The following written by Aline smithson and is taken from http://lenscratch.blogspot.com/2010/05/mark-tanner.html
I first discovered Mark Tanner’s work in the developing tray. We had never met and I had to restrict my compliments to “nice work”, when I wanted to be significantly more effusive. But now we are friends, and I am free to celebrate his work in appropriate amounts. Mark is a working photographer in Los Angeles, juggling commercial clients, a fine art passion, and a new baby. He has a wonderful series of nudes that have humor and beauty, and many other projects.
By Jim McKinniss
The Scott Nichols Gallery is proud to present Looking at Teske. Photographs by Edmund Teske.
The exhibition will be on view from
After working in a commercial photography studio in Chicago for two years, Teske moved on to Wisconsin where he took up the first fellowship in photography under the guidance of architect Frank Lloyd Wright. By the late 1930s, he taught at the New Bauhaus School of Design in Chicago, for the Federal Arts Projects and also assisted photographer Berenice Abbott in New York.
In the mid-1940s, Teske relocated to Los Angeles, where he initially worked at Paramount Pictures in the photographic still department. He continued to photograph and began to exhibit his images more frequently. In 1956 he detoured briefly from photography to appear in the film biography of Vincent van Gogh, Lust for Life. After 1960 he frequently returned to older negatives, reinterpreting them through the use of experimental printing techniques.
Edmund Teske’s photographs can be found in the permanent collections of the J. Paul Getty Museum, the Museum of Modern Art, NY; the Art Institute of Chicago; Los Angeles County Museum; The Center for Creative Photography Tucson, and other major institutions.
For more information please call the gallery at 415 788 4641 or email at email@example.com.
Gallery hours are Tuesday through Saturday, 11-5:30 and by appointment.
By Jim McKinniss
Aline Smithson is having her second chapter of Four Evenings with Fine Art Photographers opening the door to four incredible evenings, shared through the vision of some of the most interesting fine art photographers working in Los Angeles today. Many have published books, are inspired teachers, exhibit throughout the world, and are award-winning visionaries. This is conjunction with the Julia Dean Workshops, and the next evening is this Thursday, May 20th, the third in the lecture series, featuring Robbert Flick at the A&I Photo Labs in Hollywood (CA), at 7 pm.
Tickets can be purchased at the door for $15.00 (students with i.d. $10)
by Douglas Stockdale
U.S. Mission Sponsors Photo Contest on Theme of American Streetscapes
American Streetscapes – US Independence Day Photo Contest on Flickr
The United States Mission to the United Nations in Geneva invites the online community, and the general public to submit photos to our online photo competition on the theme of American Streetscapes.
The contest is being run through a Group page on Flickr to which any photographer, amateur or professional, may submit appropriate photos.
Ten to Fifteen photos will be selected by the US Mission’s creative team to be featured in the design of our Independence Day poster. This poster will be presented as a gift to the approximately 2000 diplomats and UN officials from around the world who attend our annual Independence Day celebration in Geneva.
Contest winners will be credited on the poster, and will each receive ten copies each of the poster featuring their work.
The theme for our contest is American Streetscapes” with a special focus on five key topical areas.
•Main Street America
(Images of any Street that sums up the essence of the American Streetscape. Please be sure provide the name and location of the street with your image.)
•Broadway, New York, New York
•Bourbon Street, New Orleans
•Calle Ocho, Miami
•Martin Luther King Jr.
(Any Street, Avenue or Boulevard in the United States which
is named after Martin Luther King Jr. )
In addition to being on the poster, the selected photos will be featured on the website of the U.S. Mission to the United Nations in Geneva and become part of a permanent display in our building.
The U.S. Mission to the United Nations in Geneva is the site of many important international meetings and negotiations, such as the recent talks between the US and the Russian Federation that led to the New START treaty. You can read more about the work of the U.S. Mission on our website: geneva.usmission.gov and see photos from recent meetings held here in our Flickr photostream: www.flickr.com/photos/us-mission/.
Deadline: Submissions are due by June 11, 2010.
There is no limit to the number of photos you may submit.
Submitted images must be in .jpg format and of adequate resolution for print production at a size around 5 to 8 inches square.
•Please make sure your image has a file extension of .jpg prior to uploading.
•Please submit images that are true photography. Photos of paintings, screen shots, and illustrations will not be accepted.
•Digitally manipulated images are accepted, but preference will be given to photos which are not too abstract, and where the streets are recognizable.
•Photographs must be submitted electronically via Flickr.
•To enter, please simply add your photo to the U.S. Mission’s “American Streetscapes” Group page, and include the tag “American Streetscapes”
Because the final poster design will include multiple images, it is possible that your photo may be slightly cropped in the final version.
By submitting an image to the “American Streetscapes” contest, you affirm you are the creator and rightful owner of this image.
All photographs will remain the copyright of the photographer. But by submitting your image, you agree to allow the United States Mission to the United Nations to use the image in the July 4 poster, related promotional materials, and to crop the image to fit the poster if necessary. Your photo will not be used for any commercial purpose, but only for the not for profit Independence Day related uses described above.
By Jim McKinniss
Gallery Luisotti is pleased to present an exhibition of new work by Mark Ruwedel. Known for his topographic documents of the Western United States and Canada, Ruwedel has recently turned his camera toward the exurban locales of Southern California. Capturing the degraded, fringe spaces of the high desert, Ruwedel’s photographs describe a landscape of simultaneous development and decay.
“Now it is Dark” consists of three distinct groups of work. The exhibition is predominated by Ruwedel’s detached picturing of high desert houses. Ruwedel chooses to photograph those houses that seem to be either once inhabited or incomplete constructions. Yet most of these houses occupy a middle zone, where the viewer is perplexed in wondering if they are coming or going, generative or degenerative. In a second and related group of work, Ruwedel captures abandoned houses at dusk. The semidarkness found in these photographs casts an atmosphere over the scene that is at once melancholic and sublime. As such Ruwedel grants the viewer an image of humanity’s caustic presence shadowed by natural cycles. Such a balance of the immaterial and the concrete is further exposed in the small “artifact” photographs also taken in the high desert. No longer describing the exteriors of unrefined architecture, Ruwedel points his camera straight at the ground to witness the detritus of life strewn across a wasteland. Signs of culture decay to the point of abstraction; we witness specters of lives past submerged in the tumult of roadside scrub.
Ruwedel’s primary interest has been to capture the West as a palimpsest of cultural and natural histories. While his series “Westward the Course of Empire” uncovers abandoned railway paths through the West, his series “Ice Age” depicts sites that merged indigenous inhabitation with a geological sense of time. With the photographs found in “Now it is Dark” that sense of historical time seems to have collapsed. No longer do we find in Ruwedel’s images the traces of a distant past, but the imminence of ad-hoc construction and the detritus left in its wake.
Mark Ruwedel’s work will be featured in several important exhibitions in the coming year, including “Exposed: Voyeurism, Surveillance, and the Camera” at the Tate Modern from May 28 – October 2, 2010, and subsequently traveling to the San Francisco Museum of Modern Art, as well as “Imprints: Photographs by Mark Ruwedel” at the Peabody Essex Museum from June 12, 2010 to January 1, 2011. Ruwedel’s Westward the Course of Empire was published by Yale University Press in 2008.
The exhibition “Now it is Dark” will run 22 May – July 17, 2010
A reception for “Now it is Dark” will take place June 19, 2010 from 6-8 pm.
For more information about the artist and the exhibition, or for a complete curriculum vitae of the artist, please contact Gallery Luisotti at (310) 453-0043 or by email at firstname.lastname@example.org.
By Jim McKinniss
San Francisco based artist, S.M. Shifflett, premiers her newest series of oil paintings for an exclusive Southern California exhibit at Flazh!Alley Art Studio.
In this new body of work Ms. Shifflett draws both upon her proven skill in dramatic classical portraiture and the ever flowing fountain of Greco-Roman divine images to capture the uneasy personal and political reality we live in. Does she depict the descent of a god into the emotional quagmire of the human condition, or does she trace the cloudy aspirations of erotic beings to achieve a divine perfection? Ms. Shifflett states that she did not want the paintings “to have the mortal life of mere portraits.” Thus, in Shifflett’s new work the iconography of the Greek and Roman world is renewed as emblems of modern social/erotic truth, quickening the timeless mythical stories with modern life. In so doing Ms. Shifflett places her art in a grand tradition of western painting.
The only public receptions will be on San Pedro’s 1st Thursdays Art Walk Nights, June 3 & July 1, 2010 from 7-11 PM
ADULTS ONLY (18 and over) “Titans, Gorgons and Punished Gods” can also be seen by appointment. Please call, 310.833.3633 or email@example.com
Flazh!Alley Art Studio is located at 1113 S. Pacific Ave., Suite B, San Pedro, CA. Park in the large city parking lot behind the Ramona Bakery at Pacific & 11th Street.
Enter Flazh!Alley from the alley, of course.
By Jim McKinniss
Face to Face
15 May through June 26
Opening Reception 15 May from six to eight pm
Taking a portrait involves a certain intimacy between an artist, a subject, and the camera. The success of the
act requires this momentary affinity. What we see in a portrait documents a particular moment of congress
between subject and artist -an intention vivified by the closure of the lens, mediated into realization. Portraits
are images of what happened to have endured of these encounters.
Face to Face highlights varying methods of portraiture as embodied by select practitioners of the genre. The
multiple perspectives seen in the exhibition present this form as a continuing well-source of artistic interest,
utilized throughout the modern and contemporary eras in a surprising number of pictorial tangents. Bridged
by human imposition into a singular frieze of life, the images in Face to Face display a semaphoric connection
to one another as if notes sharing a palimpsest, each their own curious variation upon a resident, familiar
While revealing the manifold paths toward a specific subject matter within a portrait, the stylistic differences
between images highlight each artist’s latent concerns: Martin Parr’s coloristic intensity is paradoxically used
to outline a scene of immeasurable, upper-class boredom; Manuel Alvarez Bravo’s deadpan shot of Isabel Villaseñor, the post-revolutionary ingénue, both places her upon a pedestal (the camera slightly below eye level)
and examines her as a sylph, the fragilities of a 24 year old captured in the format of a pedestrian mugshot: Diane Arbus captures an infant and an older woman –from innocence to wilted experience- with the same
force of vision.
In other works, the background intimates the presence of the subject. The female form in William Eggleston’s
Untitled, 1971 from Dust Bells melds into her scene, an amorphous figure defined by the contours of the brilliant,
yellow duvet spreading towards the foreground. Summer Mann’s painting of a recovered photo of a period
couple hints of a silent transgression, a psychology embedded in the unfiltered darkness behind them, Andrew
Bush’s Angelyne, 1997, a portrait of the ubiquitous Los Angeles celebrity-monger, is at once a binary comment
about the plasticity of its subject as it is a trope on a society able to produce someone willing to drive a bright
pink Corvette. By contrast, Dorothea Lange’s image of a young woman in Manhattan rests as a quiet counterpoise:
she glances away from us to the open street, a simple, complicit moment of turning her back to see what
we see. Slightly tense, or caught in media res, an empathic gesture is framed. Like an instant of seeing a snapshot
that once meant something more, there is an amazement to it, “…to see, as though reflected in streaming
windowpanes, the look of others through their own eyes.” ¹
Face to Face will be on view from 15 May through 26 June 2010.
ROSEGALLERY is located in the Bergamot Station Arts Center at 2525 Michigan Avenue – G5, Santa Monica, CA 90404.
By Jim McKinniss
The following text is reprinted from the May 6, 2010 Los Angeles Times which retains the copyright. Michael Light’s image above courtesy of Craig Krull Gallery
Michael Light’s astonishing photographs of the American West, at Craig Krull, are neither fairy tales of untouched splendor nor horror stories of desecration. They are both at once — vast, aerial views of marvels and mistakes, often within the same frame. While the images could easily be enlisted to support any number of environmental causes, they are not arguments in themselves. They don’t clamor or plead. They show, as Light puts it, “What We Do,” as humans, as Americans.
That sounds like the neutral stance ascribed to the photographers crowded under the category of New Topographics a generation-plus ago, but their pictures weren’t neutral either. They could be snide and damning in their chronicle of industrial parks and generic suburbia, but they spoke in cool, controlled voices and left the heated frenzy of interpretation to take place in the privacy of each viewer’s mind.
Artists interpreting the landscape aren’t capable of neutrality and never have been. They can’t help but see through the eyes of our species and its needs. Just as we need something to project awe onto, we also need something to extract resources out of, and the earth has long served that double duty. When Timothy O’Sullivan photographed in the Western states in the late 1860s and 1870s, he was part of several government survey teams charged with providing pictorial proof of Western promise, the land’s geological splendors as well as its utility. His extraordinary images (and those by other survey photographers of the era) are the before to Light’s after.
The West has long been settled and used — in some places oversettled and used up. In place of O’Sullivan’s wagon train, the San Francisco-based Light shoots from helicopters and his own self-piloted plane. He photographs coal mines and motocross parks, oil derricks and natural gas fields, highways and trailer parks. His pictures hang individually and are also sequenced in large, stunning handmade books. Throughout, Light operates from a foundation of wonder and a hunger to better understand the intersection of nature and human nature.
There is drama in that collision, and Light’s pictures can be breathtaking in their sweep, their blunt exposure of what is. Patterns in the landscape emerge more graphically through the elevated perspective. Concentric rings spiral down into a Utah gold mine, creating a void answered by the uplift of the mountains beyond. Spindly palm trees spike the grid of an Arizona trailer park like frilly-topped toothpicks on a tray of stale canapes. Distance turns the tiny, dark derricks and pale pipes in an oil field into Twombly-esque squiggles and lines.
Light finesses a rich tonal palette out of the gap between black and white, and harnesses contrast (snow on dark earth, trees against pale ground, shadows in riven fields) to potent effect. He is equally eloquent as a colorist. A view into the excavated edge of the Black Thunder coal mine in Wyoming looks like an effort to extract hue as much as fuel. The wedge cut into the wheat-gold plain shifts from gritty brown to ash gray and finally to cool black, a Heizer earthwork crossed with a Rothko meditation.
Three books on view, resting on modified tripods, each measure 36 by 44 inches when open. The photographs within, gorgeously printed edge-to-edge on velvety matte paper, feel enveloping, and our slightly elevated view of them echoes the photographer’s own perspective. Each is a spectacular essay on place in 16 to 21 images, a survey of terrestrial phenomena and the mark of the human hand upon them: dams, subdivisions, mine tailings, smelter stacks.
Light’s work is largely about what we consider ours, how we act on that assumption, and what the visual manifestations of those claims look like. An earlier project incorporated survey pictures of the moon, and another, photographs of nuclear detonations in Nevada and the Pacific. This recent work too seduces and troubles in shifting measure. It resists easy summation and rewards the deep, pensive look — both outward and inward.
– Leah Ollman
Craig Krull Gallery, Bergamot Station, 2525 Michigan Ave., Santa Monica, (310) 828-6410. Closed Sundays and Mondays. www.craigkrullgallery.com.
An additional book and several photographs are also on view by appointment through May 21 at the Archer School for Girls, (310) 873-7043.
By Jim McKinniss
A & I Photographic and Digital Services is pleased to have performed the direct printing for Monica Orozco’s body of work “De Colores – Portraits of L.A. Women.” This body of work is currently on view at the Arclight Hollywood on the 2nd level.
“De Colores – Portraits of L.A. Women” is an ongoing project that showcases the eye-popping portraits of the “wonder women” in deMonica’s hometown of Los Angeles. Beautiful, diverse, strong, and fearless; they inspire her endlessly. These are the angels (and demons) of the City of Angeles that she knows and loves. Reflecting the individual spirit of each project, each wonder woman is shot before a backdrop of her favorite hue. This deeply personal project is an homage to her hometown and an expression of appreciation for the beauty and strength of wonder women everywhere.
Orozco’s work has been published in numerous magazines and online publications including Anthem, Spin, TimeOut London, Interview, Swindle, Whitehot, Westside, JPG, ARTINFO, ForYourArt, among others. Her work has also been in Berlin, London, New York, San Francisco and in Los Angeles. For more information on Monica Orozco’s work please visit her site at: www.demonicaphoto.com. It’s a luscious world.live it, love it, see it
Thursday, May 13, 2010 from 7pm-10pm
ArcLight Cinemas Hollywood (Hollywood Café, 2nd Floor.)
6360 Sunset Blvd.
Los Angeles, CA 90028
Parking Validation $2 first 4 hours
RSVP not necessary
By Jim McKinniss