The Fahey/Klein Gallery will be presenting a selection of photographs from photographer and filmmaker Peter Lindbergh’s expansive and influential career. Lindbergh’s work helped define the contemporary era of fashion and portrait photography. Having captured the most notable figures in the industry—Linda Evangelista, Christy Turlington, Tatjana Patitz, Naomi Campbell, Cindy Crawford, Kate Moss, Amber Valletta, Kristen McMenamy, Gisele Bundchen, and Cara Delevingne— Lindbergh’s indelible photographs go beyond the iconography of the “supermodel”. With a seductively intimate style and approach, Peter Lindbergh’s portraits reveal an inner truth to his subjects.
Inspired by the austere beauty of his childhood in Germany, Lindbergh’s intense and dramatic photographs employ the cinematic language of Fellini and early German filmmakers. Consciously alluding to images from 20th Century photographers Andre Kertesz, Marc Riboud, and Paul Strand, Lindbergh creates multilayered and multifaceted images with nuances of meaning. His deeply saturated black and white photographs resonate a story-within-a-story, intentionally playing with traditional archetypes of women in photography—dancers, actresses, vamps, femme fatales, heroines—to define and redefine the narratives of the women who inhabit his world. Lindbergh’s photographs explore the intermediate spaces that exist between fashion and portrait, portrait and nude, nude and landscape.
Peter Lindbergh is often credited with creating the “birth certificate” of the supermodel with his landmark 1990 cover for British Vogue—establishing a touchstone for the decade. He had a major part in launching the careers of the most recognizable supermodels of the time. Reinventing traditional notions of glamour, femininity, and seduction, Lindbergh’s models are moody, raw, gritty, sulky, uninhibited, and joyful. His women appear undeniably beautiful, yet strong, striking, and handsome— typically with their intense gaze fixed firmly on the viewer. It is evident that collaborating with Peter Lindbergh is a two-way process, as he ultimately approaches them not as models, but as modern women.
“The perception of the modern fashion photographer as someone whose rapid-fire apparatus commits countless thousands of exposures onto film accords exactly with the pattern of a relentless pursuit of an unattainable dream. But Lindbergh’s photographs, in spite of the apparent contradiction, provide some of the most concrete and confident depictions of contemporary women. His models may not necessarily comply with the putative ‘typical’ or ‘average’ women of today, but they nevertheless operate as cyphers for a type of women who has attained a demonstrable degree of freedom and independence. It is an independence they retain in the images; however improbable the fictional setting Lindbergh creates, there is never the impression that his women are merely being manipulated.” (Martin Harrisson, Images of Women Introduction, “Images of Women”, Schirmer/Mosel, 1997)
Peter Lindbergh moved to Paris in 1978, where he started working internationally for Italian, English, French, German,and American Vogue, and later for The New Yorker, Vanity Fair, Allureand Rolling Stone. In 1992, Lindbergh began working for American Harper’s Bazaar in New York and photographed the campaigns for Giorgio Armani, Jil Sander, Prada, Donna Karan, Calvin Klein and Comme des Garçons. Recognized for both photography and film, Peter Lindbergh is the recipient of numerous awards including the Chevalier de l’Ordre des Arts et des Lettres (France), Raymond Loewy Design Award (Germany), and the IFTC Best Documentary award at the International Festival of Cinema in Toronto. His work has been exhibited, collected, and published internationally. Most recently, in 2013, his classic Fashion monograph Images of Women was republished by Schirmer/Mosel. Peter Lindbergh lives in Paris, New York, and Arles.
This show runs February 27 through April 19, 2014
Reception for the Artist: Thursday, February 27, 7 – 9 p.m.
Location 148 North La Brea, Los Angeles, CA 90036
Phone: (323) 934-2250
By Jim McKinniss
untitled (Irvine Fine Art Center, Irvine, CA) copyright 2014 Douglas Stockdale.
This month, the informal group known as the Photographers Exchange had a slight change of venue within the Irvine Fine Art Center. Instead of using one of the art classrooms, we had an opportunity to use the open space of the gallery and take advantage of the more informal setting. Personally, I thought that this was a great location for our group as it worked really well while discussing the photographic projects that were being presented.
Admittedly, it was a bit tight in the front for the usually five print stands and lights, but it worked. With some more tweaks, it could be a great location and I hope that we can take advantage of this space again.
As usual, there was a pretty diverse range of photographic projects being shared, some of which were interesting enough that the process stalled a bit, such that not everyone had an opportunity to discuss their projects. So a bunch of folks will carry over to the April meeting, since next month is the annual print exchange, see below.
For the March print exchange, it’s fairly simple, but we still find a way to make it into an interesting mess. Basic rule, you bring one photograph (matted or unmatted, but not framed) to exchange with the others and you leave with some ele’s photographic print. It’s how the prints get exchanged that get’s messy, but we usually have a lot of fun. Also it’s pizza and soft drink night, while someone also brings a plateful or two of cookies (the best part).
Last night I had a chance to get squeezed into the last discussion of the evening to show prints and the book dummy (maquette) for my next limited edition self-published book Bluewater Shore. nice.
In 1839, just two years after Victoria became queen of Great Britain and Ireland, the medium of photography was announced to the world. This exhibition explores the relationship between the new art form and the queen, whose passion for collecting photographs began in the 1840s. On display are rare daguerreotypes, private portraits of the Royal Family, and a selection of prints by early masters of photography.
Over the course of her long reign, the queen was photographed as loving mother, devoted wife, grieving widow, and powerful sovereign. She was the first British monarch to have her life fully recorded by the camera, and her portraits became emblematic of an entire age.
This show runs February 4–June 8, 2014 at the Getty Center
J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, CA 90049-1687
Phone: +1 (310) 440-7330
E-mail: (for general Museum inquiries)firstname.lastname@example.org
By Jim McKinniss
Since the mid-1970s, Hiroshi Sugimoto has used photography to investigate how visual representation interprets and distills history. This exhibition brings together three series by the artist—habitat dioramas, wax portraits, and early photographic negatives—that present objects of historical and cultural significance from various museum collections. By photographing subjects that reimagine or replicate moments from the distant past, Sugimoto critiques the medium’s presumed capacity to portray history with accuracy.
By Jim McKinniss
Duncan Miller Gallery proudly presents Pacific Northwest: Vintage Photographs by Ray Atkeson. Prominent among photographers of the American West, especially winter landscapes and the emergence of the modern ski industry, Atkeson also made poetic photographs of the bustling industries gaining momentum in the region during the 1930s, ‘40s, and ‘50s. An ardent conservationist as well as an admirer of man’s ambitious rush to embrace modernity, Atkeson’s unique vision combined his affection for majestic, hardscrabble vistas and a fascination with the tumult of this new industrial frontier — resulting in images that are both strange and familiar, dreamlike and indelible, magical and ominous.
When we think about the 1930s, ‘40s, and ‘50s in American history, we tend to think about the Depression, the War, the Jazz Age, Art Deco, the rise of shining metropolitan centers, car culture, the Golden Age of Hollywood, maybe Beatniks. But we don’t always think of the stark, epic, inhospitable frontiers of the Pacific Northwest and the eccentric people who made their living and built their eventual empires farming, fishing, logging, shipbuilding, laying the ski industry infrastructure, and undertaking massive public works projects like dams and river diversion. Aside from the inherently compelling content and context of his subject matter, Atkeson had a special gift for framing his compositions with striking motifs, strident angles, heroic perspective, and soaring pictorial geometries — from the angle of a fallen tree, to the sweep of a ship’s hull, or the spectacle of urban lights — that underscore the scale of the story being told.
Atkeson has been included in several special publications, including Ansel Adams’ and Nancy Newhall’s This is the American Earth (1960), U.S. Camera’s The Best of 1957, and John Steinbeck’s last published book, America and Americans (1966). Yet the world he portrays and the visual language he uses to describe it are quite different from those of the WPA, naturalist, and avant-garde peers alongside whom he is regularly exhibited — diverse figures like Adams, Edward Weston, Dorothea Lange, Henri Cartier-Bresson, Richard Avedon, Lillian Bassman, and Eliot Porter. In addition to publishing in National Geographic, Time, Readers Digest, Life, The Saturday Evening Post and Popular Photography, Atkeson has published nine books, including Ski and Snow Country: The Golden Years of Skiing in the West, 1930s-1950s with text by skiing legend Warren Miller, and was named Photographer Laureate of the State of Oregon in 1976.
This show runs February 15 – March 29, 2014
Opening reception, Saturday February 15, 7-9 pm
DUNCAN MILLER GALLERY
2525 Michigan Ave, Unit A7
Santa Monica, CA 90404
By Jim McKinniss
dnj Gallery is pleased to announce its upcoming exhibitions, “Blinded by Science: Alaska/CaliforniaCollection” by Dan Shepherd and “Xradiography” by Allan Gill. Both exhibitions feature photographs that explore the interplay between science and art. With years of training in their respective scientific disciplines, the artist both use their expert knowledge as a starting point for works that include not just scientific analysis but also very personal perspectives on the natural world.
With an M.A. in Environmental Science from Columbia University and an International Diploma in
Plant Conservation from the Royal Botanic Gardens, Kew, England, Dan Shepherd uses his expert
knowledge of plants to capture their most interesting and graphic features. Shepherd develops a
layered, formal view of the environment by focusing on colors, shapes, and textures. As he
explains, he seeks to “use the power of abstraction to filter out the science details in his head” so
that he can focus on the purely visual elegance of nature and create almost portrait-like images of
trees, plants and landscapes. In this exhibition, he expands the breadth of his previous work by
photographing the characteristics of landscapes at two of his favorite botanical locations, Alaska and
California. Shepherd’s series is fundamentally about his return to seeing, rather than scientifically
analyzing, the natural world.
Shepherd currently works as both a visual artist and a conservation professional for organizations in
Los Angeles. His photographs have been exhibited in various locations throughout the country, and
have been featured in several recent publications, including “The Orion Magazine,” “The F-Stop
Magazine –Abstraction” and “Lenscratch.” This is Shepherd’s second solo exhibition at dnj Gallery.
After practicing veterinary medicine for decades, Allan Gill turned his medical X-ray equipment on
flowers and plants. His glowing images in Gallery II depict both the internal and external structures
of his subjects. As he explains, his “images are captured in much the same way as with conventional
photography, with the difference being instead of utilizing reflected light, I am able to utilize another
part of the electromagnetic spectrum….” Gill’s technique may seem simple but in fact is the result
of years of experimenting with different kinds of X-ray equipment to find the right combination of
conditions that would allow him to record the level of detail he desired.
Gill lives and works in Kelowna, British Columbia, Canada. In addition to establishing a growing
audience for his photography, Gill is also a veterinarian. His photographs have been exhibited in
Canada and sold in the United States and have been featured in LensWork Magazine, Focus
Magazine, American Art Collector, Color Magazine, ‘digitalis photo’ (Hungary), and Black and White
Photography (Britain). This is Gill’s first exhibition at dnj Gallery.
EXHIBITION: Dan Shepherd, “Blinded by Science: Alaska/California Collection”
Gallery II: Allan Gill, “Xradiography”
SHOW DATES: March 8 – April 26, 2014
RECEPTION: Saturday, March 8, 6 – 8 pm
GALLERY HOURS: Tues – Fri, 10 am – 5 pm; Sat, 10 am – 6 pm
dnj Gallery 2525 Michigan Avenue, suite J1, Santa Monica, CA 90404
For additional information or images, please contact Pamela Schoenberg at (310) 315-3551 or
By Jim McKinniss
I met Mallory Morrison at PhotoLA in January. I was immediately impressed by the beautifully printed large photographs she had on display.
The photos shown on this blog post are from her Fog series. The photos in her other series such as the Air series are equally marvelous.
Here is what Mallory says about the Fog series.
In this series FOG, there are moments of fighting, desperation, release, calmness and resolve. There is a feeling of being lost in the fog and trying to make your way through. Whether you call in fate, making your own path, or finding yourself, we go through a process of creating our own happiness.
M+B is pleased to announce Alex Prager: Face in the Crowd, an exhibition featuring new large-scale color photographs of elaborately-staged crowd scenes and a film by the same name that explore the notion of the individual within the masses, the boundary between public and private space and the psychological complexities of human interaction. This body of work was created specifically for Prager’s first major solo museum exhibition in the United States at the Corcoran Gallery of Art in Washington, D.C. that opened in November 2013. Alex Prager: Face in the Crowd will run at M+B from January 25 to March 8, 2014.
For ten years, Prager has staged imaginary scenes for her camera—dream worlds in Technicolor, rife with tension and melodramatic fictions. Deftly blending archetypes from post-war America, her images have re-enacted and burlesqued media portrayals of women, drawing from classic Hollywood movies, fashion advertising and icons of documentary photography. Face in the Crowd expands on her tradition, but in her most ambitious and complex way to date. Blurring the line between fiction and reality, Prager directed the actions of hundreds of costumed actors on specially constructed sets creating congested public spaces including an airport terminal, a City Hall lobby, a beach and the Sunset 5 movie theatre. Densely detailed and shot from seemingly impossible vantage points, the work enacts psychological narratives of private and public revelation, repulsion, fear, personal safety and the desire for basic human interaction.
“I’m fascinated by the experience of being involved in other people’s lives accidentally,” Prager said, noting that her work has been influenced by time spent in busy cities such as New York and London. “Crowds have always been an interest of mine. It may look like a sea of people, but there are so many interesting stories, all colliding silently.”
The stories of the various characters within these crowds culminate in a new film, featuring actress Elizabeth Banks. Together, the film and the photographs uphold a portrait of the individual within the complexity of the larger crowd. Prager’s focus on this dynamic can be traced to specific influences: silent films like Charlie Chaplin’s Modern Times; photographers Martin Parr, Garry Winogrand, Bruce Gilden and Helen Levitt; the darkness and the humor from Roy Andersson’s film Songs from the Second Floor; and the well- known children’s books Where’s Waldo? Throughout Face in the Crowd, each character maintains their own agency within their cinematic circumstances. In exploring the notion of identity and the performative aspects of public life, Prager has created a universe where the crowd that gathers is the true spectacle.
Alex Prager (b. 1979, Los Angeles) is a self-taught photographer and filmmaker who was inspired to take up photography after seeing the color images of William Eggleston. Her work has been exhibited in galleries and institutions worldwide, most prominently in Alex Prager: Face in the Crowd at the Corcoran Gallery of Art in 2013 (Washington, D.C.), Alex Prager: Mise-en-scène at SCAD Museum of Art in 2013 (Savannah, GA), Alex Prager: Compulsion at FOAM Museum in 2012 (Amsterdam) and the New Photography 2010 exhibition at the Museum of Modern Art (New York). Major awards include the Paul Huf FOAM Award in 2012, the London Photography Award in 2006, and Prager’s short film Touch of Evil, commissioned by The New York Times Magazine, garnered her a 2012 Emmy Award. Prager’s work is held in the permanent collections of the Museum of Modern Art (New York), Whitney Museum of American Art (New York), San Francisco Museum of Modern Art, North Carolina Museum of Art, Cincinnati Art Museum, Moderna Museet (Stockholm), Kunsthaus Zurich, among others. Alex Prager lives and works in Los Angeles.
Alex Prager: Face in the Crowd will run at M+B from January 25 to March 8, 2014.
For more information please contact Alexandra Wetzel at email@example.com.
M+B is located at 612 North Almont Drive
Los Angeles, California 90069
Phone 310.55. 0050
By Jim McKinniss
Stone Rose Gallery in the East Village Arts District of Long Beach is proud to present Fine Art Photography, Three One Person Exhibitions.
John Montich. “Multiple Sightings”.
Multiple images compressed to a single form have always provided me with thought provoking results. Whether through multi-panel presentation or a multi-image overlay, the tension, sarcasm or satire is elevated. Utilizing alternate processes, non-traditional film techniques and high quality darkroom prints has always brought rich results.
William Livingston, “Desert Discards”.
I take pictures simply to see how the scene I’ve composed in my viewfinder will look as a photograph. The images in “Desert Discards” were put together as Diptychs to juxtapose discarded neon signs from the Las Vegas Strip with abandoned structures off the highway from Los Angeles to Las Vegas in the Mojave Desert.
Ann Mitchell, “Meditative Spaces Found While Traversing the Razor’s Edge”.
This body of work is dedicated to exploring the essential characteristics of change. I wanted to make images about the real challenges we face in everyday life. Each morning we wake up and think of the world as a known quantity. We build a vision in our mind of what our life is and will be, but the truth is, life is more about change, and making peace with that idea is what this series of constructed images seeks to explore. With each image I’m pushing into the feelings that we experience when life changes radically. Fear, happiness, confusion, insight, joy…all of these are on the path we are often forced to take.
While my first inspirations were based on my own experiences, I’ve worked to go beyond the specifics through the use of archetypal elements such as water, nature and the occasional human character. Along the way, I started to create my own set of symbolic references: home, the ocean, trees and the tangle of vines and roots play repeating roles within this series. At the core of each image is also an exploration of the strong push and pull of longing: whether it’s the longing to find a safe place, or even to feel that we are grounded in some manner.
Inspired by a love of surrealist painters, such as Magritte, these images often come to me through meditation, dreams, memories and intuitive explorations. My titles are there as guides, rather than explanation, to keep the possibilities open for the viewer. I’ve chosen to print them on matte paper to further their illustration quality.
The Exhibition: January 25th through February 22nd.
Opening Reception, Saturday, January 25th, 7-9 p.m.
The Gallery is located at 342 East 4th Street, Long Beach, CA
Phone: (562) 436-1600
Wednesday and Thursday, 12-6 p.m.
Friday and Saturday, 12-7 p.m.
By Jim McKinniss
The Fahey/Klein Gallery is pleased to present an exhibition of large-scale photographs from legendary photojournalist and Hollywood photographer, Phil Stern. An intimate chronicler of Hollywood and the Jazz scene, Phil Stern’s iconic photographs and remarkable 75-year career convey an extraordinary access and mutual trust between the photographer and his luminous subjects. Phil Stern pioneered a behind-the-scene approach to documenting Hollywood that contributed to an entire era’s visual vocabulary of cool and still feels undeniably authentic today.
Phil Stern’s career in photography began early on, as a high school student growing up in New York, Stern swept floors in a Canal Street photo studio while working nights taking pictures for the notoriously noir Police Gazette. Phil Stern enlisted in the Army in 1942, and joined the ranks of the elite “Darby’s Rangers” as a combat photographer. Stern was well known among his war colleagues for putting himself front and center as he documented battles in North Africa and Sicily. The credit stamp “Photo by PHIL STERN”, which ran alongside his images in the armed forces newspaper Stars and Stripes, became synonymous with a truly genuine image taken under fire by a daring young photographer. Wounded in action, at the Battle of El Guettar, in Tunisia, Phil Stern was awarded a Purple Heart. After returning home to Los Angeles, he was assigned to cover the homecoming of Darby’s Rangers for LIFE magazine, which helped usher in his second career, as a Hollywood documentary photographer. Phil Stern began working for Look, LIFE, and Collier’s to chronicle what would become a shared American history.
Phil Stern’s straight forward approach and charming demeanor earned him all-access to President John F. Kennedy’s inaugural gala, studio mogul Sam Goldwyn’s inner sanctum, on-set lunches with Frank Sinatra, and holidays in Acapulco with John Wayne and Gary Cooper. Phil Stern photographed on over a hundred movie sets, including the legendary films Citizen Kane, A Star is Born, The Wild Ones, Guys and Dolls, and West Side Story. Stern also became a fixture at studio sessions with Jazz superstars such as Ella Fitzgerald, Louis Armstrong, Art Tatum, and Dizzy Gillespie and shot more than sixty album covers.
“Stern satisfies our affections and erases the distance between his subject and his audience; he draws us intimately close to the American immortals of the 40’s, 50’s, and 60’s, freezing in still frame an embodied cultural history. These are the entertainers, ball players, movie directors, jazz musicians, and Hollywood debutantes who dazzled the pages of countless magazines and weekly readers. Several decades later, where we find an entirely new cohort of American idols, we take a renewed interest in the work of Phil Stern and how his philosophy and approach provided not only a timeless body of work, but also a particular insight to what he considers ‘the human element’”. (“Phil Stern and the Human Element”, Dan Cardiel, Manor House Quarterly, Fall 2012)
In 2001, Phil Stern donated his catalogue of extraordinary Hollywood images to the Academy of Motion Pictures Arts and Sciences. His photographs have been collected and exhibited internationally, most recently, in July 2013, “PHIL STERN: Sicily 1943” an exhibition of Stern’s photographs documenting the invasion of Sicily at the Credito Siciliano Gallery. At the age of 94, Phil Stern traveled to Catania, Italy to be honored in conjunction with the exhibition. Phil Stern’s publications include, Phil Stern’s Hollywood (Knopf, 1993) and Phil Stern: A Life’s Work (powerHouse Books, 2003). Phil Stern lives in Los Angeles.
Fahey/Klein Gallery is located at 148 North La Brea, Los Angeles, CA 90036
Phone: (323) 934-2250
This show runs January 16 through February 22, 2014
Reception for the Artist Thursday, January 16, 7-9 p.m.
By Jim McKinniss