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Archive for March, 2012

ALFRED SEILAND: Photographs 1979 – 2000

Thursday, March 8th, 2012

Much of the work on view in Alfred Seiland’s current solo exhibition, Photographs 1979 – 2000 on view at Galerie Johannes Faber, has origins in the Austrian-born photographer’s repeated east coast/west coast tours of the American landscape. Often interrogating the particularities of a site multiple times in the course of journey, Seiland’s photographs extract the essential details of color, light, and shadow, of line and surface lying beneath the thematic dryness of his domestic landscapes.

The photographer’s brief foray into the—some would suggest, antithetical—realm of fashion photography with New York Times Magazine‘s 2004 photo series, “Hanging Gardens: When the Bloom Is on the Line,” is not a complete departure.

With Dress by Nicholas Ghesquiere for Balenciaga, Seiland “plays with the façade of [a] colorful dress against an equally bright and textured background of orange and red flowers.” The flattening of surface, the rendering of foreground and background elements along a shared visual plane, all executed through the manipulation of color and contrasting elements is consistent with Seiland’s broader photographic language. The image suggests a pictorial narrative of its own, surrendering its subjectivity in favor of “a mood and space that seems to exist only in and for that picture.”

Kathy Ryan, long-time Director of Photography for the New York Times Magazine, targeted Seiland specifically for the 2004 Style shoot:

My first instinct often is to bring in photographers who might not normally be shooting a particular kind of work. There were a lot of beautiful flowered prints that season, which led me to think of Alfred Seiland… I remembered seeing a picture by him of sheets hanging on a clothesline, years before, and that was a direct inspiration. I love the pattern on pattern here, and the fact that, even though there’s nobody there, the dresses themselves clearly have personality.

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Alfred Seiland’s Dress by Nicholas Ghesquiere for Balenciaga, from “Hanging Gardens: When the Bloom is on the Line” is available from Aperture in a limited-edition of 25 ($650, available here).

Alfred Seiland is also featured in The New York Times Magazine Photographs (Aperture, 2011), edited by Kathy Ryan ($52.50, available here).

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His current exhibition, Alfred Seiland: Photographs 1979 – 2000, is now on view at Galerie Johannes Faber, Vienna, through June 2nd.

Galerie Johannes Faber
Dorotheergasse 12
1010
Vienna, Austria
+43 1 512 84 32

J.H. Engström Awarded World’s Best Book Award

Thursday, March 8th, 2012
Three untitled prints from Trying to Dance portfolio © J.H. Engström/Aperture

Last month, renowned Swedish photographer J.H. Engström was awarded the Goldene Letter first prize in the Stiftung Buchkunst Best Book Design From All Over the World competition, the Frankfurt-based art foundation’s annual review.  His book La résidence was selected by an independent international jury from a pool of 540 photo books from 31 countries. They call it “a fascinating, eye-opening book – interaction without anything having to be plugged in.”

La résidence is comprised of 29 snapshot-like triptych gatefolds interspersed with his typically restrained pictorials on borderless double-page spreads and brief bursts of diary comments. The selection committee writes:

Nothing dramatic takes place, no lessons are being taught – but as each sequence elicits greater curiosity, for the spectator, browsing and folding his or her way through the pages, a personal individual story emerges, like the pieces of a jigsaw puzzle.

Engström has been featured in an interview with Anders Petersen in Aperture issue 198. Aperture Foundation also presents a limited edition print and portfolio.

“CDG/JHE #41, 2006″ from the series CDG/JHE © J.H. Engström/Aperture

The haunting, painterly print “CDG/ JHE #41, 2006,” originally featured in Aperture magazine issue 190, shows his efforts at capturing the atmosphere and ambiance of Charles de Gaulle Airport in Paris, where much of his childhood was spent, and which he calls a “fantasy landscape”. The series from which it comes, CDG/JHE, “provides an almost abstract definition of the existential homelessness and displacement that is at the heart of J.H. Engström’s work—the source of its tenderness and beauty, as well as its power to unsettle,” writes Martin Jaeggi in his commentary for Aperture.

Three other untitled prints are available as part of the Trying to Dance Portfolio, a selection from the series which comprises a photojournalistic ‘diary’ of his life: landscapes, still-lives, self-portraits, and snapshots of friends produce a loose narrative, recording not only the artist’s individual experiences, but a sensitive and provocative engagement with the world at large.

Engström’s tendency to utilize small moments in the construction of wide-reaching narratives is recurring in much of his work.

 

 

Through Our Lens: Photographers Reflect on Empowerment – Benefit Auction @ 25CPW

Tuesday, March 6th, 2012


Dee and Lisa on Mott Street, Little Italy, NYC 1976 © Susan Meiselas/Magnum Photos

On view from March 8–11, 2012, Through Our Lens: Photographers Reflect on Empowerment is a charity photography exhibition and auction benefiting Man Up, a global initiative launched by award-winning journalist Jimmie Briggs, aimed at mobilizing youth worldwide toward the prevention of violence against women and girls. Through Our Lens assembles the work of 50 notable photographers, ranging the worlds of fashion, documentary photography, and contemporary art, in an exhibition/auction event hosted by honorary chairs Gloria Steinem and Harry Belafonte, and curated by Whitney Johnson of The New Yorker, Bess Greenberg, Yukiko Yamagata, and JB Reed.

Among the works on view and available for auction are Susan Meiselas’ 1976 Dee and Lisa on Mott Street Little Italy (pictured above), and Hank Willis Thomas’ 2011 After Identity What?, a work pulled from the artist’s socio-politically and identity driven 1969 series.

Through Our Lens: Photographers Reflect on Empowerment is open to the public March 9th–11th, offering a weekend of FREE public programming which includes a film screening with activist Christy Turlington Burns, and talks with author Jill Iscol.

The ticketed reception and auction kicks off Thursday, March 8th at 25CPW with hors d’oeuvres, open bar and a guest DJ set by Ahmir “Questlove” Thompson of The Roots. Tickets are $150 in advance, $175 at the door.

 

Through Our Lens: Photographers Reflect on Empowerment
Ticketed Reception and Auction
Thursday, March 8, 6:30PM–11:00PM

Public Viewing w/ Additional Weekend Programming
March 9-11, 2012

25CPW
25 Central Park West
New York, NY 10023
212.203.0250

For more information, contact 25CPW at: 212.203.0250. For the full weekend schedule and for tickets visit: http://manupphoto.eventbrite.com/.

Melissa Harris on Merce Cunningham

Monday, March 5th, 2012

Merce Cunningham in Totem Ancestor, 1942. Photograph by Barbara Morgan. (Courtesy the Estate of Barbara Morgan and Bruce Silverstein Gallery.)
Melissa Harris is Editor in Chief of Aperture magazine, editor of Merce Cunningham: Fifity years and Cunningham’s Other Animals, as well as the upcoming ePub Merce Cunningham: 65 Years, co-edited with Trevor Carlson. She is a Trustee of the John Cage Trust.

The irony is not lost on me—as a photo-editor who has devoted many years to a medium known for stilling, or capturing, time, decisive or otherwise—that I should be equally consumed by another medium, one that defies any notion of “capture,” that I am seduced by dance’s very impermanence, especially in the case of Merce Cunningham. Cunningham’s choreography never leaves even a storyline to hang onto in its wake, but rather evinces a kind of isness, as if each dance has an ineffable essence that might somehow be touched, experienced, and that remains vital and resonant long after the curtain falls, so that endings are somehow intangible.

Cunningham’s sensibility was as much about time as about space—or, better, it was about the coexistence of the two and, unlike what transpires in much photography, time is liberated from illustration in a Cunningham dance. Things don’t have to happen in any narrative sense. Time is more about duration—which is in part why John Cage, and the other composers with whom Cunningham collaborated, had such freedom. In photography, conversely, the precise moment at which a picture is created may make all the difference—from evidentiary images to sports coverage to street shots to dance photography.

Which gets me thinking about the ephemeral—an idea that rarely pertains to the photographic object. (more…)

Found: Katherine Wolkoff

Monday, March 5th, 2012

American Kestral, 2011, © Katherine Wolkoff

Exhibition on view:
March 8–April 28, 2012

Sasha Wolf Gallery
548 West 28 St
New York, NY
(212) 925-0025

Cause of death: flew into a lighthouse, death by cat, death by telephone wire. The origin of death to the birds of Block Island is recorded by infatuated gatherer Elizabeth Dickens. She finds, stuffs, and lives with these perished animals. Photographer Katherine Wolkoff befriended Dickens and began photographing her taxidermies. The images are inherently proper and documentary though they reveal a particular affection for the subject matter.  The proposed silhouette displays how a birdwatcher identifies the species in the wild. Stark white backgrounds, jet black surfaces, and a hint of back-lighting suggest an intimate relationship between the viewer and the bird offering another existence underneath the lifeless figure.

The exhibition titled, Found will be presented by the Sasha Wolf Gallery.

Wolkoff’s series After the Storm, documenting the aftermath of Hurricane Katrina, was featured in Aperture issue 184.

Armory Arts Week New York

Thursday, March 1st, 2012
Clockwise from the top: Hank Willis Thomas’ “After Identity, What?, 2011,” Richard Mosse’s “Débris, North Kivu, Eastern Congo, 2011,” and Lars Tunbjork’s “42nd Street and Eighth Avenue, from the Times Square portfolio published May 18, 1997.”

Armory Week is almost here. Join us on Saturday, March 10 for our annual all-day Armory Collectors Brunch to mix and mingle with friends and colleagues in the heart of Chelsea’s art district. The event will include a special walk through of the current exhibition Shared Vision, with Marcelle Polednik, Director MOCA Jacksonville and collectors Sondra Gilman and Celso Gonzalez-Falla at 11:00 am, followed by book signings with Aperture artists including Bruce Davidson, Richard Mosse, Brian Ulrich, Penelope Umbrico, collector Bill Hunt.

Saturday, March 10, 10:00 am–1:00 pm
FREE

Aperture Gallery and Bookstore
547 West 27th Street, 4th Floor
New York, New York
(212) 505-5555

During Armory Arts Week, you can also visit Aperture at the eleventh annual SCOPE New York Art Fair. You can see some of our newest limited-edition prints from artists Hank Willis Thomas’ “After Identity, What?, 2011,” Lars Tunbjork’s “42nd Street and Eighth Avenue, from the Times Square portfolio published May 18, 1997” and Richard Mosse’s “Débris, North Kivu, Eastern Congo, 2011.”

This year, SCOPE’s VIP first view will take place on Wednesday, March 7 at an exciting, high profile location across from The Armory Show. The 35,000 square foot pavilion and its dramatic glass box entrance on 57th Street and 12th Ave will host 50 international galleries and museum-quality programming highlighting groundbreaking, emerging work in contemporary art and beyond.

First View:
Wednesday, March 7, 2012
3:00 pm–9:00 pm

Fair Continues:
Thursday, March 8, 2012-Sunday, March 11, 2012

Admission required.

SCOPE Pavilion
57th St & 12th Avenue
New York, NY 10019
212-268-1522