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Ellie Davies
Into The Woods
Richard Young Gallery, London
05.10.2012 - 17.11.2012 

The Richard Young Gallery invites you into the realms of naturalism and fairytale with an intriguing solo exhibition by award-winning English photographer,

Ellie Davies. Into the Woods will showcase a selection from each of the five series Davies has produced from 2010 – 2012 including and introducing her most recent, unseen body of work, The Dwellings.

With this collection of 24 photographs Ellie Davies captures the mystery and intrigue of ancient forests by creating minimally disruptive woodland installations that transform the natural into the fanciful. These carefully constructed environments offer the viewer a nostalgic possibility of discovering something magical amidst the trees and shadows.

Davies works mostly alone in the woodland to become fully attuned and engulfed by the atmosphere of each individual setting. She performs small acts of engagement by painstakingly crafting and arranging her chosen materials within the natural world and then documenting her intervention with photography.

Painted leaves are positioned into paths enticing the viewer to delve deeper into the forest; golden trees reveal themselves within heavily saturated green and brown environments; strands of wool ephemerally create beguiling trails that jump from tree to tree; ovals of bright light hover within the panorama of the darkened forest floor; and dwellings created from fallen branches are stumbled upon – unsure of whether they were created by man or animal.

Ellie Davies comments: ‘My work grows out of my sense of the woodland I am in. There is often a slight tension, an eeriness, but also great beauty in the shadows beneath the trees, and my images are an evocation of these feelings. I wanted my compositions to capture a sense of my place within the woodland and my response to it, but also a feeling of enchantment - like a chance discovery in a fairytale.’

© Richard Young Gallery  | Ellie Davies

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YTO BARRADA
'Riffs'
FotoMuseum, Winterthur
01.12.2012 - 10.02.2013

Yto Barrada – Riffs is the first large-scale museum exhibition by the French-Moroccan artist. In 2011 she was selected by Deutsche Bank as “Artist of the Year” 2011. The award includes an exhibition made possible by the financial institution, which was presented at the Deutsche Guggenheim in Berlin followed by stops in Brussels, Chicago, Birmingham, and Rome, and which can now be seen at Fotomuseum Winterthur.

For more than a decade, Yto Barrada (*1971) has confronted the political realities of North Africa in her photographs, films, and sculptures. Her work engages with life in her hometown of Tangier, Morocco, whose particular situation along the Strait of Gibraltar is emblematic of the historical upheavals experienced by many countries in northern Africa.

“I’ve always been attentive to what lies beneath the surface of public behavior,” says Yto Barrada. “In public, the oppressed accept their domination, but they always question their domination offstage. Subversive tactics, strategies of class contestation, forms of sabotage used by the poor – this is what I am most interested in.” Yto Barrada monitors the changes in her city with hawk-like attentiveness, responding to them with actions, images, and films that nevertheless maintain a remarkable calm, distance, and restraint. Neither iconic nor bellicose, they do not purport to be a weapon of enlightenment, nor do they offer a complacent, arrogant visual world that knows exactly how to behave and what to attain. As if the artist would always take a step back, her quiet, nearly static square color photographs offer visual fields opening up onto a landscape, an urban constellation, a being, a repose.

They reveal objects, buildings, and people so we might engage with them as observers, immersing ourselves, seeking, exploring, contemplating. We see here a sign and a gesture, there a rebellion; strikingly de-dramatized, real and allegorical at the same time.

© Yto Barrada | Fotomuseum Winterthur 

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Doug Dubois
‘My Last day Seventeen’
Encontros Da Imagem, Braga
14.09.2012 - 28.10.2012

Russell Heights is a housing estate of uncertain vintage that sits on Spy Hill overlooking Cork Harbor on the Great Island in East Cork, Ireland. The neighborhood is insular: everyone seems to be someone’s cousin, former girlfriend or spouse. Little can happen there that isn’t seen, discussed, distorted beyond all reason and fiercely defended against any disapprobation from the outside.

My introduction to Russell Heights came at the invitation of Kevin and Eirn, two teenagers who took part in a photography workshop I gave at the local community centre. The title of the project, My Last Day at Seventeen was uttered by Eirn when I photographed her on the eve of her eighteenth birthday. Certain photographs are made spontaneously, but most are fashioned collaboratively utilizing a chosen wardrobe, setting and circumstance. These scenes are carefully crafted and stylized to evoke the narrative rhetoric of literature and film without abrogating entirely the photographic claim to depict lived experience. The portraits, similarly directed, are often tightly framed to concentrate on the anxious countenance and fragile bravado of a future life not fully imagined or realized.

The photographs were made over a four year period during a series of artist residencies at the Sirius Arts Centre in Cobh. Collectively, My Last Day at Seventeen presents a somewhat fictional, somewhat documentary account of adolescence in Ireland and a coming of age story about a small group of teenagers from Russell Heights.

© Doug Dubois 

7

WHITNEY HUBBS
‘The Song Itself Is Already A Skip’

M+B, Los Angeles, California
19.01.2013 - 09.03.2013

Dark, raw, powerful and swimming in sensuality, the work of Whitney Hubbs is at once blunt and lyrical, formal and improvised, recognizable to daily experience and yet totally foreign from it. Full of unlikely visual rhythms, Hubbs’ work creates and provokes with aesthetic force. Her images reside in a reticence of feeling. Through profound light and dark, a specific refusal of continuity or seriality, as well as latent eroticism, Hubbs demonstrates over and over her disinterest in generic narratives. Her work persuasively follows its own internal logic through her willingness to challenge the relationship between photographic immediacy and “authenticity.” This is the point of contact where reality and representation become muddled.

While we are accustomed to the photographic medium as the revelator, Hubbs confounds this idea. Abstracting through framing and with little desire to illuminate or provide an understanding, Hubbs prefers to leave the viewer feeling — sensing. A continual tension builds throughout the work. The darkness confronts you. The release overpowers. It is a sense of intuitive wonder you are left with. Defining, while withholding. Simply there. If you care to look into the corners, around the edges and crawl into the vastness, you find yourself pulling wonder out of the chaos and revealing something more.

© M + B  | Whitney Hubbs

Josef Koudelka
'Gypsies'
Les Rencontres Arles Photographie
02.07.2012 - 23.09.2012

In 1975, the first edition of Josef Koudelka’s photographs was published by Robert Delpire in a book that became a myth and was never published again. In 2011, Josef Koudelka exhumed a former dummy of the same book and decided to re-publish it with a larger amount of photographs. Exceptional pictures, exhibited for the first time together, unique prints, the show tells, through unpublished documents, the story of those two books published with a thirty-six-year gap.
In the 1975 edition, Robert Delpire said about this special project that impacted the twentieth century history of photography: ‘In the very stillness of the characters Josef questions and who question him, there is a kind of tension, a quivering, the muffled murmuring of flowing blood suddenly contained. It is not so much the temporary nature of immobility, the suspended time peculiar to the snapshot, as the feeling that this precarious immutability is only a surface phenomenon. Beneath each of these weather-beaten and hairless complexions silently glides the ice of all fears. Rooted like dried trees inside these bare, white walls, men mark out lines, indicate the masses of a statistically geometric order. Prisoners of the attention that they bring to bear, without naivety, on the photographic event, they are both witnesses and actors of their own presence. Whether they keep watch over the victim of a murder, show their pathetic treasures or flaunt themselves in front of Josef in the ironic ostentation of an accepted impoverishment, they give to the image its weight of classicism and tradition.’

Robert Delpire, excerpt from ‘Josef ou la fureur de voir’, 1975.

© Les Rencontres Arles Photographie

Jacques Henri Lartigue
‘Instants de vie’
Fifty One Fine Art Photography, Belgium
07.09.2012 - 20.10.2012

Fifty One Fine Art Photography is proud to present the first solo exhibition of the work of Jacques Henri Lartigue (1894-1986). Lartigue left an enormous body of work, consisting of approximately 100 000 snapshots, numerous diaries and about 135 self-composed photo albums, in which he documented his own environment. The world of Lartigue is a universe populated by racecars, airplanes, jumping people and the French bourgeoisie of the 20th century. He experiments with shutter speed and movement and his small stature results in some unusual framing in his early years. The work of Lartigue is a unique time document, an idyllic view into the bourgeoisie life of the past century.

The exhibition includes a number of Lartigue’s iconic images, such as the photograph of his cousin Bichonnade (1905), floating above the stairs of the family home in Paris; the one of Monsieur Folletête, the secretary of his father, throwing the dog Tupy in the water of the ‘Bois de Boulogne’ (1912) and the image of the lady in fur coat in that same Parisian park, walking her two white dogs and throwing the young Lartigue a sideways glance (1911). Furthermore, there’s a selection of portraits of women in the upper part of the gallery, one of the favorite recurring themes that pervade the work of the artist.

Jacques Lartigue was born in 1894 in Courbevoie, in one of the wealthiest French families of that time. For his eighth birthday, the little Jacques got his own glass plate camera (13×18) from his father, with whose camera he had already made some family pictures. He described and sketched every photograph he took extensively in his diaries, fearing that the image would have failed and therefore the memory of the moment would have been lost. It was the beginning of what he would do his entire life until 1986: the continuous photographing of his own environment. It took about sixty years and several cameras, till Lartigue, who until than in fact made a living as a painter, was discovered by the public. To some extent, he owes his fame to John Szarkowski, the former director of the photography department at the MOMA in New York, who planned a big solo show after seeing some of the photographs of Lartigue’s many youth albums in 1962. The exposition got publicity in Life Magazine, by chance in the same issue in which the death of John F. Kennedy was extensively described. Hence, Jacques Henri Lartigue suddenly became a famous photographer and entered into the canon of photographic history. Collaborations with other great photographers followed (Richard Avedon put together the retrospective work ‘Diary of a Century’) and Lartigue was praised by among others Henri Cartier Bresson, Cecil Beaton, Helmut Newton and Jean-Loup Sieff. In 1979, Lartigue donated his collected works to the French government, who continues to manage the oeuvre of the photographer under the Donation Jacques Henri Lartigue and with whom was collaborated for the current exhibition.

The photographic work of Jacques Henri Lartigue is difficult to classify, because he primarily took photographs for his own pleasure. He described it as follows: “My self-centeredness alarms me. There is a spectator in me who watches, with no concern for specific events, without knowing if what is happening is serious, sad, important, funny, or not. A breed of extraterrestrial, who has come to Earth simply to enjoy the show. A spectator for whom everything is puppetry, even – and especially – me!”. In this regard, Lartigue is often described as the ultimate amateur, who in his mania to capture his environment, made a detailed time document in order not to forget and was only added to the list of masters of photography later on. It also seems as if Lartigue lived in a sort of mundane bubble, independent from all historic events, in a world where everyone is pretty and young and no speck of ugliness is to be seen. It’s a bit strange, to say the least, that a photographer, whose work and life spans two world wars and drastically changing times, makes no mention of it in his images. Lartigue writes in 1917: “If this “journal” doesn’t mention the war, it is first of all because this is not a “journal”. It is my little secret ruse for preserving joys or my happiness, my immense happiness, all perfumed with inexplicable things”.

It is like this Lartigue’s work should be read, as a representation in images of the pure bliss of the photographer. His black and white photographs amuse by their vivid mobility, disarm with their unconstrained look and make the spectator smile through their pleasant foolishness. Today Lartigue’s photographs can be found among others in the collections of the MoMA and the Met, New York; The National Gallery of Art, Washington; Tokyo Metropolitan Museum, Japan; Musée d’Orsay, Paris; Fotomuseum, Antwerp and the Fotostiftung Schweiz, Winterthur. More than 250 shows of his work have already circulated worldwide of which only two were to be seen in Belgium (Namur, 2001; Charleroi, 2003).

© Jacques Henri Lartigue | Fifty One Fine Art Gallery

Chris Killip

‘What Happened Great-Britain 1970-1990′

Le Bal, Paris

12.05.2012 - 19.08.2012

One of the most important British photographers, from the early 1970s Chris Killip opened up new perspectives for documentary photography whose influence is perceptible in the work of others such as Martin Parr, Tom Wood and Paul Graham.

Born in Douglas on the Isle of Man in 1946, Chris Killip took up full-time photography at 17 and was hired as assistant to a leading advertising photographer in London. Inspired by the work of Paul Strand and Walker Evans in America, Bill Brandt, August Sander and Robert Franck in Europe, in 1969 he returned to the Isle of Man whose new status as a tax haven was transforming the age-old Manx culture and way of life. Killip was determined to record its faces and landscapes, equally rugged and graceful; a world which had always seemed set in stone and was now at a tipping point.

A founding member, in 1976, of Side Gallery in Newcastle-upon-Tyne, Chris Killip would spend the next twenty years among the people of the north of England, in Huddersfield, Lynemouth and Skinningrove. He immersed himself in the region, its landscape and topography, and its inhabitants. He became the chronicler of declining British industry, and the often violent confrontation between the working class and hostile economic policy.

© Le Bal

5

ZHANG KECHUN
‘The Yellow River’
CCAE - THERE THERE event , Cork City
20.10.2012 - 03.11.2012

The Yellow River Surging Northward Rumblingly Regarding it as a song, perhaps, has become a popular joke for a long time.

Regarding it as a mother, or a root, probably ends by banishing such memory or cutting off that relationship. We play and chase all day long in the powerful torrent of moderisation. Yet the winding river has possibly been put out of our minds. There is no more gaze on it with quiet and peace, even a second.

It is a river, with it’s unity of bend and straight, fullness and imperfection, rapid and slow, active or tranquil, majestic and elegant, simple and wonderful, bright and dark, light and colour, form and spirit, visionary and real. Moreover, it also embraces people’s reality and fate, joy and sorrow, firmness and leisure.

Then I determined to go and follow it’s pace, with all my courage and my only presentable equipment; the large format camera. That’s the connotation and solemnness I can give. I know that it is improper for a photographer to make comments on mountains and rivers. It is a kind of bad manner to growl and to make a bowl pledge or a complaint on it’s plentiful history and such a consistant exit. Now, it’s time for me to wake up my silent soul to quietly watch on it for thr season, stare at it through this journey, have a cup of wine with it and sing a song, and sleep beside it.

Who will keep watch on whom? Who will flow with whom? As being alive, we all go by with time. But we are still here, ad we may have a better consideration on the future after having a look at the past and present with heart. In such a noisy world, only a fresh and simple song might possibly match with it original noble colour, it’s past and present, and be well worthy of it’s drifting place to place…

© Zhang Kechun

MICHAEL GENOVESE
‘Lines and Cracks and Zebras and Horses’

OHWOW, Los Angeles
12.01.2013 - 09.02.2013

OHWOW is pleased to announce Michael Genovese’s second solo exhibition with the gallery, titled Lines and Cracks and Zebras and Horses. His first show in Los Angeles, on view from January 12 through February 9, 2013, at 937 North La Cienega Boulevard, presents a recently completed body of work based on lineation, cleave, and the concept implied by the aphorism: “When you hear hoof beats behind you, don’t expect to see a zebra.” A series of plasma-cut steel wall reliefs located throughout the gallery compose a subtle arrangement based equally on materiality and concept.

These raised, sculptural “drawings” suggest following the maxim that common sense is the shortest distance between two points or to recognize the grace in directness. Genovese recreates various, common occurrences of line – an architectural fracture; a hair in the bathtub; the mark of automatic writing; a military line of demarcation; a varicose vein, or a simple fabric seam. He considers where these delineations appear, why they develop, and how they are finally perceived. With a piece titled Mimesis, 2013, Genovese merges a crack found in a Pompeii fresco with a line from Metallica’s …And Justice for All album cover artwork. By stitching these unrelated strands together, Genovese formulates a new pattern, but one that still reads as spontaneous as chance. The compound of seemingly disparate fissures subsequently reveals self-similar patterns, as in the logic of fractal mathematics. Therefore, variations in contour between unrelated sources are not as far removed from one other as they may first appear, and conceptually framed, what one assumes a chasm may actually serve as a suture.

Michael Genovese creates work that aims to connect with collective experiences, be it social or existential. He speaks to the familiar; however, through mark making, reduction, or transformation of the recognizable, he reassigns power. Rather than eliminating evidence or obscuring facts, he re-contextualizes our perception of meaning and history. His work deals with archives, permanence, and the designation of value. His concern with materiality and the treatment of his chosen media furthers his investigation of worth. Genovese’s particular approach, and the work’s content, move to alter our preconceptions, changing our proximity to what is tangible. Lines and Cracks and Zebras and Horses traces pressure, time, and the role of division, or more aptly put, it traces the ideology of those measures, questioning why we don’t see something for what it isn’t.

© OHWOW 

ARNOLD ODERMATT
'Arnold Odermatt'

La Chambre, Strasbourg
14.12.2012 - 03.03.2013

There once was a Swiss officer named Arnold Odermatt, whose photographic work, long neglected, was an international echo while the author was past the age of retirement. Born in 1925 in the canton of Nidwalden in a family of eleven children whose father was a forester, Arnold Odermatt had first served an apprenticeship with a baker. However, the allergy away from his original profession and entered, quite by chance, in the cantonal police, in which he spent the next forty years.

In ten years, Arnold Odermatt won a camera in favor of a competition, which led gradually to develop an autodidact, a photographic practice that can be described as passionate. He took his Rolleiflex dual purpose with him everywhere and photographing the people and landscapes of the region, and later, his wife and children.

This photographic hobby, however, was met with indifference by his entourage, when one day, in the early 1990s, his son, Urs Odermatt rediscovered it. Photographs of police knew then gradual success. Exhibited in 1998 at the police station at the Frankfurt Book Fair, its black and white damaged cars hung the eye of the famous curator Harald Szeemann, who took them at the Venice Biennale in 2001 . Therefore, the shots of the Swiss police were rewarded with international recognition.

This exhibition aims to return to the “legend Odermatt”, through a selection of shots mixing personal and professional lives of the Swiss police which invite us to discover the different facets of the photographic practice Odermatt, whose photographs full of humor also reveal a keen sense of framing and staging.

© La Chambre

2

JOEL MEYEROWITZ
Une rétrospective’

MEP Maison Européene de la Photographie, Paris
23.01-07.04.2013

Joel Meyerowitz’s colour work revolutionised the history of photography. Born in 1938 in New York, he began photographing the city in black and white with a 35mm camera after meeting Robert Frank in 1962. In the mid 1960s, a long trip to Europe marked a turning point in his career and enabled him to affirm his personal style. Only in the 1970s did he begin working exclusively in colour.

Joel Meyerowitz developed a highly individual style, capturing “the decisive instant” with a 35mm camera and revealing the beauty of reality using longer exposure times with a 20 x 25 Deardorff view camera. This retrospective presents both his early black and white photographs and his colour work, including the famous pictures of the ruins of the World Trade Center in New York following the events of 11 September 2001.

© MEP Maison Européene de la Photographie

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Cyrille Weiner
‘La Fabrique du pré’
Ecole Spéciale d’Architecture, Paris
16.11.2012 - 7.12.2012

This bed of greenery inspires not abandon but an awaiting. Overhanging a vast motorway junction, circled by towers, it is a vegetal stop against which the historical axe of the Parisian West comes to break. On this section of motorway returned to a state of wilderness, the stones tell no more stories. They allow the unexpected to come into being.

Sensitive to the interactions of the natural and the man-made, Cyrille Weiner interprets the space in its force of both destruction and renewal: spurts of sap crack through the cement, fluid sands destroy the supporting walls, plants grip onto the motorway parapets. Everything communicates, overflows, spreading out over the infrastructures that shape the landscape to the measure of man. The wasteland, with its tangles of plants, converts the territory into a free-zone, open to a multitude of uses. As if escaped from towns in which introversion, private property and isolation triumph, a few men here seem to reconquer their own time, energy and imagination. Cyrille Weiner observes this concrete reappropriation of the wasteland, the bodies and hands that dig, plant, weed and hence create the field. But this primary reality is filtered, transcribed into a fiction of the end-of-the-world and a paradise lost. In this wasteland of designs suspended, usual bearings of time become blurred ; these men come to resemble both the first and the last. (From Urban To Human, by Marguerite Pilven)

Created upon the initiative of Judith and Lucien Hervé, in memory of their son Rodolf, according to the objectives originally established by its founders. The purpose of the prize –open to candidates of all nationalities, resident in France or in Hungary for at least three years– is to assist a photographer, between 25 and 43 years old, in exposing his work to a larger audience.

The École Spéciale d’Architecture in Paris, is a privileged partner of the Lucien Hervé and Rodolf Hervé Prize and currently hosts the Cyrille Weiner and Ildi Hermann exhibition, in the Galerie Spéciale.

© Cyrille Weiner

Ewen Spencer
"Teenagers"
Third Floor Gallery, Cardiff 
23.6.2012 - 12.8.2012

It is a bad time to be young in Britain. Tabloid newspapers equate the current generation to a criminal underclass, succinctly put in a Daily Mail headline. “Feral youths: How a generation of violent, illiterate young men are living outside the boundaries of civilised society”. But who are the British youth and what do they stand for?

Ewen Spencer has spent the last fifteen years documenting youngsters in the inner cities of Britain. His close, sensitive and personal work describes a complex culture peppered with human emotions. Late night parties where young people long to ‘fit in’ with their group of mates. The first loves and sexual encounters that lead to adulthood. Rejected by the media and feared by much of society, teenagers have always been a source of creativity. Teenagers follows 21st century youths into the birth and first steps of the alternative music scene of grime. 

Ewen Spencer was born in Newcastle Upon Tyne in 1971. Deeply involved in the musical scene, he has collaborated extensively with The Face since the late 90s and has been the main photographer for The White Stripes. He has worked on major advertising commissions by the likes of Nike, Puma, T mobile and Sony, as well as the TV series Skins. His most representative book to date is Open Mic, which documents the mid-2000s East London grime scene.


© Ewen Spence

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DAVID NADEL
Burns

Blue Sky Gallery, Portland
04.12.2013 - 29.12.2013 

Artist David Nadel’s series Burns is a poignant study of the remains of scorched forests in northwest Montana. Over the past five years, Nadel has hiked the rugged terrain of the Swan, Apgar, and Whitefish mountains in order to photograph the aftermath of wildfires. The charred trees against the white snow create a monochromatic, almost abstract aesthetic, yet closer inspection reveals the sharp details and subtle colors captured by the artist’s large-format view camera. For Nadel, these images acknowledge the loss of what once was while simultaneously drawing our attention to new, awe-inspiring landscapes:

“The ‘Burns’ depict order in a landscape that is chaotic, stark and devastated. The remains and monuments of a once colorful forest redefine beauty in the landscape.”

David Nadel was born in Massachusetts, and holds a BFA from Purchase College. His work has been exhibited at the Soho Photo Gallery in New York, Pingyao International Photography Festival in China, and +Kris Graves Projects in Brooklyn. He is currently represented by Sasha Wolf Gallery in New York City and lives and photographs in Montana.

© Blue Sky Gallery

WILLIAM EGGLESTON

LOS ALAMOS
Gagosian Gallery, Beverly Hills
27.09.2012 - 10.11.2012

“I just wait until (my subject) appears, which is often where I happen to be. Might be something right across the street. Might be something on down the road. And I’m usually very pleased when I get the image back. It’s usually exactly what I saw. I don’t have any favorites. Every picture is equal but different.” —William Eggleston

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Gagosian Gallery is pleased to present an exhibition of photographs from William Eggleston’s Los Alamos series. This will be Eggleston’s first solo exhibition in Los Angeles since 2004.

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A Memphis native, Eggleston carved his distinct oeuvre from the immediate world around him, incorporating all shades of life into his vivid photographs and thus pioneering an approach that derives its power from a refined form of spontaneous observation. A modern-day flâneur, he captures compelling fragments, events, and personalities of the ordinary world on the streets and in the parlors of small-town America. His subject matter, such as parked cars, billboards and abandoned storefronts, are seemingly banal, yet the idiosyncratic manner in which he orders his observations creates a world of enigma and unexpected beauty, unflinching in its veracity.

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This exhibition comprises twenty-eight large-scale pigment images from the Los Alamos series, printed from vintage negatives. Some images were first printed in the early 2000s as dye transfers. Others have never been seen before. Eggleston shot them on the road between 1966 and 1974 in the Mississippi Delta, New Orleans, Las Vegas, Los Angeles, Los Alamos, and other locations across the United States, naming the Los Alamos series after the laboratory where atomic weapons were developed. In the intimate portraiture and stark landscapes, the profound influence of his aesthetic on contemporary image-making is plain. His self-professed “democratic camera” seeks out spontaneous moments of aesthetic exception—a neon light glowing piercingly in a darkened motel room; the back of a smooth, perfectly arranged grey updo; a collection of dolls; a gawky young man pumping gas. Tightly cropped and condensed, each object or subject assumes a narrative life of its own, charged with mystery and possibility. Geographically non-specific and seemingly timeless, the freedom and congeniality of these loosely framed portraits is a hallmark of Eggleston’s working style—emanations of a steadfastly egalitarian vision and a poetic eye.

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Eggleston is largely credited with legitimizing color photography as a fine art form. More than a century after the advent of color film and a decade after popular media fused with contemporary art, his first museum exhibition at the Museum of Modern Art, New York in 1976, was also the first fine-art exhibition of color photography.  Some thirty-five years after this historic moment, he continues to innovate in the photographic medium. The vibrant and exquisite dye-transfer process, that became a hallmark of his oeuvre, has limitations predicated on the size of available photographic paper. In recent years, advances in digital printing have allowed Eggleston to create his images on a much larger scale—44 x 60 inches—while equaling and even surpassing the quality of color saturation previously available only to the dye-transfer process.

© Gagosian Gallery

4

LUIGI GHIRRI
‘Kodachrome’

Matthew Marks Gallery, New York
06.03.2013 - 20.04.2013

Matthew Marks is pleased to announce Luigi Ghirri: Kodachrome, the next exhibition in his gallery at 526 West 22nd Street. The exhibition consists of 25 vintage color photographs included in Ghirri’s seminal 1978 publication and exhibition of the same title. This is the first time these important works will be exhibited in the United States. It is also the first one-person Luigi Ghirri exhibition at Matthew Marks Gallery.

In 1978 Luigi Ghirri self-published his first book, Kodachrome, an avant-garde manifesto for the medium of photography and a landmark in his own remarkable oeuvre. Ghirri presents his surroundings in the book in tightly cropped images, making photographs of photographs and recording the Italian landscape through its advertisements, postcards, potted plants, walls, windows, and people. His work is deadpan, reflecting a dry wit, and continuously engages with the subject of reality and of landscape as a snapshot of our interaction with the world.

‘The daily encounter with reality, the fictions, the surrogates, the ambiguous, poetic or alienating aspects, all seem to preclude any way out of the labyrinth, the walls of which are ever more illusory… to the point at which we might merge with them… The meaning that I am trying to render through my work is a verification of how it is still possible to desire and face a path of knowledge, to be able finally to distinguish the precise identity of man, things, life, from the image of man, things, and life.’ [Luigi Ghirri]

Born in 1942, Luigi Ghirri spent his working life in the Emilia Romagna region of Italy, where he produced one of the most open and layered bodies of work in the history of photography. Although he exhibited extensively during his lifetime, and was at the height of his powers when he died in 1992, it has only been after his untimely death that his true achievement has begun to be appreciated.


© Matthew Marks 

JOACHIM BROHM
'Places & Edges'


Brancolini Grimaldi, London
22.03.2012 - 11.05.2013 


Brancolini Grimaldi announces the first ever UK solo exhibition by leading German photographer Joachim Brohm. The exhibition will feature work from throughout Brohm’s 30 year career, from early series including Ruhr (1980 - 1983) and Ohio (1983-84) through to more recent projects such as Culatra (2008 - 2010). The exhibition will also include Paradis, an early series, which has never been exhibited in a gallery show before.

Joachim Brohm rose to prominence in the early 1980s and was among the first Europeans of his generation to recognise the artistic power of American photographers including William Eggleston, Robert Adams and Stephen Shore. He was also one of the first photographers in Europe to shoot exclusively in colour starting in the late 1970s, connecting the visual possibilities of colour photography with a newly defined “everyday cultural landscape.” At the same time, Brohm’s sequences of photographs show how important the medium and the artist’s archive have become as reflectors of our day-to-day existence, challenging him to keep developing and reviewing them in the light of changes to the reality of our lives.

Culatra (2008 - 2010), forms the main focus of the exhibition. Culatra is a small, scarcely populated Portugese island on the edge of Europe, unspectacular but exotic in many ways, where solid houses sit next to shoddily built shacks. Brohm has created an archive of the island focusing on its inventory - boats, tractors, shacks, backyards, facades and more, many of which are removed from their original function and context. And despite the beautiful white sand and blue skies, the island looks almost deserted, adding to its sense of abandonment and desolation. Brohm’s pictures confront all this with a vantage point that shifts between overview and detail, distance and closeness. They reveal the hidden inner riches of the imagery of the banal.

In his early series Ruhr (1980 - 1983), we see different types of landscapes in the Ruhr region of Germany, an area undergoing huge change during a process of de-industrialization. Brohm turns his gaze on the edges of urban life, where existence tends to have a rural feel, where shopping-centres and small business zones have established themselves. The erratic settlement of the landscape where the cities burst out of their central structure is one of the interests with which Brohm anticipates the discussion of the ‘urbanization of the landscape’, which only developed around 1990. An elevated camera position is a constant feature in the composition of these pictures, so that we mostly see a larger segment of the landscape stretching out below us. People seem safely at home in it. This familiar, everyday ambience assumes a form of quiet monumentality.

In Ohio (1983-84), made by Brohm during a year long stay as a Fulbright-Scholar in the American city of Columbus, he captures aspects of an urban America not specific to any locale. Both familiarly American (the gas stations, the types of cars, the shops), and unfamiliar (from a car on fire to a deserted drive) Brohm is never trying to show us a documentary representation of reality. Rather these images give us a concept of America at the beginning of Ronald Reagan’s presidency depicting the transience of the American dream and the alienation and isolation related to it.

Throughout his career, Brohm’s work has explored the edges of places as he has sought to capture the on-going and perpetual changes happening in society and how they affect both the landscape and the people in it. It is in the hinterlands, the in-between places, where Brohm finds unexpected moments of hidden poetry, where neglect and decay become an expression of society and emphasise the temporary beauty of much that surrounds us.

© Brancolini Grimaldi

7

OPEN CALL ‘FAUNA’:
BEGO ANTÓN
'Butterfly Days'

In a small village in the south of England lives a small group of people who feel very pasionate about butterflies and moths; not merely because of their beauty, or their colors, or even the way they move, but because of all these things together. They know all about their habbits and their namnes in Latin. They collect books on them. They observe and record them. They even grow plants that attract them so as to have them near. They don’t understand how some poeple enjoy catching them. Butterfly Days is a love story between humans and butterflies. 

'FAUNA' is a new call open to any suggestions on photographic series related to animals. We will be posting the best submissions on Urbanautica and related channels. Deadline is February 18th. One project selected from among those submitted will be published and printed on the 4th issue 4 of “Stand" magazine together with the works of Alec Soth, Céline Clanet, Vincent Fournier and Trine SøndergaardStand is an advertisement-free photographic journal showcasing the work and thoughts of various contemporary photographers from all areas of the world. Submissions of the series are welcome at info@urbanautica.com or directly on our facebook page. Steve Bisson curator and art director of Urbanautica will also be selecting works for future exhibitions. The selection is made on series (full project). Yet we accept single images to share with our readers here on facebook… Thank you all and best wishes!!! 

© Bego Antón

5

We Went Back: Photographs from Europe 1933–1956 by Chim

International Center of Photography, New York
18.01.2013 - 05.05.2013

We Went Back: Photographs from Europe 1933–1956 by Chim, a new exhibition tracing the life and work of one of the most respected photojournalists of 20th-century Europe, will be on view at the International Center of Photography (1133 Avenue of the Americas at 43rd Street) January 18–May 5, 2013.

This retrospective exhibition follows the development of Chim’s career as an intellectually engaged photojournalist, placing his life and work in the broader context of 1930s–50s photography and European politics. Born Dawid Szymin in 1911 in Warsaw, Chim, who after World War II published under the name David Seymour, began his career in 1933 photographing regularly for leftist magazines in Paris, even before his close friends and collaborators Robert Capa and Henri Cartier-Bresson. His most celebrated reportages include the rise of the Popular Front in prewar France; the Spanish Civil War, which he covered alongside Capa and Gerda Taro; the postwar reconstruction of Europe; and the birth of Israel. In each of his images, he combined rare intellectual acumen and emotional intelligence.

“Chim was a keen observer of European political affairs, from the beginnings of the antifascist struggle to the rebuilding of countries ravaged by World War II,” said ICP Curator Cynthia Young, who organized the exhibition. “Although war formed the backdrop to much of his reportage, Chim was not known primarily for his war photography. Through his images of this period of radical upheaval, he emerges as a thoughtful reporter and a creator of elegant compositions of startling grace and beauty.”

Some of his photographs are well known—a woman nursing a child during a political meeting in Spain, a Polish girl in front of a drawing of her “home” after World War II, Picasso in front of his painting Guernica, a wedding in the new state of Israel—but other lesser known images are just as striking—workers at the Vatican waiting for lunch, a tomato garden in the postwar ruins of Frankfurt, children playing on Omaha Beach in front of a half-sunk military boat. These images delineate a sophisticated documentary practice in which Chim infused the informative detail with metaphor.

We Went Back encompasses more than 150 mainly vintage black-and-white prints, previously unseen color prints—including a newly discovered box of transparencies from 1947—and personal ephemera. All of the material in the show is from the collections of ICP and Chim’s nephew Ben Shneiderman, niece Helen Sarid, and extended family. [Read more HERE]


 © International Center of Photography

2

MARK COHEN
‘Grim Street’

Third Floor Gallery, Cardiff
08.12.2012 - 27.01.2013

Pennsylvania’s rust belt. In Mark Cohen’s photographs the overcast days feel as dark as nights. Worn brick walls and pavements feel tired and grey. The streets, back alleys and yards are inhabited by shadows and traces of human presence. Occasionally we find a full on confrontation with the inhabitants of Wilkes-Barre. It is as if the camera was an alien probe in search of the true mood and feeling of this industrial town.

Mark Cohen’s Grim Street is a seminal piece of 1960-1970s street photography. Leaving the much walked paths of its predecessors, but not the town of Wilkes-Barre, Cohen approaches photography in a truly confrontational manner, focusing often on the abstract patterns, textures and gloomy atmosphere that results from fast grab shots. Radical crops, disorienting closeups, a touch of of-kilter humour and the strong contrast resulting from the use of flash all took the art world by storm. In one photograph, against a dark and sinister background a woman’s face is occluded by a voluminous bubble gum and a hand seems to come off her head, in another a group of women all hide their faces from the encounter with the camera.

Mark Cohen has lived and photographed in Wilkes-Barre for his whole career. While running a commercial photography studio in the small city, his artistic career diverted into exhibitions at MoMA, George Eastman House, and other prestigious international museums and galleries. He has also been twice awarded the Guggenheim Fellowship. Out of his published books Grim Street and True Color are two of the most influential.

© Third Floor Gallery 

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