dnj Gallery is pleased to announce its upcoming exhibitions of “American Ruins” by Max MacKenzie and “Transitions” by Jody Zellen.
In “American Ruins,” MacKenzie pays homage to his Midwestern roots with photographs from three different series, “Abandonings,” “American Ruins” and “Markings.” “Abandonings” marks MacKenzie’s return to Minnesota, the land of his youth, to capture the empty structures that recall the struggles of previous generations. He writes, “To me, this landscape and these buildings – sad, empty, silent houses and falling-down barns – possess a profound beauty not merely for their spare, simple designs and weathered boards, but as monuments to the men and women who, like my own ancestors, made long journeys and endured great hardships to reach this remote part of America and build in it a new home.” In “American Ruins,” MacKenzie ventures into other nearby states, which gives a specific focus on mood (while using a black and white format). Finally, in “Markings,” MacKenzie continues to consider the region but from an aerochute high in the sky. He concentrates on the sinuous lines and remarkable patterns embedded in the land, further emphasizing the beauty inherent in the area.
MacKenzie holds a B.A. in architecture and photography from Bennington College and studied atthe Corcoran Gallery School of Art. His commercial photography has been featured in thousands of brochures, books and magazines and he has received grants for his fine art projects from the National Endowment for the Arts, the Graham Foundation for Advanced Studies in the Visual Arts and the D.C. Commission on the Arts. His photographs are in numerous private, corporate and institutional collections. He is the author of three fine art books and teaches photography workshops and master classes.
“Transitions” in Gallery II features a combination of images selected from over twenty years of Zellen’s work in Southern California. Zellen embraces a multimedia format and has created a wide variety of collages that incorporate photography and drawing. Grids feature prominently in her work, reflecting the ordering principles of both newspapers and cities. “Transitions” follows her long-standing interests in media culture and urban landscapes.
Zellen earned a B.A. from Wesleyan University, an M.F.A. from the California Institute of the Arts and an M.P.S. from New York University. She has received numerous public art commissions, residencies and grants, most recently from the California Community Foundation Fellowship. Her work has been exhibited and reviewed widely in California and has been included in exhibitions across the country and internationally. Zellen is also an independent writer and curator based in Los Angeles. As an extension of her earlier work in web-based art, animation and artist’s books, she is currently working on iPhone and iPad apps that combine her drawings, animations and digital images.
SHOW DATES: April 20 – June 1, 2013
RECEPTION: Saturday, April 20, 6 – 8 pm
GALLERY HOURS: Tuesday – Saturday, 11 am – 6 pm
For more information or images, please contact Cambra Sklarz at firstname.lastname@example.org.
dnj Gallery 2525 Michigan Avenue, suite J1, Santa Nonica, ca 90404 (310) 315-3551 http://www.dnjgallery.net
By Jim McKinniss
Jan Kraft is a Norwegian photographer who I know through Facebook. Jan is an amazingly talented and creative photographer and digital artist.
I’ve never posted a video on this blog before. However, I want to introduce Jan to the readers of this blog. The video is about 8 minutes. Take time to watch it.
By Jim McKinniss
Isabel Munoz has captured form and movement, whether in flamenco, tango, ballet or in many forms of tribal dance and rituals in her travels throughout the world. This exhibition is a survey of this body language, sought from her exploration of rites and identity. This is her first gallery exhibition in Los Angeles.
Isabel Munoz (born 1951, in Barcelona) is a Spanish photographer who lives in Madrid.
Her black-and-white photos are a study of people through pieces of the human body or pictures of toreros, dancers or warriors, by often using a handmade and meticulous process of platinum printing.
Her works are in the Maison Européenne de la Photographie, in Paris, the New Museum of Contemporary Art, in New York, the Contemporary Arts Museum in Houston and in many private collections.
This show runs through April 27, 2013
Duncan Miller is located in Bergamot Station
2525 Michigan Avenue, Unit A7, Santa Monica, CA 90404
Phone: 310 838 2440
By Jim McKinniss
There is a brief but interesting article in LENSCRATCH that talks about the photos of Emma Powell and puts some light on the subject of judging photos.
Here is the link to the LENSCRATCH home page: http://www.lenscratch.com/
Follow this link to the LENSCRATCH article and Emma’s work.
By Jim McKinniss
The following text is from the press release for this show. Unfortunately I only recently became aware of the show which closed in January, 2013. The show consisted of 55 prints and you can probably still view many of these prints at Fahey/Klien.
The Fahey/Klein Gallery is pleased to present “On Set,” an exhibition of classic Hollywood photographer Bob Willoughby, who is widely considered to be the first “Hollywood Special” photographer— the first “outside” photographer to be hired by the studios to document the filming of a motion picture for the major magazines and publications of the time, such as Look and Life. Working alongside legendary filmmakers and iconic Hollywood actors, Willoughby created lasting images that captured behind the scenes moments that define the very essence of the golden era of motion picture history. Willoughby’s photographs are intimate exposures from such renowned Hollywood classics as A Star Is Born, Rebel Without a Cause, My Fair Lady, The Graduate, Who’s Afraid of Virginia Woolf?, and Rosemary’s Baby.
Willoughby honed his skills by pouring over old magazines in secondhand shops at night, cutting out and studying favorite images of Hollywood stars. He began training his eye, and developed his own distinct and authentic style of photographing “on set”. Working behind the camera with filmmakers, he developed innovative devices such as the radio controlled camera, and the sound-reducing blimp camera, which allowed him to work quietly and unobstructed on set. He caught intimate and revealing moments between directors and actors on and off the set, as well as dramatic action shots during filming. Being unobtrusive and blending in with the cast and crew, he was able to capture elusive moments of genuine emotion and authenticity on set.
Sydney Pollack, director, They Shoot Horses, Don’t They?, recounts working alongside Willoughby and his unique ability to truly understand the story and essence of each of the films Willoughby worked on. “Sometimes a filmmaker gets a look at a photograph taken on his own set and sees the ‘soul’ of his film in one still photograph. It’s rare, but it happens. It happened to me in 1969, the first time I looked at the work of Bob Willoughby during the filming of They Shoot Horses, Don’t They?…From Willoughby, I truly learned something about the telling of my own film. He is a true visual stylist, one who understands how to communicate the most complicated ideas in the simplest, most arresting form.” (Sydney Pollack, Foreword to “The Star Makers”)
The exhibition also showcases a small selection of coveted jazz photographs from Bob Willoughby’s early career, documenting the California Jazz scene during the pivotal 1950s. Himself a great appreciator of jazz, Willoughby would often drop everything to photograph a live performance he heard on local radio, as well as exclusive recording sessions by the likes of Chet Baker.
For a period of over twenty years, Willoughby’s photographs were never out of print, gracing the covers and editorial articles of countless magazines and newspapers. Willoughby’s work has been exhibited and collected by The Academy of Motion Picture Arts and Sciences, Hollywood; The National Portrait Gallery, Washington, D.C.; The National Portrait Gallery, London; The Museum of Modern Art, New York, Film Department; and The Metropolitan Museum of Art, New York, among others. In December 2009, Bob Willoughby passed away at his home in Vence in the South of France, at the age of 82.
The Fahey/Klein Gallery is located at 148 North La Brea, between First Street and Beverly Boulevard in Los Angeles, CA 90036
Hours: 10:00 am to 6:00 pm Tuesday through Saturday
Phone: (323) 934-2250
By Jim McKinniss
M+B is proud to present Mike Brodie’s highly anticipated second solo exhibition, A Period of Juvenile Prosperity. The exhibition of thirty new color photographs will be Brodie’s first solo exhibition in six years and opens in conjunction with the publication of Brodie’s first monograph bearing the same name, published by Twin Palms. The exhibition will be shown simultaneously in New York at Yossi Milo Gallery and run at M+B in Los Angeles from March 16 through May 11, 2013, with an opening reception and book signing on Saturday, March 16 from 6 to 8 pm.
For three intense and prolific years, Brodie crisscrossed the states hopping trains, hitchhiking and employing whatever freely available means to fuel his burning lust for movement. The resulting photographs weave a telling photo narrative relatable to Kerouac’s On The Road, capturing the raw spirit of adventure and unbridled freedom Brodie and his friends sought and lived. A natural, Brodie’s camera functioned as an extension of himself, an obsession. There was no thought-out intention to document or record, the resulting images just happened after Brodie found a Polaroid SX-70 on the backseat of a friend’s car. Soulfully and intimately depicted against a constant backdrop of movement are savages “riding suicide,” maps in filthy hands, tender moments of slumber and ruddy faces framed by wind-whipped hair eagerly leaning into the next adventure. Brodie’s tightly knit traveling community was bound by movement, ravenous for life’s varied experiences and interactions and fueled by an intense curiosity to see, to feel, to meet something and someone beyond the towns in which they had been raised. Living outside of society’s norms, this highly creative group lived neither on nor off, but parallel to the beaten path, gleaning society’s detritus along the way to support their chosen version of the American Dream.
The photographs also document a period of transition in Brodie’s life—just after puberty and just before manhood— when hitchhiking for the thrill of the open road, catching rides on freight trains bound for another nowhere town, eating the food left to rot by others and drinking the cheapest alcohol that crosses your lips seems like a perfectly logical and honest way to spend your days. Brodie’s tableau repurposes symbols of decline—trains, Polariods, 35mm film, thrift store clothes—into a seemingly alluring form of ad hoc glamour and freedom tinged with punk rock idealism. The characters drift through post-industrial America. The result: a balance of comeliness and crustiness, filth and beauty, all finely measured by movement, a desire to move on and, at some point, move out of the picture. Although Brodie was never trained, his photographs are an honest and sincere look at the practice of photography that can only come from historical unawareness of the medium. Unknowingly, Brodie’s images follow in the footsteps of photographers like Robert Frank, William Eggleston, Walker Evans and Nan Goldin.
Born in 1985, Brodie was raised between Phoenix and Pensacola along with his younger brother, Jake, by a single working mother. Perhaps one might assume Brodie had little to lose when he hopped his first train at seventeen, but Brodie wasn’t escaping, he was searching. Since that first train ride, Brodie has ridden over 50,000 miles through forty-six states, documenting the people and places he encountered along the way. From 2004 to 2006, Brodie shot exclusively on SX-70 Time-Zero film, earning him the moniker the Polaroid Kidd: a name he would tag on boxcars and walls. When Time-Zero film was discontinued, Brodie moved from these carefully framed gems to more candid moments shooting with a 1980 Nikon F3 with 35mm film from 2006 to 2009. The immediacy of the photographic medium combined with Brodie’s innocence of spirit and raw approach provides a distinct style and authentic voice within the lexicon of photographic history that is so uniquely his own, while simultaneously characteristically American.
Mike Brodie won the Baum Award for Emerging American Photographers in 2007 and has been included in exhibitions at the DeCordova Museum (Lincoln, MA) and the Sonoma State University Art Gallery (Sonoma, CA). Brodie’s work is held in the permanent collections of the San Francisco Museum of Modern Art and the Berkeley Museum of Art. Brodie’s first exhibition in 2006 at M+B garnered critical attention, and his work went on to be reviewed in The New York Times, The New Yorker, American PHOTO, pdn and others. One never to gravitate towards attention, as soon as Brodie began gaining fame for his images, he retreated into obscurity, focusing his obsession on becoming a diesel mechanic: a job that he currently pursues in Oakland with the same passion he approached to image-making.
Exhibition dates: 16 MAR – 11 MAY 2013
ARTIST’S OPENING RECEPTION AND BOOK SIGNING: SATURDAY, MARCH 16, 6-8PM
M+B Gallery 612 North Almont Drive
Los Angeles, California 90069
For more information, please contact Alexandra Wetzel at M+B at (310) 550-0050 or email@example.com
By Jim McKinniss
Over the past two decades, Connie Samaras has used photography and video to represent particular built environments she characterizes as “speculative landscapes” against the backdrop of daily life. She explores the aspirations and anxieties of the imagined future – how the US dreams itself – along with the psychological and social dislocation within the everyday.
Samaras reveals the paradoxes of these surreal environments – vast, impersonal constructions such as the cities of Las Vegas and Dubai and the remote, scientific colonies of the South Pole or Spaceport America, an emerging corporate space launch facility in the remote desert of New Mexico. Her objective is to unhinge the speculative from the normative and thus illuminate the multiple timelines and social possibilities – the rich subjectivity – in any given moment of daily life. Works from six completed series will be presented – Angelic States-Event Sequence, After the American Century, V.A.L.I.S. (Vast Action Living Intelligence System), and Spaceport America – as well as works from the ongoing series Surface Events. Collectively, the works inTales of Tomorrow address the social and economic construction of “future imaginaries” and the variable membrane between fiction and real world.
In addition to featuring works from the six series noted above, this survey exhibition debuts Edge of Twilight, new photography from the first part of an expansive trilogy that launches a conceptual turn in Samaras’ work. Historically the artist’s projects, such as those shot in Dubai and South Pole, depict the future imaginaries of global capitalism, or how the future is held out as a singular probability. Edge of Twilight looks at humble and everyday future imaginaries inflected by social change movements, in which the future is seen as a series of shifting possibilities. Featuring photographs of homes in a women’s retirement RV park in the desert of the U.S. southwest, Edge of Twilight borrows from the genres of time travel and tourism literature as way to reconsider the intersecting complexity of marginalized, cross-generational personal experience and political histories. The long exposures of the photographs and the vapor light under which they were shot create an enigmatic environment in which black skies and yellow RVs are punctuated by the vivid colors of rainbow flags.
Tales of Tomorrow is the largest and most significant exhibition of Connie Samaras’ work to date. The exhibition is accompanied by a full-color, 108-page, hard-cover catalogue edited and with an introduction by exhibition curator Irene Tsatsos and texts by Charlotte Cotton, Lisa E. Bloom, Juli Carson, Ken Gonzalez-Day, Alice Echols, Kate Flint, Julie Lazar, Catherine Opie, Kavita Philip, Claire Phillips, Anna Joy Springer, Tyler Stallings, Roberto Tejada, and Matias Viegener. The catalogue was designed by Lorraine Wild of Green Dragon Office and is being distributed by D.A.P. The exhibition and publication have been supported by The Andy Warhol Foundation for the Visual Arts and the Pasadena Art Alliance. In addition, the artist received support from Creative Capital for the production of Edge of Twilight.
About the Artist
Connie Samaras was born in Albuquerque, New Mexico in 1950. She has exhibited for over twenty-five years, mounting solo shows at venues such as the California Museum of Photography, the San Francisco Art Institute, Detroit Art Institute, School of the Museum of Fine Arts in Boston, Los Angeles Contemporary Exhibitions, and Franklin Furnace. A full professor at University of California/Irvine, Samaras has received more than four-dozen research and production grants from foundations such as the California Community Foundation, the National Science Foundation, Anonymous Was A Woman, Art Matters, Banff, and the National Endowment for the Arts. In addition to an extensive record of exhibitions and lectures, Samaras has published feminist critiques of the culture wars in the late ‘80s/early ‘90s (New Art Examiner, ArtForum, New York Law School Review); edited texts on technology and the cultural production of death (Terminals); and written experimental fiction (Whitewalls, Central Park) and critical narrative (The Scholar and the Feminist Online, Remix: Santiago Bose).
Armory Center for the Arts
145 N. Raymond Ave., Pasadena CA
3/1/2013 to 6/9/2013
By Jim McKinniss
ROSEGALLERY is pleased to present SAUL LEITER: POST-WAR COLOR. Photographs from the late 1940s and 50s will be on view from 16 February through 16 March, 2013. An opening reception will be held Saturday, 16 February, from 4:30 – 6:30 pm. A screening of the recent documentary film In No Great Hurry: 13 Life Lessons with Saul Leiter directed by Tomas Leach is scheduled to coincide with the reception.
A pioneer of early color photography, Saul Leiter has been shooting color pictures obsessively since the 1940s. Largely self-taught, he developed an abstract, lyrical form of photography centering on radically toned representations of metropolitan scenes during the heyday of black and white photography, when relatively few photographs other than those intended for reproduction in magazines or as advertisements were made in color. By compiling an extensive body of work in color during the medium’s infancy the artist has made a significant contribution to its history and is noted as one of the outstanding figures in post-war photography.
Leiter was born in Pittsburgh in 1923, the son of an internationally renowned Talmudic scholar. Though his family wanted Saul to follow in his father’s footsteps and become a Rabbi, at the age of 23 he left theology school and set off for New York on a midnight bus with dreams of becoming a painter. The city offered him a fresh start, removed from his Jewish Orthodox upbringing, and ultimately a lifetime of visual inspiration. It was here that he met Richard Pousette-Dart, one of the younger New York Abstract Expressionists, who introduced him to experimental large-format photographic prints and ultimately inspired Leiter’s interest in the camera as an artistic tool. From the start, Leiter’s affinity for Abstract Expressionism and color field painting informed his photographic vision, and while his subjects were the city streets and the often unyielding urban visual experience of Manhattan, the poetic underpinnings of his approach; the spare geometry, the semi-abstract, improvisational layering and fragmentation of space, and especially his innovative combinations of color, set him apart from his contemporaries in The New York School like Robert Frank and William Klein, for example. By exploiting the color distortions inherent in outdated film stock and embracing the color rendition in emulsions available from small manufacturers Leiter created an experimental style, influenced as much by the avant-garde post-war painters whom he admired, as the urban environment in which he dwelt. Art critic Roberta Smith wrote in 2005:
‘Mr. Leiter was a photographer less of people than of perception itself. His painter’s instincts served him well in his emphasis on surface, spatial ambiguity and a lush, carefully calibrated palette. But the abstract allure of his work doesn’t rely on soft focus, a persistent, often irritating photographic ploy, or the stark isolation of details, in the manner of Aaron Siskind or early Harry Callahan. Instead, Mr. Leiter captured the passing illusions of everyday life with a precision that might almost seem scientific, if it weren’t so poetically resonant and visually layered.’
Leiter’s first exhibition of color photography was held in the 1950s at the Artist’s Club, a meeting place for many of the Abstract Expressionists at the time. Then, in the late 1950s the art director Henry Wolf published his color fashion work in Esquire and later in Harper’s Bazaar. Leiter continued to work in the fashion world for the next twenty years for such publications as Elle, and British Vogue. And although Edward Steichen included a group of Leiter’s photographs in the 1953 exhibition Always the Young Strangers at the Museum of Modern Art, as well as twenty of his color images in the MoMA conference Experimental Photography in Color in 1957, for 40 years following, Leiter’s noncommercial work remained virtually unknown to the wider art world. Since the publication of his monograph, Early Color, by Steidl in 2006, however, Leiter’s photography has experienced a surge of popularity and numerous exhibitions have followed, beginning with the artist’s first major retrospective at the Milwaukee Museum of Art. His work has also been the subject of solo shows at the Cartier Foundation, Paris; Forma Foundation for Photography, Milan; and Deichtorhallen, Hamburg.
Saul Leiter’s photographs are featured in the book The New York School: Photographs 1936-1963 by Jane Livingston, Appearances: Fashion Photography Since 1945 by Martin Harrison and most recently, Saul Leiter, a catalogue published to accompany the artist’s 2012 retrospective at the House of Photography in Hamburg. His work is found in the permanent collections of The Museum of Modern Art, New York; The Whitney Museum of American Art; The Art Institute of Chicago; The Baltimore Museum of Art; the Victoria and Albert Museum, London; The Stedelijk Museum, Amsterdam and many other public and private collections.
The artist currently lives and works in New York City.
This exhibition runs 16 February through 16 March, 2013.
Rose Gallery is located in Santa Monica at Bergamot Station.
2525 Michigan Ave Ste G5 Santa Monica.
By Jim McKinniss
I have been traveling to Venice, Italy for the last 6 years to join a group of photographer friends for the annual Carnival.
The following is an ever so brief description of the Carnival.
The Carnival of Venice (Italian: Carnevale di Venezia) is an annual festival, held in Venice, Italy. The Carnival ends with Lent, forty days before Easter on Shove Tuesday (Fat Tuesday ), the day before Ash Wednesday.
It is said that the Carnival of Venice was started from a victory of the “Repubblica della Serenissima”, Venice’s previous name, against the Patriarch of Aquileia, Ulricoin the year 1162. In the honor of this victory, the people started to dance and make reunions in San Marco Square. Apparently, this festival started on that period and became official in the Renaissance. The festival declined during the 18th century.
After a long absence, the Carnival returned to operate in 1979. The Italian government decided to bring back the history and culture of Venice, and sought to use the traditional Carnival as the centerpiece of their efforts. Today, approximately 3 million visitors come to Venice every year for Carnivals. One of the most important events is the contest for the best mask, placed at the last weekend of the Carnival. A jury of international costume and fashion designers votes for “La Maschera più bella”.
By Jim McKinniss
dnj Gallery is pleased to announce its upcoming exhibitions, Bill Sosin’s “Proper Souls” in the main gallery, and Sharon Harper’s “From Above and Below” in Gallery II.
With “Proper Souls,” Sosin heads out into the rainy Chicago landscape to photograph the world through car windows. As Diane Calder has written, “Bill Sosin employs depth of field like a jazz musician whose mastery of basics allows his music to soar.” (ArtScene, April 2010). This time he expands on the aesthetic he developed in his earlier “City Rain” series, by inverting the colors of his subjects to create hazy silhouettes that suggest their energy and auras. Sosin dubs these nearly abstract figures “Proper Souls, common folk unknowingly enveloped in their thermodynamic essence.”
Sosin is a Chicago-based, self-taught photographer whose work has been exhibited throughout the United States. His work was recently featured in Black and White magazine’s “2013 Single Image Contest Winners Special Issue.” He has also won many awards for his work, such as the International Lucie Award “Official Selection” in 2009 and the International Color Award from the Photography Masters Cup.
In “From Above and Below,” Harper looks to the skies with work from several different projects. “One Month, Weather Permitting” consists of long-exposure images of star trails in the night sky over Banff, Alberta, Canada. Using the camera, Harper is able to capture the otherwise imperceptible paths of stars. Similarly, in “Sun/Moon (Trying to See Through a Telescope),” Harper explores the limits of sight using a digital camera attached to a telescope. Neither the naked eye, nor the telescope with all of its distortions and reflections, can accurately see the moon and sun. As Harper explains, because our visual perception is not perfect, “[w]hat we are left with is the act of trying to see and understand.” A video installation of aerial views, entitled Landshift, will accompany Harper’s photographs.
Harper is an Associate Professor of Visual and Environmental Studies at Harvard University. Her photography has been exhibited widely, including in a solo exhibition at the Whitney Museum in New York and group exhibitions at the Noorderlicht Photography Festival at the Belvedere Museum in the Netherlands, the DeCordova Museum in Massachusetts and the Nelson-Atkins Museum of Art in Missouri. Harper’s work is in the collections of numerous museums, including the Museum of Modern Art in New York, the Whitney Museum and the Museum of Fine Arts, Houston in Texas. It is also the subject of a 2012 book, From Above and Below published by Radius Books.
dnj Gallery is located at 2525 michigan avenue, suite J1, santa monica, ca 90404
SHOW DATES: March 2 – April 13, 2013
RECEPTION: Saturday, March 2, 6 – 8 pm
GALLERY HOURS: Tuesday – Saturday, 11 am – 6 pm
For more information or images, please contact Cambra Sklarz at (310) 315-3551 or firstname.lastname@example.org.