Cheryl Medow infuses her hyper-realistic images of wildlife with an acute, visceral energy. Her disciplined eye for detail and evocative use of interlocking her photographs adds an immediacy to natural scenes of wild animals and flora in their habitats.
From the jungles of Kenya to the marshy thickets of the Malibu Lagoon, Medow seeks the textures of the landscape and its diverse creatures, saturating them with layers of color and imagery. With every image we become atuned to the flow of the environment and the creatures within her magical dioramas. We see as the animal sees. We are the observer and observed.
More than shifting our perspectives, Medow’s images are calls to action.
“My work is an opportunity to celebrate these gorgeous, amazing animals and heighten awareness of conservation and our connection to nature.”
This show runs through July 14, 2012
TAG Gallery 2525 Michigan Avenue, D-3, (Bergamot Station), Santa Monica, CA 90404
Phone: (310) 829-9556
Gallery hours 11 a.m. – 5 p.m. Tuesday – Saturday, 12 p.m. – 4 p.m. Sunday. •
By Jim McKinniss
I’m very grateful to tPE member Mark Kirchner who turned me on to Frederick Sommer. Sommer was a controversial photographer whose work was both admired and hated. I’m in the admire camp.
The following text was taken from Jonathan Green, American Photography: A Critical History 1945 to the Present
Sommer’s images were reproduced in Aperture in 1956, 1957, 1960, and 1961. And in 1962 Aperture published a comprehensive collection. These images were more darkly and perversely psychological than [Minor] White’s; more fiercely mythic and inventive than [Harry] Callahan’s; more assiduously concerned with mortal corruption than [Aaron] Siskind’s. Those individuals who put down their reactions for Aperture knew where Sommer stood. “In a world of disturbing images,” Henry Holmes Smith wrote, “the general body of photography is bland, dealing complacently with nature and treating our preconceptions as insights. Strange, private worlds rarely slip past our guard…. Sommer has elected to show us some things we may have over-looked…. Sommer charges an ironic or absurd artifact … with the force of an ancient idea.” White wrote: “Sommer makes no concessions to the casual observer … a superficial glance at his pictures reveals about as much as a locked trunk of its contents …. He contemplates his fragments until they are the intimates of his living mind …. Frederick Sommer of Arizona is the rare one who takes time to work in the sun and in the dark, in the desert and in the camera.” And Jonathan Williams summed it all up: “With Sommer we enter the world of the incredible and somebody locks the Doors of Perception behind us …. This is simply what happens when the eye is free to see ……
By Jim McKinniss
The Bisti Badlands in Northwestern New Mexico is a destination that had been on my list for many years to explore and photograph and I finally made it there in May 2012.
The badlands is 4000 acres of Blm land that is an amazingly scenic and colorful area with strangely eroded rocks that make one feel as if you are on another planet. There are other badlands in the area as well as the Chaco Culture National Historical Park.
You can see more of Scott’s work at http://scottmathewsphoto.photoshelter.com
By Jim McKinniss
M+B is pleased to announce SYNESTHESIA, a group exhibition curated by Daniele Balice, co-founder of the Paris gallery BaliceHertling, and Jay Ezra Nayssan.
France, 1926: Architect and designer Robert Mallet-Stevens is at the height of his career and is invited to speak at the Théâtre du Vieux-Colombier. During this lecture, Mallet-Stevens sets forth eight theoretical reflections he has developed thus far in his career.
Not only was Mallet-Stevens the most prominent architect of his generation, he was also the first official set designer of the film industry as well as a member of the “Club des Amis du 7ème Art” (Members of the 7th Art), which was founded by Ricciotto Canudo.
At his presentation at the Théâtre du Vieux-Colombier, Mallet-Stevens begins by highlighting how theater set design differs from that of cinema. Set design in a theater has the liberty to be figurative whereas in film it must be more realistic. “In cinema, the set designer must be more of an architect than a painter,” explains Mallet-Stevens. He continues on to discuss about the correct colors, lighting, textures and even the type of art that a designer should feature on a film set.
Synesthesia takes this lecture as its starting point, but does not follow the strict rigor of it. Instead of creating an exhibition from a curator’s point of view,Synesthesia is created from a set designer’s point of view – it is the assemblage of furniture, art and objects in an environment that has the ambition to look truly personal, but is in fact completely artificial.
The exhibition, therefore, offers the opportunity for viewers to question the idea of collecting art. By displaying art in their private spaces, are collectors playing a character? Creating a neutral environment where pieces of art and furniture of differing values and time periods are set beside each other also experiments with our perceptions of value and worth of objects. It is through these various reflections and observations that viewers are simultaneously spectators and actors. With this, the installation becomes an interdisciplinary experience, and the individual objects no longer have their particular historical context. Just like a real collector’s home, the set reflects the need to accumulate and treasure objects, and questions the value we attach to them. Or after all, this could all be just fiction.
Participating artists include Michael Anastassiades, Anonymous, Henri-Georges Clouzot, Isabelle Cornaro, Jacopo da Valenza, Lucy Dodd, Thomas Dozol, Paul Dupré-Lafon for Hermès, Piero Fornasetti, Guido Gambone, Martino Gamper, Eileen Gray, Hadrien Jacquelet, Lisa Jo, Alex Katz, Allison Katz, Antonio Lopez, Stewart MacDougall, Alexander May, MissoniHome, Carlo Mollino, Paul P., Ico Parisi, Pier Paolo Pasolini, Charlotte Perriand, Gaetano Pesce, Pablo Picasso, Gio Ponti, ROLU and Yves Saint Laurent.
The exhibition will be on view from June 29 to August 31, 2012, with an opening reception on Friday, June 29 from 6 to 8 pm.
By Jim McKinniss
This summer the Peter Fetterman Gallery is proud to present iconic rock and roll images including everything from Frank Sinatra to Kurt Cobain. Peter’s vast collection includes work from such artists as Annie Leibovitz, Danny Clinch, John Cohen, Don Hunstein, Astrid Kirchherr, Hermon Leonard, Gered Mankowitz, Mark Seliger, Kate Simon, Alfred Wertheimer and more. These artists were initiators of a movement and have captured the culture that was and is rock and roll.
Music is a reflection of our culture and our place in time. It is the adhesive that draws us together and propels us forward towards shared aspirations. This undeniably emotional collection of photographs contains images that appeal to viewers of all ages and musical appetites. The photographs will set aside commonplace notions while showcasing the tremendous influence of both the photographers and their subjects.
Peter Fetterman Gallery
2525 Michigan Avenue Gallery A1
Santa Monica, CA 90404
Phone: 310 453 6463
Hours: Tuesday-Saturday 11am – 6pm
General Inquiries: email@example.com
By Jim McKinniss
Duncan Miller Gallery presents the first major Los Angeles showing of the works of Ernst Haas in the exhibition, “Classics”. This show contains a selection of his well-known prints along with some of his more experimental color work he never exhibited.
Ernst Haas (1921-1986) is unquestionably one of the best-known, most prolific and most published photographers of the twentieth century. Born is Vienna in 1921, Haas began as a painter, before switching to photography.
In 1953 Haas moved to New York and Life Magazine published his groundbreaking 24-page color photo essay on New York City. This was the first time such a large color photo feature was published by Life. Haas was given a one-man show at the Museum of Modern Art in New York in 1962. His was the first color photography show ever held at the Museum.
This show runs June 23 – August 31.
Opening reception – Saturday, June 23, 6-9 pm
Duncan Miller Galler
2525 Michigan Ave, Unit A7 Santa Monica, CA 90404
Hours: Wednesday-Saturday, 11-6
By Jim McKinniss
Some time ago I became aware of Lauren Simonutti’s photographs from a feature about her in Shots Magazine. http://www.shotsmag.com/ I learned of her death in the current issue (No 116) of the magazine.
I know Veronica Bronzetti from her work on Facebook. Even though my discovery of her work is very recent, I have been extremely impressed with her photos on both a technical and artistic level. For me it is the artistic quality of a photo that trumps the technical. Veronica’s technical skills are superb but it is the emotion and beauty that show in her photographs that draws me to them.
Veronica was born in 1970. She works in the city of Rimini, Italy which is on the coast of the Adriatic Sea. Veronica works as a marketing consultant to support her passion for portrait photography. Her photos attempt to capture the feelings of distant and lonely memories. She believes that photos can show the epiphanies that can be discovered in the light surrounding the human body and that disclose the secret beauty of dreams.
You can see more of Veronica’s work at http://www.fotoblur.com/people/veronicabronzetti
By Jim McKinniss
Couturier Gallery is pleased to present a retrospective exhibition of nude images by the late Los Angeles based photographer Craig Cowan (1947-1993). Divine Proportion focuses on Cowan’s distinctive approach to the male figure genre and his inclusion of the ancient rules of composition known as the Golden Section or Divine Proportion. The selection of over 30 silver and Platimum/Palladium prints feature classical figure studies, as well as overlay and hand-drawn hybrids combining his photography with the Golden Section.
Los Angeles based Cowan was a self-taught perfectionist in the darkroom who achieved recognition for his masterful printmaking. His gorgeously toned silver prints have an exceptional surface quality inviting one to touch. Whether photographing desert landscapes, architectural icons, or male nudes, Cowan possessed the extraordinary ability to manipulate the print and sculpt the image using chemicals and light producing sumptuous tonal abstractions.
In an effort to distinguish himself from other photograhers who were exploring the male nude genre of the 80’s and early 90’s, Cowan developed a style distinctly his own. His investigations led him to the use of the golden section which had been used throughout history, first in early Egyptian architecture, and later in painting and sculpture where it was used to describe the proportions of the ideal human figure, most notably in the illustrations of Leonardo da Vinci for the book Divina Proportione by Luca Pacioli (published in 1509).
Craig Cowan describes his approach to the use of the golden section in the introduction of his 1990 publication Notes On The Golden Section : My use of the golden section in photographic proportion studies is aesthetic rather than scientific. The golden section is a symbol through which I can unite several different concepts into one expressive image. My interest in the human figure in my work has always been to present it photographically so that it suggests a theoretical absolute. I associate this with the ideas of Plato, especially as expressed in the “Symposium.” The particular and the general are fused; the figure, being a photograph, is always a specific person, and yet through lighting, tonal placement and composition it is made abstract. The use of the golden section in the figure studies adds another level of concrete expression to this yearning for an absolute. The result is a fused image which combines a complex of distinct but interrelated ideas: Greek philosophy, classical interest in the human figure, modern photography, mathematics, a concept of balance and proportion and a human yearning for some kind of absolute.”
Cowan uses the golden section as an overlay superimposed on the figure and incorporated as part of the print itself. The effect is to highlight the proportional relationship between sections of the body while introducing the geometrical lines as rational abstract elements contrasted with the more elusive figure.
His most ambitious and final project, the “Apollonian” images, combine the photographic nude image with the golden section hand-drawn, using graphite, on the print paper itself, surrounding the figure rather than superimposed on it. Each image in the series of twenty five represents a different Greek myth, the nude in the photograph representing one character of the myth, the golden section the other figure(s).
Craig Cowan’s work has been exhibited internationally and can be found in public and private collections around the world, including Fototeca de Cuba, La Habana Vieja,Cuba; Frank Lloyd Wright’s Hollyhock House,Los Angeles,CA; andLos AngelesMuseumof Art,Los Angeles,CA.
This show runs June 9 – July 14, 2012
Craig Cowan – Divine Proportion opening reception will be Saturday, June 9 from 6-9pm.
Couturier Gallery is located at 166 N LA BREA AVENUE LOS ANGELES, CALIFORNIA 90036
For further information and/or press photos, please contact the gallery: firstname.lastname@example.org or telephone 323-933-5557.
Gallery hours: Tuesday – Saturday, 11 – 5
By Jim McKinniss