The Fahey/Klein Gallery is pleased to present, American Moments, the Los Angeles debut exhibition of photojournalist, filmmaker, and writer Lawrence Schiller. In 1957, at age twenty, Schiller embarked on his photojournalist career with photographs in LIFE and The Saturday Evening Post. By the beginning of the 1960s it was not simply a matter of being in the right place at the right time that made his images particularly poignant and historically important; Schiller was guided by an innate sense of instinct. He also had the liberty of working independently and remained virtually unrestricted or typecast by editors. This allowed him to photograph nearly every major headline-worthy event of a tumultuous decade.
In 1960, Schiller captured Pat Nixon’s tears as her husband, Richard Nixon, delivered his concession speech after losing the presidential election to John F. Kennedy. Two years later, he photographed Lee Harvey Oswald at the Dallas Police Station, as he was about to be interrogated for the assassination of President Kennedy. Schiller was in the basement when Jack Ruby shot and killed Oswald. He would later travel with Senator Robert Kennedy in 1968, documenting the last month of his presidential campaign; and the candidate would use Schiller’s portrait of himself for one of his last campaign billboards, before he, too, was assassinated.
Lawrence Schiller photographed the heated boxing match between Muhammad Ali and Floyd Patterson in 1965 when Patterson refused to refer to Ali by his newly adopted Black Muslim name, and was, in turn, mocked and taunted throughout the entire fight by a victorious Ali. And Schiller continued to cover other historic news-making personalities and events throughout the ’60s and ’70s: Patty Hearst for the cover of TIME magazine; death row inmate Gary Gilmore as he awaited execution; the explosive Watts Riots in Los Angeles; and the experimental use of LSD, Timothy Leary, and the acid generation. He even interviewed Charles Manson Family member Susan Atkins, who eventually confessed to the murders in a story copyrighted by Schiller.
“[The ’60s were] a time in which things happened awfully fast. It was a wild, wild period; an uncontrolled period. I don’t think you had any sense of perspective in the ’60s. You had to wait and look back at it, because it was a period in which things were happening that had no rhyme or reason to them,” says Schiller. “By the end of the ’60s I had covered so many stories, had so many magazine stories, I had somehow become part of that decade’s history. And I already had my eye on the future.”
Lawrence Schiller may be best known for his pictures of Marilyn Monroe. He first photographed Monroe when he was just twenty-three, on the set of Let’s Make Love for Look magazine. Two years later, on the set of Something’s Got to Give, Monroe allowed Schiller to photograph and publish the first nudes she had posed for in over ten years. Monroe successfully used these images to generate publicity and regain influence with the motion picture studio which she believed had underestimated and underpaid her. The time Schiller spent with Marilyn gave him a unique insight into her genuine personality, character, and allure, as well as her complexities on- and off-screen.
Mr. Schiller will be in attendance for a reception at the Fahey/Klein Gallery on Thursday, July 26, from 7–9 PM. He will be signing copies of his new book, Marilyn & Me: A Photographer’s Memories, available in a memoir edition from Nan A. Talese/Doubleday, and a deluxe, limited edition from TASCHEN.
This show runs July 26 through September 1, 2012
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
Yes, I writing about myself. So I’ll keep this brief.
My entry into the B&W magazine 2011 Portfolio Contest was selected for 1 of the 24 Spotlight Awards. Almost 350 portfolios were entered in the contest that year .
So if the award was for the 2011 Portfolio Contest, why is my work just now appearing a year plus 7 months later? Well, the answer to that is because the magazine splits the Spotlight Awards articles and interviews over 4 issues and because B&W does not produce an issue every month. Also, one issue each year is devoted to the Excellence and Merit award winners.
Needless to say I’m very delighted to have had my work recognized by B&W Magazine.
I recently saw and exhibition of the photos of Hisaji Hara at Rose Gallery in Bergamot Station. That exhibition has now closed. However, here are a few photographs by the photographer. Not all of these photos were shown at Rose Gallery.
The following text is taken from Aline Smithson’s LENSCRATCH blog.
Many photographers, myself included, are inspired by painters. Toyko photographer Hisaji Hara has reproduced art works by Balthus in timeless black and white imagery.
Hara’s tranquil monochrome portraits look strangely familiar — and indeed, all are modeled after paintings by Balthus (1908-2001), one of the most revered artists of the 20th century. Although the figures and background furnishings are not identical to the originals, the compositions are. Through this tableau-vivant-like approach, Hara somehow manages to capture the essence of Balthus’s works.
By Jim McKinniss
I have a new and unique opportunity, as my proposal to curate a photobook exhibition for the XI Edition of FotoGrafia Festival Internazionale di Roma (FotoGrafia – the International Festival of Rome) was accepted. Very nice!
The theme for this festival is “work”, which is an interesting subject and in my proposal, I addressed it rather broadly. I now have to articulate my concept for the exhibition catalog, but essentially a contemporary investigation into workers, what we do as “work” and the working we do, as a process or activity of “work”. Work as a noun and as a verb, eh?
The other part of my proposal is that each photographer will photograph a double page spread of their photobook, their personal choice, then I will have these photographs printed and hanging in the exhibition room to provide another dimension to the book object and photographic work. As the photobook is also a work of art by the photographer. Another layering of the theme of the festival.
As a first step, I had to determine if there were enough contemporary photobooks available to constitute an exhibition. Focusing on a contemporary investigation of the theme, I am also looking at recent published photobooks over the last three or four years. Examining my photobook library, I already thought this exhibition was feasible. After a couple of Facebook shout-outs, I became aware of even more book titles that were interesting and warranted further investigation. As such I now have my shortlist of photobook titles that should provide a very interesting exhibition. cool!
Now I need to make my final exhibition selection and then notify the photographers. I am also publishing a brief commentary of each photobook selected for my shortlist on my photobook review blog, The PhotoBook.
Which means that for the next couple of months, an emphasis on the photographic work and photobooks of others while my own photographic projects linger. Maybe a transition to a new career, eh? Or maybe create some opportunities to sell my photobook, Ciociaria?
The exhibition in Rome, Italy will take place at the MACRO Testaccio (Museo d’Art Contemporenea di Roma) in the Pelanda exhibition space from September 20 to October 28th. Maybe see you there?
Best regards, Douglas Stockdale
The following text is taken from Wikipedia:
Francesca Woodman was born April 3, 1958, in Denver, Colorado, to well-known artists George Woodman and Betty Woodman. Her older brother Charles later became an associate professor of electronic art. Her mother is Jewish and her father is from a Protestant background.
Woodman attended public school in Boulder, Colorado, between 1963 and 1971 except for second grade in Italy. She began high school in 1972 at the private Massachusetts boarding school Abbot Academy, where she began to develop her photographic skills. Abbot Academy merged with Phillips Academy in 1973; Woodman graduated from the public Boulder High School in 1975. Through 1975, she spent summers with her family in Italy. She spent her time in Italy in the Florentine countryside, where she lived on an old farm with her parents.
Beginning in 1975, Woodman attended the Rhode Island School of Design (RISD) in Providence, Rhode Island. She studied in Rome between 1977 and 1978 in a RISD honors program. As she spoke fluent Italian, she was able to befriend Italian intellectuals and artists. She went back to Rhode Island in late 1978 to graduate from RISD.
Woodman moved to New York City in 1979. After spending the summer of 1979 in Stanwood, Washington, she returned to New York “to make a career in photography.” She sent portfolios of her work to fashion photographers, but “her solicitations did not lead anywhere.” In the summer of 1980 she was an artist-in-residence at the MacDowell Colony in Peterborough, New Hampshire.
In late 1980 Woodman became depressed due to her work and to a broken relationship. She survived a suicide attempt, after which she lived with her parents in Manhattan. On January 19, 1981, she committed suicide by jumping out a loft window in New York. An acquaintance wrote, “things had been bad, there had been therapy, things had gotten better, guard had been let down.” Her father has suggested that Woodman’s suicide was related to an unsuccessful application for funding from the National Endowment for the Arts.
Here is a YouTube video showing some of Woodman’s work accompanied by a song from Seal: http://www.youtube.com/watch?v=UpoNVTQOh6o&feature=share
By Jim McKinniss
One of the most sensational and shocking images in European art, Edvard Munch’s painting of a man locked in a vampire’s tortured embrace – her molten-red hair running along his soft bare skin – created an instant outcry when unveiled a century ago. Some believed the Norwegian artist’s anguished 1894 masterpiece, Love and Pain – since known asVampire – to be a reference to his illicit visits to prostitutes; others interpreted it as a macabre fantasy about the death of his favourite sister. Some years later, Nazi Germany condemned it as morally “degenerate”.
Vampire has become one of Munch’s most sought-after and reproduced images, despite remaining in the hands of a private collector for the past 70 years.
The painting will go on the open market, The Independent can reveal, and is anticipated to smash the $31m (£17m) auction record for a Munch work. Vampire, which is often seen as the sister of The Scream, completed just months earlier, will be sold at a Sotheby’s auction in New York for an estimated $35m.
The painting was part of Munch’s seminal 20-work series The Frieze of Life, which included The Scream. It is the most significant version of fourVampires he completed in 1893 and 1894, and was first exhibited in 1902 in Berlin, where his works caused shock and awe.
Vampire was sold to the avid Munch collector, John Anker, in 1903, and is the only work from the original series in private hands. It was acquired by a private collection from Anker and his wife, Nini Roll, in 1934, and has since remained there – albeit loaned to the Metropolitan Museum of Art in New York until last year. Vampire has not been since in Britain since 1974. Simon Shaw, head of Impressionist and modern art at Sotheby’s in New York, said: “There have been past Munch works to be sold in recent times, such as a wonderful group of works in 2006 and a painting earlier this year, but this one is a real, knock ’em dead masterpiece.”
Vampire caused a sensation when it was unveiled, touching on turn-of-the-century fears about women’s liberation. Some critics were outraged by its perverse, almost sado-masochistic depiction of passion. Mr Shaw added: “It was shocking to Berlin society just as it is shocking today.” Munch, however, always insisted it was nothing more than “just a woman kissing a man on the neck”.
The work also became the basis for several pastels, woodcuts, lithographs and prints, one of which will be sold at Sotheby’s in London on 2 October, entitledVampire II and estimated to fetch up to £400,000. The painting will be on view in London from 3 to 7 October, and then in Moscow, before it is sold in New York on 3 November.
By Jim McKinniss