Archive for June, 2010

Sunday, JUNE 27th: Book Fair at the Bronx Museum

From the Bronx Museum events website:

Book Fair
Summer outdoor film screening

SUNDAY JUNE 27, 12 Noon to 5:00pm
Sidewalk in front of The Bronx Museum and North Building—2nd Floor
Admission: Free

“Meet poets, writers, graphic–novelists and publishers in an afternoon entirely dedicated to the small press. Buy books with special discount. Enjoy good street–food and music through the afternoon.

At 3pm: Special panel about the current state of publishing, followed by readings by noted poets and writers.”

Leave a Comment

Joe Deal, 1947-2010

Sad news today that photographer Joe Deal lost his courageous battle with cancer.  His family shared that he was editing new work in his last days in hospice care, excited as always about his lastest creative explorations.

I shot installation views yesterday at the Center for Creative Photography, where his exhibition “WEST AND WEST” is on view at CCP, where his archive will be housed, and I will add them to this blog post shortly.  Dr. Kate Palmer Albers spoke eloquently about Joe’s work in her gallery talk last night.

It has been wonderful to observe so many younger photographers come to know Joe’s work through the major traveling exhibition of “NEW TOPOGRAPHICS: Photographs of a Man-Altered Landscape” organized by the CCP and George Eastman House, and was on view at both of those institutions as well as LACMA.  You can hear Joe as well as the other photographers in the exhibition speaking about the work on an audio clip on this link on LACMA‘s website.

The Center for American Places’ publication of the same name is not to be missed.

From the publisher’s description:

“The Kansas-Nebraska Act of 1854 officially opened the Great Plains to westward settlement, and the public survey of 1855 by Charles A. Manners and Joseph Ledlie along the Sixth Principal Meridian established the grid by which the uncharted expanse of the Great Plains was brought into scale. The mechanical act performed by land surveyors is believed by photographer Joe Deal to be powerfully similar to the artistic act of making a photograph.To Deal, both acts are about establishing a frame around a vast scene that suggests no definite boundaries of its own. Thus, when approaching his own photographs of the Great Plains, Deal viewed his photography as a form of reenactment, a method of understanding how it felt to contain the Great Plains in smaller, more measurable units.

In West and West, Deal, who was born and raised in Kansas, revisited the Kansas-Nebraska territory and applied his photographic understanding of the landscape grid and horizon line to illuminate the sense of infinite space that transcends the reality of the survey. As Deal writes in his concluding essay: “If the square, as employed in the surveys of public lands, could function like a telescope, framing smaller and smaller sections of the plains down to a transect, it can also be used as a window, equilaterally divided by the horizon, that begins with a finite section of the earth and sky and restores them in the imagination to the vastness that now exists as an idea: the landscape that is contained within the perfect symmetry of the square implies infinity.”

The stunning photographs in ‘West and West’ present the Great Plains from a rare perspective. From this vantage point, Deal is able to distill and contemplate its expanse. “

Robert Mann, Joe’s long-time friend and dealer, hosted an exhibition of the WEST AND WEST work this past March, view the press release here.  Click here to read the press release for JOE DEAL: THE FAULT ZONE exhibition from 2004, and here to view the press release for JOE DEAL: NEW TOPOGRAPHICS exhibition in 2006.  Click here to view images of Joe’s on the Robert Mann Gallery website.

Another of Joe’s monumental projects: an extended documentation of the building the Getty Center in Los Angeles.

From the Getty Bookstore entry for the 1999 summary publication, Between Nature and Culture:

“From 1983 through 1997, artist Joe Deal documented the site and construction of the Getty Center, designed by architect Richard Meier, through a series of black-and-white photographs. Between Nature and Culture presents 122 of Deal’s photographs, offering an opportunity to view the evolving site through this artist’s eyes, from the selection of the starkly beautiful chaparral-covered mountain top to the steel and travertine of the final stages of construction.

Joe Deal’s photographs have appeared in numerous exhibitions throughout the United States and Europe. A major exhibition of his work was held in Spring 1992 at the Los Angeles Municipal Art Gallery; it was accompanied by a book, Joe Deal: Southern California Photographs 1976-86. His photographs are in major collections throughout the United States, including the Museum of Modern Art, New York; the National Museum of American Art, Washington, D.C.; the San Francisco Museum of Modern Art; and the Los Angeles County Museum of Art. Deal is Provost of the Rhode Island School of Design.

Mark Johnstone’s essay provides both a key to understanding Joe Deal’s unique vision and commentaries on the thematic groups and individual photographs reproduced. He was formerly the public art administrator for the Department of Cultural Affairs of the City of Los Angeles and he continues to consult in public art affairs for both cities and states across the West.”

I was so fortunate to study with Joe’s best friend and colleague, James Hajicek.  They went attended the Kansas City Art Institute together, then went on to University of New Mexico together as well.  They both landed teaching jobs in the west, Joe at the University of California at Riverside, and James at Arizona State.   Joe would visit often, and we were all the wiser for it.

My thoughts are with Joe’s family and large extended family of friends and colleagues, all of whom will miss him dearly.

Comments (1)

July 1-3 2010: Visual Studies Workshop Photo Bookworks Symposium in Rochester, NY.

Visual Studies Workshop (VSW) is committed to expanding the potential of the media arts, and their impact on contemporary culture, through innovative programs in education, exhibition, publication, research, practice, and community service. In 1969, photographer, writer, curator, and educator Nathan Lyons founded VSW as an artist-run, educational and support center for photography and other media arts. We are an independent, 501(c)(3) non-profit organization. Since 1977, we have resided in two historic buildings located in the Neighborhood of the Arts in Rochester, NY, including other notable institutions such as The George Eastman House International Museum of Photography and Film and the University of Rochester’s Memorial Art Gallery. Over the past 40 years, VSW has produced hundreds of exhibitions, over 450 artists’ books and resource titles, maintained the publication Afterimage, a valued, bi-monthly journal, housed collections with over a million images, and offered residencies to hundreds of artists. Our wide range of programs and facilities support media artists, students, other arts organizations, and the general population interested in the visual arts and its education. The interrelated program areas that implement and extend our mission are in Education, the Research Center, Afterimage, VSW Press, Artists-in-Residence, and Exhibitions. For more information, click here.

Leave a Comment

June 19th: Opening Reception and Artist Talk for Jonathan Torgovnik’s Intended Consequences exhibition at Fovea in Beacon, NY

From the Fovea website:

I cannot really tell you how many men came to rape me, but four months later, I was pregnant. I felt so bad, I tried committing suicide twice. I now live with HIV, which is a legacy of genocide.” —Sylvina

Opening Reception and Artist Talk June 19th from 5pm-9pm

©Jonathan Torgovnik

Photographs by Jonathan Torgovnik

Intended Consequences: Rwandan Children Born of Rape

Exhibition Dates: June 19th- August 8th, 2010

Fovea is 100% Volunteer run.

143 Main Street in the town of Beacon, New York.”

Leave a Comment

June 18th/19th: Artist’s Reception and a lecture for Keith Carter’s By Twilight in NY

KEITH CARTER
By Twilight

May 21 – June 28, 2010

©Keith Carter

From the Galerie BMG website:

“Artist’s Reception: Friday, June 18, 7-8 pm

“My photographs are really about me. I think all art, to some extent, is about the maker…. When I make pictures, it’s my Autobiography….it’s like writing in a journal”
Keith Carter

By Twilight is a rarely exhibited and intensely personal and intimate series of photographs by internationally recognized photographer and educator, Keith Carter. The subject of the photographs is Keith’s mother Jane, a children’s portrait photographer, taken in 2006 during the last year of her life as she descended into Alzheimer’s disease. Pat Carter, Keith’s wife, provides a profound insight into this series in her afterword to the recent publication of his book A Certain Alchemy: “Photography was the thing they had shared, and it was a way to animate her . . . Her beauty was never lost to him. But in the end, the process he had loved to watch from atop a stool in her old darkroom reversed itself and her image began to dissolve before his eyes until, finally, she was lost to memory.”

Called “a poet of the ordinary” by the Los Angeles Times, Keith Carter is the recipient of numerous awards and honors and in 1997 was the subject of an arts profile on the national network television show, CBS Sunday Morning. He holds the endowed Walles Chair of Art at Lamar University in Beaumont, Texas and received the University’s highest honor in being named Distinguished Lecturer in 1998. His haunting, enigmatic photographs have been widely exhibited in Europe, The U.S., and Latin America and are included in many prestigious private and public collections, as well as eleven published books and monographs.

The exhibition will be on display from May 21 though June 28, with an artist’s talk and reception scheduled for Friday, June 18 from 7 – 8 pm. The same week-end, Keith will be presenting his workshop, “Re-inventing the World”, at the Center for Photography at Woodstock (CPW) on June 19 & 20. A lecture, open to the public, is also scheduled at CPW for Saturday, June 19 at 8 pm. Gallery hours are Friday through Monday, 11 am to 6 pm, or other times by appointment. For more information, please call 845-679-0027 or click here.”

Leave a Comment

Exhibition May 19-July 31: Bound for Success: Designer Bookbinders International Bookbinding Exhibition in NYC



The opening of Bound for Success: Designer Bookbinders International Bookbinding Exhibition at New York’s Grolier Club was on a windy, rainy night, the rain slashing sideways vehemently, so that umbrellas were of little use. The rain was most appropriate for this exhibition, which was a contest organized by Designer Bookbinders in conjunction with Oxford’s Bodleian Library around the theme of water. Several of the speakers at the exhibit’s opening on the evening of May 18 could not resist remarking upon this fact, trying, it seemed, to make something positive out of what in all respects was simply a lousy, wet evening. Despite the weather, the club’s ground floor exhibition room was pretty much packed with people eager to see 117 bindings that were chosen among the 240 entries from 21 countries. Alain Taral of France won first prize. Second went to Jenni Grey of Great Britain.

The contestants were given a specially commissioned book, Water, an anthology of poems in several European languages along with illustrations, and told to bind it. To wander by the glass-encased entries was to experience several disparate reactions. The first is: none of the entries are remotely the same. They are all interestingly, creatively different. Yes, of course, many use leather, and they all must conform—more or less—to a certain shape, but within those rather simple categories lies great variety. Some, like the Czech Republic’s Eliska Cabalová-Hlavácová’s entry, are both ingenious and beautiful. Her binding is made of vellum with sea shell-shaped boards that extend beyond the book’s boundaries. Some, like Estonia’s Rene Haljasmäe’s entry, with its plethora of old metal spinners (lures used for fishing) attached to the covers, seem more clever than beautiful. Mary Norwood’s entry, with its covers festooned with domestic water pipes, falls under this category as well.

A second reaction is one that anyone will have in an exhibition based on a contest: you don’t necessarily agree with the judges’ decisions. So, there are personal favorites, like American Scott Kellar’s entry, with its avatar-like abstract figures swimming across the covers, like light shimmers in a pool. Or Dominique Dumont’s binding of glazed goatskin with its very real-looking raindrops made of resin dotting the covers. Or John Burton’s lovely winter scene of dark trees and a brook cutting through snow.

Which is to say, it all comes back to the old saying: there’s something here for everyone, and the judges’ decisions are really of importance only to the winners. Those who don’t appreciate abstract renditions of water or wetness—and there are many of these abstractions—can turn to the likes of Spain’s Miguel Perez Fernandez, with his covers of rocks being dramatically sprayed by uplifting surf. Or they can turn to America’s Marvel Maring and his austere blue aquarium covers, with coral and staring fish. Those who like to figure out puzzles can look to the United Kingdom’s Christopher Shaw and his entry of wavy gold lines on a dark background and wonder what this has to do with water. Wit is provided by an entry like that of George Kirkpatrick of the United Kingdom, whose front cover is a rendition of dried mud cracks, indicating the absence of water.

The winner, Alain Taral, who received a prize of £7,500 (about $10,000) for his binding made of pear wood covered by Karelian birch veneer, was there. He spoke briefly, in French, expressing his gratitude and pride and his pleasure at being at the Grolier Club. Taral lives in a small village above Hyères, which is about halfway between Marseille and Nice. He had worked originally in management for the French navy but then retired and began working with veneer. A bookbinder came to him at one point and asked him to produce a cover for a book he was binding. This intrigued Taral, and he decided to learn how to do it himself. He went to school to learn, and now, he does, in fact, make his living as a bookbinder.

The exhibition, curated by Lester Capon, is on its third and last American leg. It opened at the Boston Public Library last fall, then journeyed to the auctioneers Bonhams & Butterfields in San Francisco before it migrated back east to the Grolier Club, where it will remain until July 31. An appealing, hardbound catalog featuring marbling by the late Ann Muir is available.

Leave a Comment

Deadline July 1st: 2010 ArtBridge Exhibition Call for Entries for NY photographers

From the New York Foundations for the Arts website:

“2010 ArtBridge Exhibition Call for Entries
ArtBridge
(New York NY)

OPEN TO: All New York City-based emerging artists without exclusive gallery representation.

Beginning June 1st at 12:01am, ArtBridge, a non-profit arts organization that transforms overhead construction scaffolding (sidewalk bridges) into temporary exhibition space for the work of emerging artists, will open its month-long call for entries for its 2010-2011 Exhibition Year. ArtBridge intends to curate up to eight (8) exhibitions this year for which no more than 25 artists per installation will be chosen.

After a successful 480-foot inaugural installation on West Chelsea’s historic London Terrace Gardens, ArtBridge intends to bring its first-of-its kind projects to communities throughout the five boroughs, beautifying neighborhoods while giving emerging artists unprecedented exposure: all chosen work will be enlarged to billboard size, printed on eco-friendly, fade resistant material, and hung prominently outdoors from three months to one year.

Please visit www.art-bridge.org for more about the organization, to download the Submission Guidelines and upload entries directly through the website. Each applicant may submit up to three pieces for consideration and will be required to pay an entry fee of $25 for one submission, $40 for two, and $55 for three entries. If accepted there will be a participation fee of $195 (from which already-paid entry fees will be deducted).

Entries will be accepted until July 1st at 11:59PM

We look forward to seeing your innovative work and to the prospect of welcoming you to the ever-growing community of ArtBridge artists.”

Leave a Comment

Thursday 17th, 5:30 pm at the CCP in Tucson: Guest Curator Kate Palmer Albers on “Locating Landscape” exhibition; Joe Deal’s WEST AND WEST also on view through August 1

From the Center for Creative Photography website:

“Gallery Walk
Thursday, June 17, 5:30 p.m.

Join exhibition curator, Dr. Kate Palmer Albers, for a walking discussion of Locating Landscape: New Strategies, New Technologies on Thursday, June 17th, at 5:30 p.m.   The exhibition continues through August 1st.

Inspired by the recent revival of the influential New Topographics exhibition from 1975, Locating Landscape: New Strategies, New Technologies traces the effect of newly available technologies such as GPS and Google mapping on today’s landscape photography.”   Guest-curated by University of Arizona photography historian Kate Palmer Albers, this exhibition includes work by Christiana Caro, Andrew Freeman, Frank Gohlke, Margo Ann Kelley, Mark Klett, Paho Mann, Adam Thorman and Byron Wolfe.”


Also continuing through August 1st:

West and West: Joe Deal

Drawing on the remarkable history of 19th-century survey photography of the Great Plains, West and West was also inspired by the landscapes Joe Deal saw as a child while driving west from his home in Topeka, Kansas, to visit relatives in Great Bend. Deal presents the Western landscape in a consistent format, dividing each scene with a horizon line and using the square-format negative. His depiction presents an endlessly fascinating and changing expanse as grasslands and sky unfold in equal share. The 21 images on view capture the full drama of the Great Plains, spanning the area between the Mississippi River and the Rocky Mountains, and from the Canadian provinces to the Mexican border.

The Center for American Places has published a book in conjunction with this show, WEST and WEST: Reimagining the Great Plains (112 pages, 51 duotones, 3 maps  10×11, October 2009).

From the University of Chicago Press’ website:

The Kansas-Nebraska Act of 1854 officially opened the Great Plains to westward settlement, and the public survey of 1855 by Charles A. Manners and Joseph Ledlie along the Sixth Principal Meridian established the grid by which the uncharted expanse of the Great Plains was brought into scale. The mechanical act performed by land surveyors is believed by photographer Joe Deal to be powerfully similar to the artistic act of making a photograph.To Deal, both acts are about establishing a frame around a vast scene that suggests no definite boundaries of its own.  Thus, when approaching his own photographs of the Great Plains, Deal viewed his photography as a form of reenactment, a method of understanding how it felt to contain the Great Plains in smaller, more measurable units.

In West and West, Deal, who was born and raised in Kansas, revisited the Kansas-Nebraska territory and applied his photographic understanding of the landscape grid and horizon line to illuminate the sense of infinite space that transcends the reality of the survey. As Deal writes in his concluding essay: “If the square, as employed in the surveys of public lands, could function like a telescope, framing smaller and smaller sections of the plains down to a transect, it can also be used as a window, equilaterally divided by the horizon, that begins with a finite section of the earth and sky and restores them in the imagination to the vastness that now exists as an idea: the landscape that is contained within the perfect symmetry of the square implies infinity.”

The stunning photographs in West and West present the Great Plains from a rare perspective. From this vantage point, Deal is able to distill and contemplate its expanse.”   You can read the press release here.

Author Biography

Joe Deal was born in 1947 in Topeka, Kansas. He has served as the provost of the Rhode Island School of Design. Deal has been awarded a John Simon Guggenheim Foundation Fellowship and two National Endowment for the Arts Fellowships and his work is included in numerous museums, including the Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Museum of Fine Arts, Boston; the J. Paul Getty Trust, Los Angeles; and the International Museum of Photography at George Eastman House, Rochester.
Deal is represented by the Robert Mann Gallery in NYC, which in the winter of 2004 hosted the exhibition JOE DEAL: THE FAULT ZONE & OTHER WORK 1976 – 1986.  You can view all the work from the exhibition here, and read the complete press release here.

This exhibition marks the Center’s first opportunity to display a monographic Joe Deal show since acquiring his archive in 2009.


Leave a Comment

June 12: An evening with David Hillard 8pm at CPW

From The Center for Photography Woodstock website:

DAVID HILLIARD creates multi-paneled color photographs, often based on his life or the lives of people around him. His panoramas allow the artist to direct the viewer’s gaze across the image surface letting narrative and time unfold. David received his BFA from the Massachusetts College of Art in 1992 and his MFA from Yale University in 1994. He worked for many years as an assistant professor at Yale University where he alsos directed the undergraduate photography department. Additionally, he has taught at Harvard University, the School of the Museum of Fine Arts in Boston and was the director of the photography department at Cranbrook Art Academy in Michigan during the 2007/2008 academic year. Currently, he is an assistant professor at the Massachusetts College of Art & Design. Hilliard exhibits his photographs both nationally and internationally and has won numerous awards including a Fulbright Fellowship and a Guggenheim Fellowship. He is represented by Carroll and Sons Gallery in Boston, Yancey Richardson Gallery in New York, Jackson Fine Art in Atlanta and the Mark Moore Gallery in Santa Monica.  In 2005 a collection of his photographs was published in a monograph by Aperture. For more information please visit www.davidhilliard.com

Public Lecture will take place on June 12th at 8 pm at the Center for Photography at Woodstock.

Leave a Comment

SAVE THE DATE: “Shaping the History of Photography” Symposium at the Harry Ransom Center, UT Austin from September 30 – October 2!

Check out the website for this upcoming symposium, register now, book the on-campus hotel now and get your flights in order!  I have been waiting with great anticipation for the exhibition:

Discovering the Language of Photography: The Gernsheim Collection (9/2/10 – 1/2/11)

and the catalogue to the collection that Roy Flukinger has been writing.

Now I have learned that not only will there be the exhibition at the HRC and book coming this fall, but a gathering for the minds, a learning experience for us all!

From the event website:

The Harry Ransom Center at The University of Texas at Austin presents the ninth biennial Fleur Cowles Flair Symposium,

Shaping the History of Photography

September 30-October 2, 2010

The symposium springs from Discovering the Language of Photography: The Gernsheim Collection, the Ransom Center’s exhibition of this foundational collection of the medium’s history. Curators, collectors, historians, and photographers will participate in a series of panel discussions that focus on the areas in photography on which the Gernsheims had such impact—collecting, exhibiting, publishing, and historiography. Leaders in their fields will consider the forces that have historically shaped these areas, as well as the contemporary influences and developing trends that continue to affect our understanding of the history of photography.

The Flair Symposium, held biennially at the Ransom Center, honors the ideals set forth by Fleur Cowles and her landmark Flair magazine.

Registration is limited and closes on October 1, or when available seats are filled. The $100 registration fee includes access to all events on the schedule. There are a limited number of $35 registrations available for full-time students. Discounts are available for members of the Ransom Center. There is no single-day registration.

A limited number of rooms at the University’s hotel are available to registrants at a discounted nightly rate of $119. To request a reservation code and further instructions, registrants must email flair@hrc.utexas.edu. Requests will be answered in the order that they are received. Reservation codes will only be provided to individuals who are registered for the symposium.”

While speaker invitations are being confirmed, I can share with you the structure of this event, which allows for a terrific on-going and growing dialogue as we are all present in the same lectures and events throughout the Symposium, presenter, attendee and student alike:

Schedule of Events

Schedule is subject to change. All events take place at the Ransom Center unless otherwise noted.

Thursday, September 30

5 p.m. Registration and Opening Reception

7 p.m. Public Lecture: Shaping the History of Photography (Jessen Auditorium)

Friday, October 1

9 a.m. Registration and Coffee

10 a.m. Welcome and Keynote Address

10:45 a.m. Panel: Collecting Photography

12:15 p.m. Break for Lunch

2 p.m. Panel: Photography’s Historiography

4 p.m. Panel: Photographers React

Saturday, October 2

9 a.m. Coffee

10 a.m. Panel: Photographic Exhibitions

Noon Break for Lunch

2 p.m. Panel: Photographic Publishing

4 p.m. Conclusion

4:30 p.m. Closing Reception

Get ready to see the masterpieces of our history, engage in rich dialogue with many new peers!  I look forward to seeing you in Austin!

Leave a Comment

« Newer Posts · Older Posts »
Follow

Get every new post delivered to your Inbox.

Join 44 other followers