I’m posting the link to the World Press Photo awards site. The site says everything and I have nothing to add to it.
By Jim McKinniss
drkrm is honored to present Ansel Adams Los Angeles, rarely seen photographs that reveal the lost landscape and lifestyle of a prewar Los Angeles. These nostalgic images from the archives of The Los Angeles Public Library Ansel Adams Collection, represent Ansel Adams as a photojournalist on assignment for Fortune Magazine in 1940. Ansel Adams Los Angeles will be on display from February 18 through March 31, 2012.
In 1940 Los Angeles had a population of 1.5 million. The cost of gas was 10 cents and a new car was $700. The U.S. began rearming for World War II and the prestigious Ansel Adams was commissioned by Fortune Magazine to photograph a series of images for an article covering the aviation industry in the Los Angeles area. For the project, Adams took over 200 black & white photographs showing everyday life, businesses, street scenes and a variety of other subjects. But when the article, City of the Angels, appeared in the March 1941 issue, only a few of the images were included.
In the early 1960s Adams rediscovered the photographs among papers at his home in Carmel and donated them to the Los Angeles Public Library. He wrote in a letter: “The weather was bad over a rather long period and none of the pictures were very good… I would imagine that they represent about $100.00 minimum value… At any event, I do not want them back.” But as many critics will agree, sometimes an artist is not always the best judge of their own work.
Ansel Adams (1902-1984) created some of the most influential photographs ever made; he was one of the 20th century’s leading exponents of environmental values. It seems that every third family in America has an Adams’ poster on the wall, images that were difficult to make but easy to love. His images portray a romanticized and unspoiled Western American landscape, but Ansel Adams Los Angeles is a whole other body of work that is rarely discussed, let alone seen.
drkrm, in association with EVFA, and with the cooperation of the The Los Angeles Public Library Photo Collection and The Ansel Adams Publishing Rights Trust, will create and exhibit new silver-gelatin prints made from the original negatives. These 60 dramatic black and white limited-edition photographs, on display to the public for the first time, will be offered for purchase with a portion of the proceeds benefiting the LAPL.
This exhibition runs February 18 to March 31, 2012
Gallery Location and contact information:
727 S. Spring Street
Los Angeles, CA 90014
hours: wednesday-saturday 12-6 pm
sunday 12-4 pm and by appointment
By Jim McKinniss
Hello Friends of the Photo Exchange,
The following link is to my current exhibit, Things We Leave Behind, currently on display at Coastline Community College. It is a photo installation. I photographed inside a dead man’s house who was a hoarder. I was allowed to take much of his furniture and personal belongings. The installation is up through March 10, 2012. On Thursday, Feb 23, at 4:00, anyone visiting the gallery can become a participant of this exhibit. Please click on this link to see images from the exhibit and find out details.
- “Things We Leave Behind” On Exhibit At Coastline Community College (ginagenis.wordpress.com)
- Exhibition Schedule for Gina Genis, January – June 2012 (ginagenis.wordpress.com)
Copyright of the estate of Lillian Bassman, “Elizabeth 1997”
Lillian Bassman, renowned fashion photographer recently passed away at the age of 94.
The brief obit in the LA Times is here and an article in the LA Times that provides a more of her iconic photographs can be found here. Bassman was considered in a league with other photographic creative masters, including Richard Avedon and Irving Penn.
Celebrated photographers, artists and printmakers, Barbara and Ludo Leideritzare kicking off the 2012 year at Reflective Image Gallery in Metro Point with their show, entitled “Precious Moments; the works of Barbara and Ludo Leideritz”, showcasing their abilities to create magical images, inviting the viewer into their visually-inspiring realm.
Barbara’s intimate botanicals reveal her unique and keen sense of form and composition, that, when combined with her masterful print-making skills, create images that evoke and emote powerful insight and expression.
Ludo’s portfolio, entitled “China’s Hidden Villages” beckons the viewer into a world rarely seen by outsiders. His journeys into these secret places are now shared with the world through his richly-toned platinum prints. His other renderings reveal his ability to capture a decisive moment.
The Leideritzs’ collaboration allows the viewer to appreciate and celebrate that which is so wonderful in their relationship of 35 years; the melding of their creative spirits, expressed through their masterful talents.
Since the re-opening of Reflective Image Gallery last August, it is clear that the gallery adds a fresh and avant-garde destination to theOrangeCountyArtscene. The focus of the gallery is on education and community access to the arts. Local college art classes have been invited to and visited the gallery, and the gallery generously opens its doors to nonprofit organizations in Orange County for meetings and fundraisers.
Precious Moments; the works of Barbara and Ludo Leideritz runs February 25-March 31, 2012
Artists’ Reception; February 25; 7:00-10:00 PM
Reflective Image Gallery 211 E. Columbine, Suite G
South Coast Metro, CA92707
Hours: Saturday, 11-6 PM and Sunday, 12-5 PM Or by appointment
By Jim McKinniss
©2011 The Ansel Adams Publishing Rights Trust
Venice, CA—On Tuesday, February 21, 2012, The G2 Gallery will present Ansel Adams: Open to the Public, an exhibition that explores Ansel Adams’s desire to have his work accessible to the public at large vis-à-vis his work to promote the National Parks lands as common ground for Americans. Proceeds from art sales during Open to the Public will be donated to the Sierra Club.
A press preview will be held on February 21 from 8:00–11:00 AM. Contact RSVP@theg2gallery.com to attend.
This will be The G2 Gallery’s first full-scale exhibition of work by Ansel Adams since acquisition of work by the artist began in 2010. According to The G2 Gallery Director and Curator Jolene Hanson, “Ansel Adams’s work as an artist-activist laid the groundwork for so many of the photographers that we show at The G2 Gallery. His legacy truly shows the power of photographic art to make positive change.”
The exhibit includes works from The G2 Gallery collection, including Adams’s Portfolio Two: The National Parks & Monuments which he began while working on an assignment for the National Parks Service and completed with assistance from two Guggenheim grants at the close of the 1940s. This rich period in Adams’s career is considered by many to be the pinnacle of his creative output. The contents of the portfolio provide examples of the sweeping vistas that made Adams’s famous and the less well known but equally engrossing close-up shots of foliage and tightly cropped scenes.
Classic images included in the exhibit include: Mount Williamson (1945); Oak Tree, Snowstorm, Yosemite National Park (1948); Dawn, Autumn, Great Smoky Mountains National Park, Tennessee (1948); Dunes, Hazy Sun, White Sands National Monument, New Mexico (1941); Zabriski Point, Death Valley National Monument, California (1942); and Clearing Storm, Sonoma County Hills, California (1951.)
The exhibit also pays homage to the work of the Sierra Club, of which Ansel was a member, serving on the Board of Directors for over 30 years. The G2 Gallery will donate proceeds from art sales during Open to the Public to the Sierra Club.
Exhibit related events include an opening reception coinciding with The G2 Gallery’s 4 Year Anniversary on March 10, 6:30–9:00 PM, and “Alan Ross on Ansel Adams” a talk given by Adams’s longtime photo assistant on March 31 at 3:30 PM. RSVP for the opening reception by contacting RSVP@theg2gallery.com. Register for the lecture at http://is.gd/alanross. Admission to both events is $5 at the door and all proceeds benefit the Sierra Club.
In keeping with the theme of Open to the Public, gallery hours will be expanded to include Mondays. Admission to The G2 Gallery is free.
In addition to the Ansel Adams exhibit G2 Gallery is also showing Nature LA: Jeff Crandell featuring a collection of work entitled “Seascapes.”
Seascapes is a part of a larger group of work, Elements, in which Jeff explores the use of his camera as a palate for his impressionistic landscape photography. In a project that began in the crawl of a daily commute on the 405 freeway in Los Angeles, Jeff began experimenting with movement, slower shutter speeds, and the low light of evening rush hour. These combined factors reduced the natural forms to their basic elements, blurring the details to foreground shape. As he does in his work as a film and television location scout, Jeff sees in these images a scene broken down into its basic iconic images. He states, “when you look at something, what element defines the scene right off the bat?” Reduced to their basic elements, the resulting images are more emotion driven than subject driven.
Before coming to Los Angeles, Jeff’s photographic style drew from his background in photojournalism, the vibrant street life of his home base in New York, and influential artists like Garry Winograd and Diane Arbus. Frustrated with the lack of street life in Los Angeles, Jeff transposed life on the street to life in the woods. “I found characters in trees and waves in the same way that I found characters in the street.” For 5 years Jeff has been forging his new painterly style, with its flat, two-dimensional scenes of nature sketching out the elements most crucial to the scene.
With his images, Jeff hopes that his images will raise awareness among Angelenos about the diversity of the Southern California landscape. “Before we can really protect nature properly, we have to know it,” he says. The G2 Gallery will donate 100% of the proceeds from art sales during Nature LA: Jeff Crandell to the Sierra Club.
An opening reception for both shows will be held March 10, 2012, from 6:30–9:00 pm.
The reception will be part of an evening celebrating The G2 Gallery’s 4 year anniversary as well as the opening of Ansel Adams: Open to the Public, G2’s first full-scale exhibition of work by Adams. RSVP is required to email@example.com and a $5 admission at the door will benefit the Sierra Club.
Location: The G2 Gallery (www.theg2gallery.com)
1503 Abbot Kinney Blvd, Venice, CA 90291-3742
For Images or Additional Information Contact:
Diane Shader Smith 310.386.6803 or Gia LaRussa 310.428.7752
About Ansel Adams
Born 1902, in San Francisco, California, photographer and environmentalist Ansel Easton Adams is considered one of the foremost figures in the history of American photography, and a leader in the field of conservation photography. His legacy is profound. A tireless promoter of his medium, Ansel helped usher photography unquestionably into the art world. Aware of the power and potential of his art, he used his images to instigate positive change on behalf of the environment. Ansel passed away in 1984 at the age of 88.
About The G2 Gallery
Established in March 2008, The G2 Gallery in Venice, California, is a green art space with a dedicated focus on nature and wildlife photography. In keeping with G2’s commitment to supporting arts and the environment, the gallery presents exhibitions with eco-conscious themes, donates the proceeds from all art sales to environmental charities and hosts events that bring awareness of critical issues to our community.
By Jim McKinniss
M+B is pleased to announce an exhibition of new work by Sam Falls, a two-part exhibition of painted photographs, works on paper and sculptures on view at both M+B and China Art Objects, Los Angeles.
Sam Falls runs from February 18 through March 31, 2012, with an opening reception for the artist on Saturday, February 18 from 6 to 8 pm.
The work in this show is involved with my interest in representing time, its persistence and the signs of life present in the inanimate. Using photographic processes combined with sculptural and painterly material, I’m trying to give a feeling to constant variables — like light and weather — as well as our relative experiences of time. Some of the artworks capture a space and expand it, some look at the space within methods of production and their controlled aesthetics and others look to bridge the gap between viewer and artist by offering a dialogue to be created with the object itself and an evolutionary relationship to persist over time with the viewer.
The house pictures in this show were taken in Joshua Tree, California on film. They serve at once as documentation of reciprocal artworks of mine in the making, as well as unique pieces themselves. I put large colored sheets of fabric along the interior walls of these burnt out houses to create a different, but no less honest, image of the house. The fabric was left up to fade where it was exposed to the sun by missing windows and doors from the overall architecture, creating an imprint via light on the fabric, not so different from a photogram. The film documentation of these altered houses was scanned into the computer, and I used the color-picker in Photoshop to choose the color of the fabric and mimic its geometry over the image. I printed the pictures and took samples of the Photoshop-produced colors to Home Depot where they digitally matched the colors and mixed enamel house paints. Just as Photoshop samples only a part of the color, so does the paint matcher at Home Depot. I then physically painted over the sky of these roofless houses using a roller, so the representation of these places is manipulated but true. I put the color inside the home physically with the fabric, I put that representation on film with light, I put color on top of the picture digitally and then, finally, I physically painted the color on the image: mimicking reality and creating something, perhaps, more in tune. Beyond this, the photograph is not only an image, but also a new object. It is formed over time, rather than captured in an instant.
The colored aluminum sculptures take on light and representation in another format. Rather than depicting time past, they are set up to picture time to come. Over time, these sculptures will create compositions on themselves, depicting their very form and the ability of metal to bend and hold its own rigidity and shape permanently. The sculptures are propositions inside the gallery that only come to fruition when installed permanently outdoors. In contrast to most outdoor sculpture intended to defy the burden of time, these sculptures grow symbiotically with time and age in the same way the viewer does. The aluminum sculptures are first fully powder coated with a resilient UV protected exterior grade pigment that will persist over time. Then, only the inside — where the shadows created from the sun will fall from the bent angles — is powder coated again with the same color, but this time lacking the UV protection. Over time, the color on the interior side will desaturate, depicting each sculpture’s unique shape. As the interior color fades, the outside of the sculpture will hold fast, serving as an index of the original color. Eventually, the inside pigment will fully disappear to expose the original coat, thus reversing the process and returning the sculpture to its original state. You know, like birth and death.
The natural steel sculptures take on the same strategy as the aluminum ones. But rather than using color and light as the variable and catalyst, these sculptures use the actual material and oxidation. Half of the sculpture is hot-rolled carbon steel, while the matching counterpart is stainless steel. When placed outdoors, the hot-rolled side will rust and chemically alter the appearance, while the stainless side remains the constant, serving as a referent to the beginning. The sculpture is cut from a computer rendering of a torn piece of paper. This form was used to contrast the polar vulnerabilities of these opposing materials that have been the building blocks of Western civilization: language and knowledge passed on through print versus the strength and power of metal. Similarly, the steel framed sheets of stainless steel hung outdoors will change over time with the frame aging and distinguishing itself from that which it frames. This piece serves to document time, while also imaging the elements as artworks constantly changing, rather than formed and sealed indoors as is so often the case.
Finally, the painted prints on linen are film photographs of the models I created for the colored aluminum sculptures. I scanned them into Photoshop, where I digitally applied two brush strokes with the “wet media brush.” That new image was printed on linen, and then I physically applied two more brush strokes with a wet acrylic brush. These pieces look at how models become reality and, in turn, reality becomes the model. The time that passes between conception and production is significant and productive. The cold metal sculptures that are fabricated in a warehouse come from intimate time spent on a small scale in my studio, just as the digital rendering of a programmed brush can delineate a warm and careful brush stroke in real life.
Overall, the show hopes to look at time spent and time to come — tied together with color, material and a sense of death.
Sam Falls (b. 1984, San Diego, CA) received his BA from Reed College in 2007 and MFA from ICP-Bard in 2010. Falls’ work has been exhibited in the US and abroad, including solo exhibitions at West Street Gallery (New York), Higher Pictures (New York), Fotografiska (Stockholm) and China Art Objects (Los Angeles). Falls is the 2010 recipient of the Tierney Fellowship, and his work has been written about in Modern Painters, ARTFORUM, Frieze and Aperture. His most recent monographs include Val Verde (Karma, 2011), Paint Paper Palms (Dashwood Books, 2011) and Visible Library (Lay Flat, 2011). Falls lives and works in Los Angeles. This is his first solo exhibition with M+B.
Los Angeles, California 90069
Phone: 310 550 0050
Fax: 310 550 0605
Contact: info@ mbart.com
Artist Seminar: 15 Things You Can Do to Get Represented by a Gallery
We are constantly asked for advice and information from upcoming artists. The number one request on most artist’s agenda is getting good gallery representation. Gallery director Daniel Miller has created a dynamic no-nonsense seminar filled with details, ideas and strategies about how artists can get (and keep) the attention of galleries. Avoid common mistakes (one chapter is aptly titled “Don’t be an Idiot”), and learn how to develop an artist-gallery relationship.
The next seminar is Sunday, Feb 5, 12-2 pm. Seats are limited, so click here for more details, a seminar outline and to reserve your place.
Artist Seminar: How to Self-publish Your Own Book
The new standard for success for a photographer or other artist is presenting your work in a book format. While the tools to create books have become sophisticated and relatively easy-to-use, lots of questions remain. What to include, what not to include, design issues, where to have it made, how to leverage the book when completed, book signing strategies and more. Also, advanced strategies you can use to sell your book and actually make money. And also covered, why are you waiting? Make a book now!
The next seminar is Sunday, Feb 5, 3-5 pm. Seats are limited, so click here for more details, a seminar outline and to reserve your place.
Irvine Fine Art Center (Irvine, CA) is having an open house Saturday, February 11th from 10am – 3pm
More information is available here: http://www.cityofirvine.org/cityhall/cs/finearts/specialevents/open_house.asp
dnj Gallery is pleased to announce its upcoming exhibition of “Surplus” by the young Austrian photographer Michael Krebs. In gallery II, we present work by Gil Kofman, entitled “Passages – Case Studies in Euclidean Seduction.”
In “Surplus,” Krebs explores his view that a war of consumerism is taking place. In this war, the victims are consumers who are manipulated into pursuing artificially created needs. Citizens become dependent on their income to buy goods they do not need to remain competitive in today’s society. Using powerful references to iconic war photographs, Krebs visualizes the modern western consumer’s struggle. As he explains, “By not showing but only referring to iconic [war] images one becomes aware of how powerful pictures are that already ‘made history’ and have become part of our visual culture.”
Krebs was born in Klosterneuburg, Austria, in 1985. After graduating high school, he founded a photography class for HIV-positive children at an orphanage in Honduras. Krebs created “Surplus” in 2010 as his diploma project for the Masterclass for Design at the Graphische, Vienna. “Surplus” was exhibited at the Albertina Museum in Vienna, and was nominated for the International Photography Award in the category “Deeper Perspective.” Krebs is currently continuing his photography studies at the Academy of Fine Arts in Vienna. This is Krebs’s first show in the United States.
In “Passages – Case Studies in Euclidean Seduction,” Kofman investigates a new way he has been looking at the geometry of ordinary hallways, or passages. He states, “I discovered the hallways in this exhibit quite by chance. I was simply trying to get from one place to the next, and these so-called passages comprised part of the material space I was forced to physically traverse and mentally discard. ” Mindful of the rigid organization imposed by conventional perspective, he examines the common objects in the hallways – chairs, clocks, doors, knobs and garbage cans– as independent forms free from the constraints of vanishing points, horizon lines and orthogonals. As the eye rushes down the length of the passage, these objects serve as the focal point of an exploration.
Kofman was born in Nigeria and raised in Kenya, Israel and New York. He attended the NYU Graduate Film School after studying physics at Cornell. He also holds an MFA in playwriting from the Yale School of Drama. Kofman has also written, produced, directed and edited a variety of fiction, plays, documentaries and other films. He is currently busy working on two separate film projects. He has exhibited his work in New York and has previously sold his photographs through a gallery in Rome. His work is in private collections in New York and Los Angeles and has appeared in the New York Times and other publications. This is Kofman’s first show at dnj
This show runs March 3 through April 14, 2012
2525 Michigan Avenue, Suite J1
Santa Monica, California 90404
By Jim McKinniss