Christopher Capozziello has been chosen as this year’s winner of the Berenice Abbott award for emerging photographers. This was an international competition juried by David Fahey of Fahey/Klein Gallery
Berenice Abbott was a photographer of great accomplishment. She began her career as an assistant to Man Ray and became known mostly for her documentary work of New York City in the 1930s. Berenice was also a portrait photographer, an educator, an inventor, and a writer. She believed that all photographers should have personal projects that they are passionate about, no matter what the subject matter. This award was created by Julia Dean to honor her teacher and friend.
Follow this link to Christopher’s photographs and artist statement.
By Jim McKinniss
We are very fortunate to meet at the Irvine Fine Art Center. We are most grateful when we can meet in a large studio room, rather than the little room we had the last month. I’m not sure we would have been able to fit in the little Photo Studio room this month. Barbara counted nearly fifty people in attendance this month.
Some highlights from the September Photographers’ Exchange Meeting
Here Janos shows some of his new photo-intaglio prints, also known as photo-gravure prints. Janos continues to explore this process of printmaking from plates which are inked by hand and printed onto various fine art papers using a printmaking press. I can’t wait to see more of his work as he works with this process.
Bill’s still-life images begin with postage stamps from his collection. He has combined found objects together with the stamps and created still-life photographs that are witty and thought-provoking. Bill is a great example of one end of the creative spectrum that sits opposite of the traditional photographers in the group. The Photographers’ Exchange has always been a great mix of photographic techniques and artistic interpretation. You never know what you will see when you come to a meeting, but you will always find inspiration.
Visitors are always welcome to come to our meetings. It is great when a visitor is brave enough to put their work out to the group for the first time. Beatta showed photographs that she is currently working on. I encourage people to bring work to the meetings that is in any stage of development. I think we can get more from the group viewing or work-in progress, rather than showing finished work. We tend to be more open to the critique when the work is in process.
See you all next month.
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 exhibition runs from October 23 to December 5, 2010.
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), SFMOMA (San Francisco), Portland Art Museum, The Jewish Museum (New York) and Tel Aviv Museum of Art. This will be Chelbin’s first exhibition at M+B.
Location: M+B, 612 North Almont Drive, Los Angeles, CA 90069
Show Title: Michal Chelbin: The Black Eye
Exhibition Dates: October 23 – December 4, 2010
Artist’s Opening Reception: Saturday, October 23, 2010, 6 – 8 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 email@example.com
By Jim McKinniss
There has been a good deal of controversy surrounding a box of glass plate negatives that were found a few years ago. Now, most experts have reached a consensus that these prints are not the work of Ansel Adams. We are displaying three prints made from the glass plates next to those attributed to Earl Brooks. We also have 23 modern and vintage prints of Ansel on display. See the recent LA Times piece by clicking here.
Also, the Matthew Adams (Ansel’s grandson) has sent us a very small quantity of authentic estate prints, made from Ansel’s original negatives. Duncan Miller Gallery is the only gallery in Los Angeles to have these prints on hand. They are hand-made silver gelatin prints, made by Alan Ross, who was trained by Ansel. These estate-stamped prints are just $250 each.
Reception on Thursday, Sept 16, 6-8 pm
Duncan Miller Gallery is located at 10959 Venice Blvd., Los Angeles, CA 90034
Tel: 310 838 2440
By Jim McKinniss
Gallery Luisotti is excited to announce Christina Fernandez’s upcoming exhibition Residue / Residuo. In her third solo show at Gallery Luisotti, Christina further investigates the urban landscape as portrait in her ongoing series Sereno (2005 – to present). Unlike her previous series Maria’s Great Expedition (1996), in which Christina literally placed herself within her own cultural history, Sereno provides a document of her local, shared landscape. Moving between open spaces and detritus, Christina’s photographs examine the personal, albeit submerged, elements lost in the public realm. Moving beyond the straightforward topographic style of Lavanderia (2002), Sereno transcends the often-depicted bleak, barren landscape of Los Angeles by providing an intimate survey of her immediate surroundings.
The artist’s reception is this Saturday, September 11th from 5 to 7:00pm. The exhibition will run through November 6, 2010.
2525 Michigan Ave., Bldg. A2
Santa Monica California 90404
By Jim McKinniss
Duncan Miller Gallery is offering a two-hour seminar on “The Life and Work of Ansel Adams” on Sunday, September 19 from 2-4 pm. $40 per person, see below.
The importance of Ansel Adams’ contributions in the art of photography are many. Adams (1902-1984) started the first classes to teach photography at the California School of Fine Arts in San Francisco. He taught and mentored countless photographers. Adams founded the Group f/64 along with fellow photographers Edward Weston and Imogen Cunningham, and he invented the zone system in photography.
The recent widely-reported controversy surrounding a Fresno man’s garage sale find of a box of glass plate negatives, that he attributed to Adams, has a silver lining — many people are discovering (or re-discovering) Ansel Adams. According to gallery director Daniel Miller, “This interest presented us a great opportunity to present an educational seminar, and brief exhibition on Ansel Adams.”
Here is the schedule of the Sunday, September 19th event:
2-3 pm Carol McCusker, PhD, presents a one-hour multimedia lecture on “The Life and Work of Ansel Adams.” McCusker was the former Curator of Photography at the Museum of Photographic Arts (MoPA), San Diego. She received her M.A. and Ph.D. in art history with an emphasis on the history of photography at the University of New Mexico, Albuquerque. She is also Adjunct Prof at the University of San Diego and UCSD where she teaches the history of photography.
3-4 pm John Upton (photo-historian, photographer and friend/colleague to Adams), Carol McCusker, and noted San Francisco Ansel Adams photography expert Scott Nichols will conduct a round table conversation about Adams’ work, connoisseurship, and the newly found glass plates.
There will be a selection of authentic Ansel Adams photos on display, including Moonrise, pictured above. The gallery will also have the first public viewing of three of Earl Brooks “Uncle Earl” photographs, side-by-side with the glass plate images that have been attributed to Ansel Adams (prints will be on display during gallery hours from Sept 11 until Sept 19).
Just 30 seats are available for this seminar. The fee is $40 per person. Please click here to buy on Pay Pal (no special account required), or call the gallery with a credit card to reserve (310) 838-2440.
By Jim McKinniss
Here is a chance to see for yourself, all the players side-by-side, as if they were in a police station criminal line-up. See if you can find the real Ansel Adams, the “Uncle Earl”, and the fake. See LA Times piece below, from the Friday September 10th paper.
September 10, 2010
Next to each Norsigian image will be a look-alike equivalent attributed by some of Norsigian’s opponents to “Uncle Earl” Brooks, the previously unknown photographer they contend is the man who actually shot the pictures in the Norsigian find.
Miller isn’t selling the Norsigians or the Uncle Earls. Those, he says, are borrowed prints he’s displaying for educational purposes only. But at least some of the Adams photographs can be purchased, with an asking price of $80,000 to $90,000 for the most famous image in the show, “Moonrise Over Hernandez, New Mexico, 1941.”
Couturier Gallery is delighted to present Mis 60 / My 60s, an exhibition of prominent photographer José A. Figueroa’s images of the barely-remembered “other” life in Cuba of the 1960s, the social everyday existence not portrayed by Revolutionaries, military outfits or arms. The forty photographs document quotidian life that paralleled the customs and styles prevalent elsewhere in the world, from mod and hip fashion to signs of flower power and “free” love. The exhibition begins September 11th (through October 16), with the Artist’s Reception, lecture and book signing that will take place Sunday, Sept. 19th.
José A. Figueroa (Havana, 1946), has covered uninterruptedly, as photographer, more than four decades of the life of his nation Cuba. Due to his age, social background and training, he is part of a “transitional generation” that was, at the triumph of the Cuban Revolution in 1959, too young to have actively participated, but sufficiently adult to be a conscious and analytical witness. His life and work deal with “the inside” and “the outside” of such period of time. This has allowed him to document, to analyze and to symbolize many features, of both the public and the private life of the nation – like the two sides of the same coin -, throughout many years; and most importantly, his work was made in Cuba or from a Cuban perspective. These characteristics and circumstances are, in fact, not very frequent among his contemporaries or predecessors, when seen individually. Mis 60 / My 60s series is an approach to such a piece of history, Cuban sixties, through photography.
Figueroa’s photographs in those years are the vindication of a generation (his generation) and an aesthetics that was determined to survive “massification” or mass socialization and the censorship imposed by the socialist project. Thus he has handed down to us a vision of the 1960´s that is little known in the history of Cuban photography and is absent, even today, from the official iconography of the Revolution. His photographic essay Exilio (1967-1994) is perhaps one of the most eloquent works begun in those years, starting from the exhaustive photographic documentation of Cuban migration to United States of almost all his family and friends. This exhibition of Mis 60 / My 60s is the first presentation of this body of work in the United States.
Figueroa’s work is included in numerous public collections including the Arki Busson Foundation, London/Zürich; Biblioteca Nacional José Martí, Havana, Cuba; Casa de Las Américas, Havana, Cuba; Center for Cuban Studies, NY; Centro Studi e Archivio della Comunicazione, Universidad de Parma, Parma, Italy; Consejo Mexicano de Fotografía, México, D.F.; El Museo del Barrio, NY; Fototeca de Cuba, Havana, Cuba; Galleria IF, Milán, IT; Galleria Il Diafragma, Milán, IT; Maison de la Culture, La Seine Saint-Dennis, París, FR; Museo Nacional de Bellas Artes, Havana, Cuba; Museum of Art, Fort Lauderdale, FL.
LECTURE & BOOK SIGNING :
José Figueroa and Cristina Vives will present a lecture at the gallery on Sunday, September 19th at 3pm focusing on the photographs in the exhibition. Cristina Vives is the co-author of the recently published book of Figueroa’s work José A. Figueroa: A Cuban Self-Portrait (published by Turner, Madrid, 2009). A book signing will follow the lecture. The public is welcome, however, space is limited.
Couturier Gallery is located at 166 N. La Brea Ave, Los Angeles, CA 90036
By Jim McKinniss
The Photo Exchange member Janos Lanyi has two recent photogravuers accepted into the Expanding the Matrix exhibition at Occidental College. The exhibition opens on September 9 and closes on October 15.
The following information was taken directly from the Occidental College web site.
“Expanding the Matrix,” a juried art exhibit featuring 15 printmaking artists from California and the West, will open Sept. 9 at Occidental College’s Weingart Gallery. The exhibit investigates alternative interpretations of the matrix — the master plate printmakers use to compose their work.
In this exhibit, said Occidental art professor Linda Lyke, the matrix mixes with other art forms such as painting, photography and drawing to achieve the artist’s intent. For example, artist Jeanne Lorenz, who has two pieces in the exhibit, makes use of vinyl records.
“There are many artists using printmaking today in very different ways,” Lyke said. “We selected the best work that used the idea of a matrix and expanded it to other strategies to create something wholly new.”
The exhibit — free and open to the public — will be shown in the Weingart Gallery, located inside the Weingart Center for the Arts on the Occidental campus. A wide variety of printmaking methods are displayed in the exhibit: etching (an intaglio technique where the ink is recessed into the matrix surface), lithography (favored by Dali and M.C. Escher), photogravure (the most sophisticated photomechanical process), and reduction linocut, to name a few.
Some of the artists don’t define themselves just as printmakers, Lyke noted, but also as sculptors and painters. She and gallery manager Jason Manley chose the exhibit’s 15 professional artists out of 45 who submitted their work. The pieces reflect well-established artists such as Lorenz, who will be a featured speaker in the College’s art department this fall, as well as those in the early stages of their careers.
Two of the artists in “Expanding the Matrix” are Occidental alumni: Kenturah Davis ’02 and Allison Park ’08. Davis says printmaking is an important part of her practice as an artist (she also draws, paints and sews). One of her two pieces in the exhibit, “Mother Mother,” uses vintage rubber stamp letters of the word “mother” to delineate black and white photographs of Davis’s grandmother and great-grandmother.
“The way I work now,” she says, “blurs the line between printmaking, painting and drawing.”
Brennan Wheeler’s art work in “Expanding the Matrix” features urban Los Angeles. Combining digital printing with silkscreen, his two prints use maps, a photo of people on a city street, and line drawings of pigeons from an old field notebook, among other elements. Brennan talked about his repeated use of the common pigeon. It’s a bird that seems to thrive in urban environments, he said, and references “the inherent transient nature of Los Angeles.”
Occidental’s “Expanding the Matrix” printmaking exhibit will be open from 9 a.m. – 5 p.m. on weekdays in the Weingart Gallery on the College campus, located at 1600 Campus Road, Los Angeles. Admission is free.
For a map and directions to the College, go to: http://www.oxy.edu/x119.xml
The exhibit’s opening reception will be held Thursday, September 9, from 6 – 9 p.m.
By Jim MmcKinniss