Aline Smithson with support from Center is putting together a photograhers party during photo la, and A states it best as follows:
Hello friends:Just wanted to give you a heads up about the first city-wide Fine Art Photographer’s party on Saturday, January 16th from 9-12 at the Doubletree Hotel in Santa Monica (on 4th Street across from Photo LA). I hatched this idea as an attempt to unify our community, and then CENTER got involved and we are giving it a try. It’s $15 at the door with a no host bar, a DJ (though the first hour will be on the quieter side). So come meet your fellow photographers!
I know that this has my attention,
posted by Douglas Stockdale
Returning to the Santa Monica Civic Auditorium, photo l.a. 2010, the 19th Annual International Los Angeles Photographic Art Exposition moves back to it’s former home at 1855 Main Street, Santa Monica, California. Conveniently located, just off of the 10 Freeway and two blocks from the beach.
January, 14th 6 – 9 pm
Opening Night Reception
Benefitting the Wallis Annenberg Photography
Department at the Los Angeles County Museum of Art
The opening night reception will benefit the Wallis Annenberg Photography Department at LACMA and is hosted by noted photographer David LaChapelle and actor/photographer Chris Lowell. To order tickets visit: www.lacma.org/art/photola.aspx or email firstname.lastname@example.org Please check their website for LACMA’s curated lecture program programming schedule.
Over the past eighteen years photo l.a. has earned a reputation as one of the foremost art fairs and the leading photo-based events in the country. Presenting the finest galleries from around the globe, this 19th edition of photo l.a. promises to be the best ever. They are very proud to be presenting a preview installation of the upcoming Museum of Latin American Art (MoLAA) exhibition: Changing the Focus: Latin American Photography (1990-2005), the first survey exhibition to be presented in the Los Angeles area of Latin American photography and photo-based art generated between 1990 and 2005. The curator, Idurre Alonso, will give a talk about the exhibition and will lead an on-site collecting seminar. Gordon Baldwin, former Curator of Photography at the Getty Institute, will also conduct an on-site collecting seminar.
posted by Douglas Stockdale
Call for Entries from the City of Brea Art Gallery.
“Made in California” will be juried by Grace Kook-Anderson, curator of the Laguna Art Museum.
All artwork must have been created in the past two years. Acceptable media include oil, watercolor, acrylic, drawings, mixed media, graphics, photography, video and sculpture (under 50 lbs). Crafts or functional are are not suitable for this exhibit.
A $15 entry fee is required for each artwork.
To submit work, send the following:
1. Check or money order payable to “City of Brea”.
2. CD with minimum 4” x 5” 300 dpi image of each entry, labeled with artist’s full name and title of each entry.
4. Self-addressed stamped envelope for notification of jury decision and return of CD.
Deadline is Monday, January 25. Notification of acceptance is Thursday, February 11. Artwork needs to be received by Friday March 11. Reception and awards on Saturday, March 27.
by Gina Genis
Click here to read an article from Alternative Photography online magazine, about a thorough account of the Getty Museum’s ambitious research project of chemical process photography.
By Gina Genis
2nd City Council Art Gallery in Long Beach, California has announced a call for photographers to enter submissions to the upcoming show titled “Photography: Impact of a Medium”.
The show is open to artists working with Film, Digital and Manipulated Images.
Robbert Flick is a photographer and Professor of Fine Arts at the University of Southern California. Flick grew up in Amersfoort, Holland and studied at the University of British Columbia at Vancouver. He received his M.F.A. from the University of California, Los Angeles He has exhibited work all over the world, with shows at LACMA, the Hammer Museum, and the Getty Research Institute in Los Angeles, SFMOMA in San Francisco, the National Museum of American Art and the Smithsonian Institution in Washington D.C., Deightor Hallen in Hamburg, Vancouver Art Gallery in Vancouver, and Min Gallery in Tokyo. Flick’s work is in a number of public collections as well. He has received a John Simon Guggenheim Foundation Fellowship, a National Endowment for the Arts grant, a COLA (City of Los Angeles) individual artist grant, and a Getty Scholarship.
Exhibition runs February 20 – March 24, 2010
Entries Received by Sunday, January 10, 2010 no later than midnight.
Notification Friday, January 29, 2010
Art delivery on Monday, February 15, 2010 from 5:00 – 8:00 p.m. & Tuesday, February 16, 2010 from 9:30 a.m. – 12:30 p.m.
Artists’ Reception on Saturday, February 27, 2010 from 7 – 9 p.m.
Art pick-Up Wednesday, March 24 from 5 – 8 p.m. & Thursday, March 25 from 9:30 a.m. – 12:30 p.m.
This exhibition is open to all artists living in the United States. Film, digital and manipulated film/digital images accepted.
Please do not enter work previously shown at 2cc. Questions? Please e-mail email@example.com or (562) 901-0997.
First: $500 Second: $300 Third: $200 Eye-Opener: $100
2cc accepts emailed images as well as slides, photographs and digital prints.
Please email images to firstname.lastname@example.org Please mail the entry form and fee.
Please mark slides with your name. PLEASE make sure all other info is listed on the entry form.
Photographs or digital prints should be no smaller than 5 x 7” and no larger than 8.5 x 11 (no size restriction on actual work).
Slides and prints of accepted pieces will be returned when the exhibition closes. Please include a SASE.
There is a $10 fee per entry for members and $20 entry fee per slide for non-members. No fee for 3D detail slides (2 detail slides per artwork). Please make checks/money orders payable to 2cc. PayPal available on website. Entry fees are non-refundable.
If mailing entries please form, entries and fees to: 2nd City Council, P.O. Box 90503, Long Beach, CA 90809.
You can visit the web site at http://www.2ndcitycouncil.org/ for additional details.
By Jim McKinniss
Larry Sultan, a highly influential California photographer whose 1977 collaboration, “Evidence” — a book made up solely of pictures culled from vast industrial and government archives — became a watershed in the history of art photography, died on Sunday at his home in Greenbrae, Calif. He was 63
The cause was cancer, said his wife, Katherine, who is known as Kelly.
In the mid 1970s using a grant and a letter of introduction from the National Endowment for the Arts, Mr. Sultan and Mike Mandel, who had met as students at the San Francisco Art Institute, somehow managed to persuade several large companies, agencies and research institutions like the Bechtel Corporation, the Jet Propulsion Laboratory, the San Jose Police Department and the United States Department of the Interior to let them rummage through their documentary photo files.
Highly influenced by the West Coast brand of Conceptualism then percolating out of places like the California Institute of the Arts, both men were interested, as Mr. Mandel later said, in exploring photography as “more than just the modernist practice of fine-tuning your style and way of seeing.” The pictures they chose from the archives, out of the hundreds of thousands they examined, were a strange, stark, sometimes disturbing vision of a late-industrial world: a space-suited figure sprawled face down on a carpeted floor; a car consumed in flames; a man holding up a tangle of weeds like a trophy; a shaved monkey being held down by a gloved hand.
Some of the images seemed to have been picked for their uncanny resemblance to installation art being made at the time. But the 59 photos published, with no captions to explain what they showed or where they came from, pursued a much broader, Duchampian agenda of harnessing found photographs for the purposes of art while using them as a way to examine the society that produced them. The critic Kenneth Baker of The San Francisco Chronicle wrote that the project demonstrated brilliantly the degree to which “we have no calculus to unravel relations between what a picture shows and what it explains.”
Along with other artwork using vernacular photographs, like that of Michael Lesy in his book “Wisconsin Death Trip” and of Richard Prince, the project, first shown at the San Francisco Museum of Modern Art, opened broad new avenues for photography that have since been explored by major museums and by artists like Christian Boltanski and Carrie Mae Weems.
Born in Brooklyn, Mr. Sultan was raised mostly in Los Angeles, where his family moved when he was an infant and where his father worked as a traveling salesman and later as a vice president for the Schick Safety Razor Company.
Not initially interested in photography, Mr. Sultan studied political science at the University of California at Santa Barbara and later earned a master’s degree in fine arts from the San Francisco Art Institute. Before he and Mr. Mandel began working on “Evidence,” they collaborated on another project in which they bought space on billboards around Los Angeles and posted traffic-slowing Dada-esque messages. One bore the announcement “Oranges on Fire,” and showed two cartoonish arms holding a bunch of flaming oranges.
For more than a decade beginning in the early 1980s, Mr. Sultan, who became a professor at the California College of the Arts in San Francisco, worked on a project about his mother and his father, who had been forced into early retirement. Using stills from home movies along with lush, colored-saturated pictures he took of his parents, the resulting book, “Pictures From Home,” was a deeply personal document but one that continued Mr. Sultan’s lifelong mission of exploring photography’s fictions.
Mr. Sultan’s father, Irving, speaking of a picture of himself in a suit sitting on the edge of a bed with a vacant stare on his face, related how his son had instructed him not to smile and had created a portrait that the elder Mr. Sultan felt was much more about the photographer than the photographed.
“ ‘Any time you show that picture,’ ” Mr. Sultan said his father told him, “‘you tell people that that’s not me sitting on the bed looking all dressed up and nowhere to go, depressed. That’s you sitting on the bed, and I am happy to help you with the project, but let’s get things straight here.’ ” His parents died not long after the work was completed.
In addition to his wife, Mr. Sultan is survived by two sons, Max and Will, both of Greenbrae; and two brothers, Michael, of Pacific Palisades, Calif., and Kenneth, of Santa Barbara.
In the 1990s, Mr. Sultan began to photograph in the San Fernando Valley, near when he went to high school, shooting suburban homes that were being rented as sets for pornographic movies. Sandra S. Phillips, the photography curator at the San Francisco Museum of Modern Art, said that while the work, called “The Valley,” was “nominally about the industry of adult sexual fantasy, the true subject of Sultan’s pictures is how photography is used in the construction of that fantasy.”
Writing in LA Weekly about the work in 2004, Mr. Sultan observed of one particular set: “The furnishings and objects in the house, which have been carefully arranged, become estranged from their intended function. The roll of paper towels on the coffee table, the bed linens in a pile by the door, the shoes under the bed are transformed into props or the residue of unseen but very imaginable actions. Even the piece of half-eaten pie on the kitchen counter arouses suspicion.”
By Jim McKinniss
Photographer Chris McCaw has released a new series of original work, based on paper negatives, long exposures, and the sun burning its way across the image.
The show runs December 15, 2009 through January 9, 2010.
Opening reception for artist, Tuesday, December 15, 2009, 7-9 pm.
This series is titled P.O.P., and is made using an arcane photographic paper that was popular in the early 1900′s. The paper’s common name is “Printing Out Paper.” This paper produces beautiful, ethereal prints with a range of colors from deep magenta, violet or brownish tint.
The subtle color hues in each piece are quite different in each piece as a result of the paper, the hand processing and the gold toning of each image during processing.
Due to the scarcity of this paper, this series is currently limited to 14 pieces. As each piece is the actual negative that was placed in the camera, they are one-of-a-kind and cannot be reproduced.
The gallery has a concurrent exhibition, Frank Paulin “Color Works”, in our North and East galleries.
Thursday through Saturday
11am – 6pm and by appointment
Tel: 310 838 2440
ADDRESS: 10959 Venice Blvd., Los Angeles, CA 90034
By Jim McKinniss
NOTE: McCaw’s 2008 photobook “Sunburn”, was recently reviewed on The PhotoBook, which can be found here.
Sebastopol Center for the Arts is hosting a juried photography exhibit in February 2010. All manners of photography are accepted. Digital, alternative, traditional, experimental, mixed media, and more. The juror is Drew Johnson, Curator of Photography, Oakland Museum of California. There is a $200 best of show award as well as smaller awards. Entries are accepted in CD form or hand delivered. The deadline is January 25, 2010. Complete details can be found at SCA: 707 829-4797, email to: email@example.com, or at their website: http://www.sebarts.org
by Gina Genis
M+B is pleased to announce an exhibition of new work by Matthew Porter titled High Lonesome, running from December 12, 2009 to January 23, 2010.
The exhibition contains 18 photographs, varying in size and sometimes clustered together in a seemingly inchoate mass. But two themes persist: the American West and the Hindenburg. The show is an attempt at historical mash-up, bringing together romantic imagery of cowboys and zeppelins. Both subjects are iconic, yet their reputations have been soured by facts, as history overtakes myth. The Hindenburg, which began its life as the fountainhead of German creative and entrepreneurial vision, ended in a fiery death under the dark shroud of Nazi propaganda. As a romantic symbol it has been spoiled, much like the history of the American West—you can’t watch The Searchers without being aware of the racism.
While not a direct narrative, the fictional meeting of a cowboy and the Hindenburg after peripatetic wanderings through the desert has the familiar ring of cheap science fiction. Dinosaurs didn’t share the planet with cavemen, but their fictional conflict has been featured in a variety of media. This absurd collision is represented in the cornerstone piece Farewell, Promised Land, a photograph of a few shelves in a personal library; the shelf containing WWII nonfiction bleeds into the shelf containing Western history, while the entire rack is peppered with fiction. Matthew Porter was born in State College, Pennsylvania in 1975. He graduated from Bard College in 1998 and received his MFA from the ICP/Bard Program for Advanced Photographic Studies in New York in 2006 and now resides in Brooklyn. His work has recently been exhibited in New York, Miami and Dallas and featured in the New York Times Magazine, Modern Painters, VMan, and Exit. This is Porter’s first exhibition in Los Angeles and with M+B.
Matthew Porter was born in State College, Pennsylvania in 1975. He graduated from Bard College in 1998 and received his MFA from the ICP/Bard Program for Advanced Photographic Studies in New York in 2006 and now resides in Brooklyn. His work has recently been exhibited in New York, Miami and Dallas and featured in the New York Times Magazine, Modern Painters, VMan, and Exit. This is Porter’s first exhibition in Los Angeles and with M+B.
M+B Gallery is located at 612 North Almont Drive, Los Angeles, CA 90069
High LonesomeExhibition Dates: December 12, 2009 – January 23, 2010
Artist’s Reception: Saturday, December 12, 7 – 9 pm
Gallery Hours: Tuesday – Saturday, 10 am – 6 pm, and by appt.
For more info, please contact Shannon Richardson at M+B at (310) 550 – 0050 or firstname.lastname@example.org
By Jim McKinniss
Gallery 478 is pleased to present EXCERPTS: [FROZEN MUSIC] & IRON, The Photographs of Gil Garcetti. The show runs December 3, 2009 – February 27, 2010
An Artist’s Reception will be held Saturday, December 5, from 4 – 7 PM.
Rare it is when a high profile ex-politico makes his or her mark anywhere other than as the subject of tabloid pages or as a defendant in criminal court. As of this writing, Gil Garcetti has avoided such pratfalls. Quite to the contrary, Garcetti has quietly built himself a reputation as a photographer of considerable merit. The works in the exhibition reveal a documentarian with a discernable aesthetic working in the best tradition of the genre. EXCERPTS … provides the viewer with a sampling from his first two photo books.
IRON: ERECTING THE WALT DISNEY CONCERT HALL, records the assembly of the skeletal guts of Frank Gehry’s eccentric, complex architecture.
Capturing the near magical accomplishment of skilled union ironworkers, their relationship to the work and to one another, IRON renders transparent the hidden truth of all architectures – that it’s built from the inside out. The quiet drama of these populated images are treated to the same eye that so skillfully celebrates the lyrical dynamism of the concert hall’s finished skin celebrated in [FROZEN MUSIC].
Gil Garcetti’s work has been widely exhibited in the United States and abroad, including the United Nations, NYC, Millennium Art Museum, Beijing, China, UCLA Fowler Museum, Peter Fetterman Gallery, and G. Ray Hawkins Gallery, Los Angeles, among others.
For images or additional information, please call 310-732-2150.
Gallery 478 is located at 478 W. Seventh St.
San Pedro, CA 90731
By Jim McKinniss