The Lucie Foundation Presents
MONTH OF PHOTOGRAPHY LOS ANGELES
Gala Opening Night
An Intimate View of Southern California
Premiere Digital Installation
Saturday, April 3rd 2010
6:00 pm – 10:00pm
MINARC / Gallery SKART
2324 Michigan Ave,
Santa Monica, CA 90404
Santa Monica – GROUPSC 2009, a consortium of fifty regional documentary artist-photographers, directed by Helen K. Garber, will showcase An Intimate View of Southern California at MOPLA’s opening reception at Bergamot Station as a featured installation. The exhibit will then travel to a downtown site, hosted by L.A. Center for Digital Art for the April 8 Downtown Art Walk. This is the third in a series of site-specific pop-up digital installations designed in collaboration with award –winning architectural design firm MINARC/Gallery SKART who will host an exhibition of GroupSC 2009 Artist Works on Paper at their Bergamot adjacent Gallery SKART through May.
Each of GROUPSC’s photographers has embedded their signature style into the documentation of the region’s unique neighborhoods where they reside, work or play, resulting in a gestalt of fifty, up-to-the-minute perspectives tinged with current affairs. Central to this year’s theme is a defunct trailer rescued and reclaimed by Project Director Garber, who, with the expert repair skills of Banning Discount RV of Beaumont, CA and Digital Director Chris Quilisch; Artist/Designer Duce; and the Minarc team, has recycled salvage parts from within the trailer and trailer yard, transforming it from a decaying piece of trash, into a mobile digital projection vehicle for GROUPSC2009’s forthcoming photo tours.
Garber is committed to “uniting the energy field” of LA and environs’ creative community by engaging local artists who are struggling to survive in tandem with the community-at-large. According to Nancy Louise Jones, Project Editor, Garber has brought talent together for a different type of showcase; one that makes a significant statement about our society, and about how we communicate with each other, to surmount the challenges in our personal careers as photo professionals. Jones: “What many people will never see is that Helen has managed through sheer persistence, love of life, love of art, caring for her peers and impeccable timing to coordinate an amazing group of professional and amateur photographers who would normally be disengaged from each other. She is making a statement with the power and strength of creative numbers.”
By taking the show on the road, Garber believes that geographically isolated neighborhoods and insular ethnic enclaves will be exposed to the breadth of our humanity with all of its beauty, variety and recessionary pain depicted.
Grown from last year’s GroupLA 2008, the expanded circumscribed territory is bounded by Santa Ynez/Northwest, San Diego/Southwest, Anza Borrego/Southeast, and Apple Valley/Northeast. Jones opines that “there is a trend in photography now to romanticize the landscape,” but “we live in a large city where there is a lot of loneliness and this year there is an abundance of shots void of humans, but you can still feel presence.” In portraying that loneliness, the images also convey “a sense of trying to connect to survive; when we’re looking through the trash for clothing or food, this project makes the statement, ‘you are not alone’.”
In the process of reviewing what has become a contemporary image archive, Jones has reveled in the artistic rendering that illuminates Redlands’ old Americana; sugarcoats the aftermath of the Santa Barbara fires; and turns an Eastside mired in ugly poverty into surreal beauty, in spite of “an undercurrent of people…out of touch with themselves because they are just trying to find food for their next meal…and boredom, sheer boredom…people walking through life with no more curiosity…” But the curiosity of the artists includes witnessing life through a hotel peephole; trying to comprehend a pathology that banishes sofas to street corners; and questioning why what was at one time dubbed trailer trash has become the new middle-class, living from parking space to parking space. All the while, Eagle Rock churches provide free sermons to us on surviving the economy vis-à-vis signage on their facades and front lawns.
In editing the show’ narrative into digestible viewing nuggets, Jones selections include pictures that reveal last year’s ongoing desolation along the rural and urban landscape: amid the eclectic blend of wealth and poverty from Santa Monica to Marina del Rey; the desert’s hot, dried-out establishments under brilliant blue skies animated by Joshua Tree’s military outpost populated with “short stud-cuts,” Oxnard day-laborers, the underworld of South-central, foragers for food around the Midnight Mission, and the grit of alleyways in Boyle Heights.
But hope is not lost, evidenced by renewable desert and sea flora and fauna, life goes on for Isla Vista hippies, multi-tasking Burbank-to-Brentwood freeway commuters, the manicured lawns in suburbs of Lakewood, the Laguna Woods retirement community, and the mid-century architecture of Palm Springs. The celebratory mood moves from the daily zaniness that transits on and off Santa Monica’s pier and crowded beaches, toward gorgeous neon and gay life in West Hollywood, to the perennial Chinatown parade, and further east to Idyllwild’s crafty woods.
According to Rex Bruce, Director of LACDA, “This is an exhibit that has been needing to happen and is finally being realized. To put cogent documentation of the L.A. ‘City State’ on wheels and readied to make the great American road trip makes sense for a place that has more cars than people. Each area is represented by photographer artists that really know the experience there, so the flavor of the differing regions are captured in their stories told in an unusual and compelling manner for those who view the installation.”
Garber likens the mobile concept to a travelogue that travels. “People used to go on adventures and bring back the photos… We are reversing the experience…taking the photos on the adventure…taking our home on the journey.”
Duce, graffiti writer who partnered with Helen K. Garber on A Night View Collaboration [2007-2010], will again participate by using the trailer as a surface to create a narrative of his relationship to Southern California.
William Cates: Santa Ynez, Attasalina Dews: Ojai, Kyoshi Becker Mckizzie: Palmdale, Colleen Caamaño/Joe Keppler: Shadow Hills, Judith Ann Warren: Eagle Rock/Glendale, Titano Cruz: Balboa Park Humming Birds/Encino, Donald Loze: Santa Monica Mountains, Lillian Elaine Wilson: Commuting – Burbank to Brentwood, Rae Threat: North Hollywood, Rose-Lynn Fisher: Abandoned Couches/ Hollywood, First Shots Fired: Hollywood, Meg Madison: Hancock Park/Westlake
Jonas Jungblut: Isla Vista, Jane Gottlieb: Santa Barbara, Vinit Satyavrata: Oxnard, Joe McDougall: Malibu, Cindy Bendat: Santa Monica Pier, Helen K. Garber: Ocean Park/Santa Monica, Nancy Louise Jones: Venice, Chris Quilisch: Venice Alleyways, Sara Jane Boyers: Santa Monica Airport, Aline Smithson: West Los Angeles/Westwood/ Cheviot Hills, Nick Martinez: West Hollywood
Andrew Ty Lee: Koreatown, Kiet Thai: Chinatown, First Shots Fired: Downtown Los Angeles, Stuart Rapeport: North Figueroa Street/Highland Park, Leslie Rosenthal: Rose Parade/Pasadena, Don Davidson: Redlands, Elizabeth Walker: Apple Valley/Victorville, Rex Bruce: Twenty-Nine Palms, Nancy Baron: Palm Springs, JN/HKG: Idyllwild
Dingo: Tattoo Parlors, NLJ/HKG: Trailers, Shelley A. Gazin: Marina del Rey, Tom Paiva: Culver City/LAX, Ronnie Clark: Vermont Knolls/South Central, Tom M. Johnson: Lakewood, Nick Capaci: Santa Ana, Jonde Northcutt: Santa Ana, Gina Genis: Laguna Woods Retirement Community, Lisa Folino: Newport, Steven Churchill: San Diego Nights, Thomas Antel: Anza Borrego
by Gina Genis
E V E L Y N H O F E R: 1922-2009 will be on view from March 20, 2010 through May 1, 2010.
To honor her life’s work, selections of nearly forty vibrant dye transfer color prints are on view at ROSEGALLERY. This exhibition anticipates a perspective into the late photographer Evelyn Hofer’s observing approach in her portrait, cityscape, and still life photographs. In reverence to her masterful technique for color, Hofer’s work is elevated here to disclose an individual and pure observation contained by the dye transfer process, a color-printing technique now considered rare since the skills and materials needed for production have been out of mainstream entities since the mid-nineties.
Evelyn Hofer’s illustrious career photographing began in literary circles after arriving in New York in the forties. Early in her adulthood, her aptitude for taking photographs was considerable after apprenticing under two commercial photographers in Switzerland thus making her arrival to New York refined with the skills in which to explore architecture, city life, and portraiture in the fifties and sixties. Her worldly output holds the exacting subtlety of a concert pianist with original compositions keenly performed through her lens leaving her viewers in a wake of a simple generosity where each object, remnant of clothing, and furniture imparts an active human habitation.
ROSEGALLERY has been collaborating with Evelyn Hofer and her printers, Guy Stricherz and Irene Malli for the past five years focusing on the production of her discriminating dye-transfer prints selected from her prolific city work spanning from the sixties through the nineties and her self-chosen studio still-life’s she created near the end of her lifetime.
The artist’s monograph published in 2004 with Gerhard Steidl showcases a distinctive insight into her truly remarkable contributions to black and white and color photography in twentieth century Europe, America, and Mexico. She was a well traveled, working artist whose classic composition, brilliant saturated color use outshine the fleeting snapshots of her contemporaries. The comprehensive publication features her most notable work from New York, London, Dublin, Paris, Spain and Italy. The harmonized presentation of her work on view highlights her lifetime commitment. Evelyn Hofer has quietly left behind an eye for interior and elegant stillness at a moment in history that pleads a reminder of the concentration and discipline this class of seeing necessitates.
Evelyn Hofer has work housed in museum collections such as the Metropolitan Museum of Art, New York, Houston Museum of Fine Art, Texas, the Centro Cultural Arte Contemporaneo, Mexico, numerous university art collections, and private and corporate collections worldwide.
ROSEGALLERY is located in the Bergamot Station Arts Center at 2525 Michigan Avenue, Gallery G-5, Santa Monica, CA 90404.
By Jim McKinniss
Janos Lanyi will have a photograph in the upcoming exhibition titled “Abstractions” at Long Beach Arts. The exhibition runs from April 17 through May 14, 2010.
There will be an artists reception on April 18 from 2:00pm to 4:00pm.
The juror for the exhibition is Diana Lo Schiavo. http://www.long-beach-arts.org/loschiavo.htm
Long Beach Arts is located at 5372 Long Beach Blvd., Long Beach, CA 90805.
Tel: (562) 423-9689 · Email: Contact Us!
Gallery Hours: Wednesdays through Sundays, Noon to 4 p.m. (Closed between exhibitions.)
By Jim McKinniss
The Photographer’s Forum Magazine is calling for entries to their 30th Annual Spring Photo Contest.
For more information and entry forms visit their website at http://pfmagazine.com/
By Jim McKinniss
MUSEUM OF LATIN AMERICAN ART PRESENTS FIRST SURVEY EXHIBITION OF LATIN
AMERICAN PHOTOGRAPHYAND PHOTO- BASED ART FROM 1990-2005, IN L.A.
FEBRUARY 14 – MAY 2, 2010
Changing the Focus: Latin American Photography 1990-2005 is the first survey exhibition of Latin American photography and photo-based art from 1990 to 2005 to be presented in the Los Angeles area. With more than 80 works of art by 37 artists such as Gabriel Orozco, Vik Muniz and Alfredo Jaar, the exhibition profiles the diversity and innovation of contemporary Latin American photography through an array of media; from traditional photography to manipulated digital photography, installations, light-boxes and photo-based art. Richard Townsend, the Museum’s President and CEO said, “We are pleased to bring to the public’s attention this important aspect of the history of photography, and in particular its very vital practice in Latin America and by Latin American artists throughout the world.”
By the end of the 20th century, photography in Latin America had distanced itself from the traditional documentation of the political and social nature of the region to embrace other forms of experimental photography which communicated social commentary through more artificial representations. Changing the Focus: Latin American Photography 1990-2005, explores the shift from the predominant documentary based photography of the 1980s to a more conceptual use of the medium and a more critical interpretation of reality. Exhibition curator Idurre Alonso stated, “The 1990s is a breakthrough decade for Latin American photography. It is during this time that Latin American photographers became part of the international art scene and generated works of art that showed innovative themes and techniques while some of them moved in a more conceptual direction.”
The exhibition opens by questioning the traditional documentary value of photography by exploring the photo-based interpretations of historic landscapes and objects. Photographs presented in this section deal with architectural elements and objects which depict the complex social and political realities experienced in Latin America through metaphorical references. For instance, the Venezuelan artist Luis Molina Pantin (Switzerland, b.1969) takes a critical look at the hybrid architectural forms in the urban landscape of Cali, Colombia, and the criminal ostentation of what he calls narco-arquitectura, the extravagant mansions of the Colombian drug traffickers. On the other hand, Milagros de la Torre (Peru, b. 1965) approaches photography with the eyes of an investigator by utilizing violently charged items of clothing, weapons and other objects from crime scenes to develop a collection of silent and haunting narratives of criminal activity.
Changing the Focus transitions to the internalization of the document and artists such as Tatiana Parcero (Mexico, b. 1967) and Daniela Rossell (Mexico, b. 1973) use the body as the stage or the setting for the photograph and focus on subjects such as group or individual identity and social classes and roles. A photographic series by Parcero called Cartografías intimately displays a series of anatomical diagrams and ancient Mexican codices projected onto her nude body, serving as maps that chart territories beyond the physical. Rossell created a polemical and ironic body of work that delves into the world of the ultrarich classes of Mexico’s oligarchic elite.
Lastly, the exhibition moves to focus on images and staged situations from an entirely artificial and satirical setting, causing the viewer to question the reality of the subjects presented. These works by artists like Marcos López (Argentina, b. 1958) are theatrical and kitschy in their composition and aim to discuss both the advantages and the disparities of the various political, social and economic agendas in Latin America.
Changing the Focus: Latin American Photography1990-2005 is organized by the Museum of Latin American Art and curated by Idurre Alonso. A fully illustrated color catalog accompanies the exhibition.
The exhibition is presented by the Audrey and Sydney Irmas Charitable Foundation. Additional funding is provided by the Robert Gumbiner Foundation, Verizon Wireless, Arts Council for Long Beach, City of Long Beach, Los Angeles County Arts Commission and the Annual Exhibition Fund. Media support is provided by ABC7, KCRW 89.9 FM, La Opinion, LA Weekly and Telemundo.
MOLAA Hours: Sun., Wed., Fri. and Sat. 11:00am – 5:00pm, Thurs. 11:00am – 9:00pm
Closed Monday and Tuesday
Admission: $9.00 General/ $6.00 Students (w/ID) and Seniors (65+)
Members and children under 12 FREE
Contact Martha Guzman: 562.216.4112
By Jim McKinniss
The following obituary is taken from the March 17, 2010 Los Angeles Times and was written by Valerie J. Nelson.
Copyright © 2010, The Los Angeles Times
Charles Moore, a photojournalist who both chronicled and helped alter the course of history through extraordinary photographs that reflected the brutal reality of the civil rights movement in the South, has died. He was 79.
Moore died Thursday of natural causes at a nursing home in Palm Beach Gardens, Fla., said his daughter Michelle Moore Peel.
From 1958 to 1965, he trained his lens on the unfolding drama of civil rights as a news photographer for the Montgomery (Ala.) Advertiser and Life magazine.
His shockingly graphic images — of police dogs attacking protesters or marchers being assaulted by powerful water hoses — helped propel what had been a regional dispute onto the national stage.
As his photographs created national outrage, they quickened the passage of the Civil Rights Act of 1964, according to John Kaplan, a University of Florida journalism professor who wrote his master’s thesis on Moore.
“He had the courage to stand up in the face of danger and let Americans know what was really happening, through his work,” Kaplan told The Times. “That is why he is an unsung hero.”
As Moore followed the struggle, he was known for his fearlessness and uncanny knack for capturing the most distressing images possible.
“To people who were really bigoted, I was the worst enemy, a Southern boy working for Life,” Moore told USA Today in 1991.
“I knew the South. . . . I also knew how to talk back to racists.”
The son of a Baptist minister, Moore was drawn to photographing the Rev. Martin Luther King Jr., then a Baptist clergyman in Montgomery. After witnessing King’s charisma firsthand in 1958, Moore sought to cover him whenever possible.
“I knew that this was a man who was going to make a difference,” Moore said of King in the 2005 documentary “Charles Moore: I Fight With My Camera.” Moore had yet to realize that his pictures would also make a difference.
A photograph he took in 1958 of King being manhandled during a police booking ran in Life and became “one of the most significant photographs of the civil rights movement,” Kaplan wrote in his thesis.
Through the magazine, Moore’s work gained a huge national audience. Life had him cover the rioting over the enrollment of James Meredith as the first black student at the University of Mississippi in 1962 and later published his photos of Ku Klux Klan gatherings.
His photographs in Life “electrified and horrified the country,” CBS News reported in 1991.
Moore’s most influential pictures were taken over five days in 1963 during the campaign to desegregate Birmingham, Ala., Kaplan said. One famous photo — Moore crawled across pavement, positioning himself between protesters and firemen to get the shot — showed three students being thrust against a building by high-pressure water from a fire hose.
Covering civil rights “was difficult, exhausting and oftentimes very dangerous,” Moore said in the documentary. “Plus troubling and emotional . . . because I’m a Southerner too.”
By 1965, he had grown weary of the violence and booked a round-the-world airplane ticket. He came home eight months later.
Charles Lee Moore was born March 9, 1931, in the Alabama farming town of Hackleburg and grew up in nearby Tuscumbia.
As a teenager, he took up boxing and owned his first camera, a Brownie.
After a stint as a Marine Corps photographer, he studied fashion photography at Brooks Institute of Photography in Santa Barbara.
Returning to Alabama in 1957, he briefly worked in a portrait studio before joining the Montgomery Advertiser newspaper staff.
He moved to New York in 1962 to pursue a freelance career but the Black Star photo agency, which still represents him, gave him a stipend and persuaded him to continue covering civil rights. Moore went on to photograph political unrest in Haiti and Venezuela and document the Vietnam War.
In later years, he took travel photographs, corporate portraits and the occasional hard-news photograph. He also amassed about 100 magazine covers.
His work was gathered in two books, “Powerful Days: The Civil Rights Photography of Charles Moore” (1991) and “The Mother Lode,” a 1983 pictorial guide to the California gold rush country he came to know as a longtime resident of Columbia, Calif.
Moore, who was divorced, also had lived in Massachusetts and North Carolina. He moved to Florida last year to be near family.
The genteel Moore could seem embarrassed by the attention he received for his most famous body of work.
“I know the importance isn’t me, but the photographs,” he told the Birmingham News in 2002.
“It’s proof that the world learned a lot from them. Honestly, if those pictures made my native South, which I love, a better place . . . then I am darn proud of that.”
In addition to his daughter Michelle of West Palm Beach, Fla., Moore is survived by three other children, Michael Moore and April Marshall of Dothan, Ala., and Gary Moore of Lewisville, Texas; his brother, Jim, of Conway, Mass.; seven grandchildren; and three great-grandchildren.
By Jim McKinniss
West Lake, China 2008 copyright Douglas Stockdale
One meeting per year, the Photographers Exchange has the annual print exchange, which will be this Thursday, March 18th, 2010, starting at 6pm in the Irvine Fine Arts Center, Irvine, CA. The overall process is straight forward, you bring a print, you leave with a different print. But then Larry Vogel figures out some ingenious way to make this complicated and yet still a lot of fun. The bottom line is that you might not always leave with the print you want!
But that does not preclude making some side deals and private print swaps later.
Some food is available, as is plenty of coffee and maybe some wonderful cookies and other treats. If you can make it, do so, but best if you can bring a print;- )
BTW, the photograph above is the approximate 11 x 14″ matted print that I am bringing, with more information about the print available if you follow the link above.
Best regards, Douglas
There is a call for entries out from Photo District News for its Faces competition. If you have a spectacular portrait you think can blow the jurors away, go for it. Deadline is March 15th. See details here.
by Gina Genis
RAM Publications is excited to announce the release of Hiroshi Sugimoto’s Nature of Light. This catalog, produced in conjunction with Sugimoto’s upcoming exhibition at the Izu Photo Museum in Japan, documents this important artist’s recent investigations on the science and the presentation of photography. Documenting in detail Sugimoto’s architectural and landscape design of the new Izu Photo Museum, the book is at once a reinvention of the artist as architect, as it is an insightful guide to Sugimoto’s interest in the earliest beginnings of photography. Instigated by the urging of his friend, Pop art icon Richard Hamilton, Sugimoto went to England to visit the museum of William Henry Fox Talbot, the inventor of the negative/positive photographic process. Finding common ground with Talbots’ polymathic interests in art and science, this book details images from Sugimoto’s Photogenic Drawing – Talbot pieces, where Sugimoto reinterprets 15 unprinted negatives from Talbot’s early studies, as well as 15 images from the artist’s Lightning Field series. Includes text by critic Minoru Shimizu. For further information, please visit RAM’s website here <http://cp20.com/Tracking/t.c?9p4u-7uN7-INrYH8> .
2525 Michigan Ave., Bldg. A2
Santa Monica California 90404
Hey Photogs, if you are in need of flash cards, B&H has a great price on the Lexar Pro 8 gig Compact Flash card for 47.95 + free shipping in the US. Limited time only. I’m stocking up. Check it out at: