Gallery 478 is pleased to present Un-Sense of Self, recent photographs by Bruce Ecker. The exhibition will open with an Artist’s Reception on First Thursday, December 2, from 6 – 9 PM.
Comprised of images selected from the series Son of Clownfaced, Sherman’s March – The Hair Campaign, and Narcissis, the work could be described as a kind of situational self-parody. The German concept of Romantic Irony advised that the acknowledgement of artifice and the pursuit of self- parody yielded a determined lightness of being in the face of the absurdity and chaos of life – the ultimate freedom since it allows one to rise above oneself.
In these photographs the sole human presence is that of the artist himself as surrogate, foil, deviant, and clown. Devoid of the elaborate staging and atmospheric effects of works by Robert ParkeHarrison, Ecker’s images are startlingly clear and unambiguous, simultaneously threatening and humorous.
Curated by Ray and Arnee Carofano, Un-Sense of Self runs through February 25, 2011.
Live music by IN CONTEMPT 9PM – 12AM
Reception: First Thursday, December 2, 6 – 9 PM
Gallery 478 is located at 478 W. Seventh St., San Pedro, CA 90731
Gallery hours are Monday – Friday, 11 AM – 5 PM and by appointment. For visuals or additional information please call 310-732-2150.
This exhibition funded in part by the Community Redevelopment Agency of Los Angeles.
By Jim McKinniss
The Board Room Gallery is pleased to present By My i, Recent Photographs by Mark Dunham. The exhibition will open with an Artist’s Reception on First Thursday, December 2, from 6 – 9 PM.
The iPhone is possibly the most embraced, celebrated, used and abused, fantastic gadget of current times. A plethora of sites and blogs and bulletin boards are devoted to iPhone photos. The iPhotography site offers “10 ProTips for snapping perfect iPhone photos”, and photocritic.org presents the 100 best iPhotos as art photography. Mark Dunham doesn’t need the 10 ProTips or inclusion in the top 100 as selected by photocritic himself. Instead, Dunham utilizes the phone-cam as a convenient, unobtrusive, efficient camera. The images selected for By My i document a visit to Taiwan and Malaysia and run the gamut from considered to spontaneous. Always inquisitive and informing, Dunham’s work provides the viewer with an insight into ways of seeing.
Curated by Ron Linden, By My i runs through January 2011.
The Board Room Gallery is open from 9 AM – 5 PM, Monday – Friday. For visuals or additional information please call 310-600-4873.
By My i, Recent Photographs will be on display December 2010 – January 2011
Artist’s Reception: Thursday, December 2, 6 – 9 PM
The Board Room Gallery is located at 390 W. Seventh St., San Pedro, CA 90731
By Jim McKinniss
Continuing until November 27, along with an exhibit of paintings by Astrid Preston is “Centennial 10/10/10,” an exhibit of the life’s work of one of the masters of architectural photography, the late Julius Shulman. Mr. Shulman’s bio from the web-site follows.
Julius Shulman is widely regarded as the most important architectural photographer in history. Over a seventy year career Shulman not only documented the work of many of the great architects of the 20th century, but he elevated the genre of commercial architectural photography to a fine art form. It is illuminating to recognize the simple fact that the work of architects such as Neutra, Koenig, and Lautner are virtually known all over the world through the images and perspective of Julius Shulman. As Neutra astutely observed, “His work will survive me. Film is stronger and good glossy prints are easier to ship than brute concrete, stainless steel, or even ideas.”
Born in 1910, Shulman and his family moved to California from a small farm in Connecticut at the age of 10. In the mid-thirties, Shulman attended UCLA and Berkeley, never formally registering at either school, but merely auditing classes that appealed to him. In 1936, having just returned to L.A. from Berkeley, he accompanied an acquaintance (one of Richard Neutra’s draftsman) on a visit to Neutra’s Kun Residence which was under construction. Shulman made six photographs on this trip which Neutra liked and subsequently bought. Soon after Neutra introduced Shulman to other architects and urged him to build his career as a photographer. After making over 260,000 images, Shulman announced his “retirement” in 1989, but the next twenty years were filled with major museum and gallery exhibitions around the world, numerous books by publishers such as Taschen and Nazraeli Press, and a growing list of clients seeking his photographic services. In 2000 he met the German industrial/architectural photographer Juergen Nogai who had come up to Shulman’s studio to meet the legendary man. The two have been collaborating photographically ever since, revisiting locations previously photographed by Shulman and building a client list of new contemporary architects. In 2005, the Getty Research Institute acquired Shulman’s vast archive, but he continued to work until the age of 98. Shulman passed on Wednesday July 15th, 2009 in his home in Los Angeles.”
Craig Krull Gallery is located at:
2525 Michigan Avenue, Building B-3
Santa Monica, California 90404
Tel: (310) 828-6410 . Fax: (310) 828-7320
Tuesday – Friday, 10:30a.m. – 5:30p.m.
Saturday, 11a.m. – 5:30p.m.
By Jim McKinniss
Redondo Beach, CA artist John A. Stewart was awarded a 2nd place in the 2010 All Media juried show at the Irvine Fine Arts Center in Irvine, Ca. The All Media show was open to all artists living in Southern California. The juror is Karen Moss, Deputy Director of Exhibitions and Programs, Orange County Museum of Arts.
I asked John to tell me about his photography and what motivates him to make pictures. Says Stewart:
“I struggle to understand the complexities of the human condition. The fragile interior lives of people and their emotional states are a constant inspiration for my work.
I am drawn to photograph certain people. I am interested in trying to reveal some aspect of their interior life. There’s something strange and inviting about the whole process. It’s a mystery.
Digital photography gives me the ability to transform any aspect of an image. It provides freedom to alter or create new views of my subject. There has never been a time in the history of photography when such artistic freedom is possible.
In my current work, I am looking at subjects and light, with the idea of transforming the raw material into a new experience for the viewer made possible by digital technology. This is an intentional choice on my part, to observe a subject, take a photograph, and then alter it to create a compelling and mysterious image to share with the viewer.”
To illustrate this John quotes Robert Bresson: “No art without transformation.”
By Jim McKinniss
William Eggleston is widely recognized as a master of color photography, a poet of the mundane, and proponent of the democratic treatment of his subjects. His inventive use of color and spontaneous compositions profoundly influenced the generation of photographers that followed him, as well as critics, curators, and writers concerned with photographs.
This exhibition includes more than two hundred photographs, the artist’s little-known video work Stranded in Canton, his early black-and-white photographs of the sixties, and the vivid dye-transfer work of the early seventies, as seen in the Museum of Modern Art’s landmark catalogue of 1976, William Eggleston’s Guide. Highlights from the last twenty years includes selections from the Graceland series and The Democratic Forest, Eggleston’s great, dense anthology of the quotidian. The exhibition includes a special selection of recent work taken in Los Angeles. LACMA’s curator of the exhibition is Edward Robinson, Wallis Annenberg Photography department.
William Eggleston: Democratic Camera was organized by the Whitney Museum of American Art, New York, in association with Haus der Kunst, Munich. The Los Angeles presentation was made possible by LACMA’s Wallis Annenberg Director’s Endowment Fund, The Jonathan Sobel & Marcia Dunn Foundation, the Eggleston Artistic Trust and Cheim & Read.
Exhibition-related programs are supported in part by a generous gift from the Photographic Arts Council and by the Ralph M. Parsons Fund.
October 31, 2010–January 16, 2011
By Jim McKinniss
The Fahey/Klein Gallery is pleased to present an exhibition of Herb Ritts photography. This exhibition contains some of his remarkable portraits, male & female nudes, as well as fashion photographs produced during Ritts’ twenty-five year career in photography.
The Herb Ritts Archive has been stored in a vault since his untimely passing in 2002. All of the photographs on view are original prints made during his lifetime. Many of the photographs in the exhibition have seldom, if ever, been seen by the public. A limited number of prints exist of each image, and in some instances, only one print is available for sale. This exhibition represents an overview of Ritts’ influential and expansive output in the world of photography.
Herb Ritts left us a photographic record of his time and place, a portrait of our era. He not only created idealized portraits that radiate glamour, he also gave us a truthful interpretation beyond the surface of the sitter. He loved photographing notorious personalities – individuals with an edge. Herb didn’t just take pictures of Madonna and Richard Gere, he took the picture of Madonna and Gere. He was a master of capturing iconic figures within their pop culture moment. In fashion photography, he made the models “super.” The sand, sea, shadows, and sky were his backdrops. A perfect sculpted light, elegant strength and an enduring beauty are characteristics of his graphic nudes.
During Ritts’ lifetime he made provisions in his will to create The Herb Ritts Foundation with two charitable mandates. The first, and primary, objective is to continue his commitment to fight HIV/AIDS by providing support to organizations that offer assistance and care for individuals affected by this epidemic. The Foundation also advocates continued awareness of HIV/AIDS and its devastating impact on everyone. The second objective is to support Herb’s great passion for photography by offering assistance to museums and institutions with educational programs that further advance the appreciation and study of photography. The Foundation will continue to support Herb Ritts’ legacy with exhibitions and publications of his work.
This exhibition coincides with the release of “Herb Ritts: The Golden Hour, A Photographer’s Life and His World” (Rizzoli). This publication, written by Ritts’ friend and colleague Charles Churchward, is an “intimate look at Herb Ritts’ life and legacy in words and photographs.”
The Herb Ritts Foundation continues Herb Ritts’ longstanding efforts in support of HIV/ AIDS organizations, research, and charities through funding and donations.
The show runs October 21, 2010 through December 4, 2010
The gallery is located at 148 North La Brea, Los Angeles, CA 90036
Contact: P: (323) 934-2250 F: (323) 934-4243
By Jim McKinniss
M+B is pleased to announce an exhibition of new color photographs, The Black Eye, by Israeli artist Michal Chelbin.
Chelbin’s photographs of young Eastern European wrestlers evoke both Diane Arbus and Mary Ellen Mark, inhabiting a world between fiction and documentary as they explore the complex relationship between the subject’s captured gaze and presence. Her first exhibition on the West Coast in six years, the opening reception for the artist on Saturday, October 23 from 6 to 8pm will include a book signing for Chelbin’s recently published monograph of the same name by Twin Palms Publishers.
The Black Eye recalls classical images of athletes, but with a twist. Unlike traditional pictures of wrestlers that exalt the physical form and seek to reveal some transcendent ideal, Chelbin’s formally composed photographs are grounded in their nowness. The subjects—young Eastern European athletes of professional wrestling schools—are exhausted, sweaty, bruised and bored, photographed in their first few minutes of recovery. This moment, when the sitters discard public personae, is when Chelbin releases the shutter, revealing the disunion between fantasy and reality. Foregoing digital manipulation or cropping, Chelbin’s photographs reveal a measured intimacy within a genuine timeline.
Dislocated from their recent wrestling environments, the athletes are uniformly composed within a square format, photographed against brightly colored, but plain walls, or outside in lush landscapes, highlighting the emotional complexities of each individual sitter. Though tender moments can be found, Chelbin’s work is neither nostalgic nor candid. Subtle and subdued, a staged casualness is captured, one that pairs luscious colors and delicate poses with bruised skin, sweaty hair and ruddy faces; revealing the subject in a seemingly private moment between exhaustion and recovery. An honest inscrutability gives the photographs a sense of presence and uniqueness that is the hallmark of Chelbin’s work.
Based in Tel Aviv, Michal Chelbin (Israeli, b. 1974) graduated from the Wizo Academy of Design and Education in Israel in 2001. Chelbin was short listed for the Taylor Wessing Portrait Prize at the National Portrait Gallery in London 2009 and has been included in prestigious group exhibitions including “Photography Now,” Woodstock Center of Photography, curated by Natasha Lunn (2006); “Fotografia” Hendrik Andersen Museum, Rome (2004); “Spread in Prato,” curated by Pier Luigi Tazzi, Prato, Italy (2004); and “Artists of the Ideal,” Verona, Italy (2002). Works by Chelbin are held internationally in private and public collections including the Getty Museum (Los Angeles), Portland Art Museum, The Jewish Museum (New York) and Tel Aviv Museum of Art. This will be Chelbin’s first exhibition at M+B.
The exhibition runs from October 23 to December 5, 2010.
M+B is located at 612 N. Almont Drive, Los Angeles
Contact: (310) 550-0050, through Dec. 4. Closed Sundays and Mondays. www.mbart.com.
By Jim McKinniss
Long time Photographers’ Exchange member Diane Reeves received the “Eye Opener” at the reception for the Dia de los Muertos show. Diane’s work, “Last Stop,” is a mixed media piece.
I spoke with Ellen Butler who is on the board of directors for 2nd City Council Gallery about Diane’s work.
Says Butler, “Her work always opens our eyes to new ideas, new approaches, connects us to feelings we want to deny, or feelings we’ve forgotten we had, or it reminds us of what it is to be human, of what is important in this world (i.e., connection via communication, in all its many forms). This new piece especially, ‘Last Stop’ (with her two word statement, For Dad), is technically flawless but more importantly, aesthetically intriguing. Seemingly simple, it draws the viewer in deeper and deeper as one watches the piece, and all its layers and depth of meaning are slowly revealed.”
Dia de los Muertos offers the gallery visitor a chance to explore the concepts of “Day of the Dead” from the multiple perspectives of various cultural groups. The artists who are showcased in the gallery for this show use a variety of media and artistic styles to express their interpretation of the show’s theme.
By Jim McKinniss
Frank Pictures Gallery presents Lisa Rinzler’s THE GRASS IS GREEN, an exhibition of photographs of the rediscovered ephemera of generations of mental patients from the abandoned Willard Psychiatric Center in the Finger Lakes region of New York State. This is award-winning cinematographer Rinzler’s second show for gallerist Laurie Frank. Her exhibition of platinum Palladium prints premiered at Frank’s Still/Moving in 1999. The 14 large format chromogenic images in her latest exhibition, printed on sheets of glass, are culled from hundreds shot by Rinzler of the 427 suitcases, trunks, crates and bundles recovered after Willard closed in 1995 that belonged to patients who had spent decades in this vast state mental institution. In them were the remnants of lives left behind when their owners entered the locked gates, a hovering presence of hundreds of souls or spirits attached to the many people who had handled and worn the items in those bags before they were packed, who had read the books, written in the diaries, and looked into the mirrors they contained. Through Rinzler’s lens these forgotten souls, many incarcerated mistakenly for their entire lives, managed to move from being hidden in the crevices of an institution to being in a room of their own.
In 1998, Craig Williams, then curator of the New York State Museum, realized that he had stumbled across a dream of a treasure. Collaborating with Darby Penney, a director with the NY State office of Mental health; Peter Stastny, a psychiatrist and documentary filmmaker who was then an Associate Professor of Psychiatry at Albert Einstein College of Medicine; and Rinzler, as photographer; a major exhibit at the New York State Museum was mounted in 2004, attended by over 600,000 visitors; a website,www.suitcaseexhibit.org; a traveling exhibit; and, ultimately, a book, “The Lives They Left Behind: Suitcases From a State Hospital Attic” (Bellevue Literary Press) written by Ms. Penney and Dr. Stastny with photographs by Lisa Rinzler, were all created around this collection.
Lisa Rinzler first studied painting at the Pratt Institute and then film at New York University. She has been the Director of Photography for dozens of feature films and documentaries including Ed Harris’ Pollock (Vision Award, Women in Film Crystal Awards, 2000; Golden Frog nomination, Camerimage, 2000), the Hughes Brothers Menace II Society ( winner 1994 Independent Spirit Award for cinematography) and Dead Presidents, Three Seasons (Cinematography Award, Sundance Film Festival, 1999, Independent Spirit Award, best cinematography, 2000) and Wim Wenders’ documentary,The Soul Of A Man (2004 Emmy for Cinematagraphy). She co-directed and produced (with Peter Stasny) In The House, three autobiographical stories written and performed by teenager’s in a children’s psychiatric hospital (winner Golden Spire, San Francisco Film Festival) and Coney Island, Brooklyn and Death by Unnatural Causes (with Karen Bellone). She was a subject of two documentaries, Women Behind The Camera and Visions of Light.
By Jim McKinniss
Preview selected new works from Chris McCaw’s Sunburn series, Saturday, November 6, 11 am – 5 pm. Many of these prints are headed to Paris in a week for the upcoming European art fairs, and some will not return to the U.S. This is your chance to view some 25 works in all, and consider acquiring before McCaw’s pending price increase in 2011.
Please RSVP (firstname.lastname@example.org) with your time preference if you’d like to preview on Saturday, space will be limited.
McCaw had a busy summer, traveling from the Arctic Circle to the Mojave, expanding his Sunburn series of unique paper negatives. For those of you who don’t know, McCaw photographs the sun moving across the sky with large format cameras and long exposures. Where there is normally a negative, he places a piece of silver gelatin photo paper instead (a paper negative). He adjusts the lens to let the sun’s path burn through or sear the paper during the composition, with exposures up to 12 hours. The paper negative in the camera becomes the work of art. There is only one of each, and they cannot be reproduced. Work from this series has been acquired by major museums and private collectors
Duncan Miller Gallery is open Thursday – Saturday
11am to 6pm and by Appointment
By Jim McKinniss