides hold in my imagination."
Thrills and Chills, a series of her photographs, is featured in the Griffin Gallery of the Griffin Museum April 8 through May 9. The exhibit is sponsored in part by Panopticon Imaging in Hingham, MA. An opening reception with the artist is April 15, 7-9 PM.
"Amusement park rides are vehicles for enacting fantasies for both children and adults alike," Leshko says. "They simulate flight, daring sea adventures, and encounters with other worldly creatures. From the moment we strap ourselves into our seats, we surrender ourselves to these giant machines and the physical release they provide. The experience combines elation with fear; thrills with chills."
She says when creating some of the images, "I suspend disbelief and embrace the underlying fantasies of these rides. With other images, I examine the tensions that exist between fantasy and reality. I am fascinated by the range of emotions - from anger to shock to disenchantment - that people exhibit in pursuit of the amusement these rides are supposed to provide."
Leshko says she uses a Holga camera to give her images "a vernacular feel and a sense of immediacy. I print these images deliberately dark to reflect the murky realm I envision these mechanical beasts inhabiting."
Leshko grew up in an industrial town situated off the New Jersey Turnpike. She received a bachelor's degree from Haverford College in Pennsylvania, where she studied psychology with an emphasis on neurobiology and cognitive science. She spent the 1990s working for dot.com startups as a project manager and software engineer, before discovering her passion for photography.
She studied at the New England School of Photography and the Woodstock Center for Photography and completed the Artist's Professional Toolbox program sponsored by the Arts and Business Council of Greater Boston. Her work has been exhibited widely.
After 16 years of living in various New England communities, including Providence, RI; Portsmouth, NH; and Salem, MA, she moved to Houston, TX, in October 2009.