I do not know Michael Bilotta personally but I have admired his work for some time now. Michael’s skill as a photographer is clearly evident in the fine technical and artistic quality of the photos he uses as the basis for his images. But the images come to life in post processing through Michael’s skill as a graphic artist.
The first image I’ve included in this post is titled “Riddles in the Dark” and here is what Michael says about it. Michael’s model is Ed Barron.
Riddles in the Dark is the title of what is arguably the most important chapter from the Hobbit in terms of seeding the story for Lord of the Rings. In it, Gollum challenges Bilbo to a game of riddles – if Bilbo wins, he lives and Gollum would show him the way out of the tunnel he was lost in. If he loses, Gollum would eat him.
What does this image have to do with it? Not much at all, except that as I was composing it, starting with just the model against a blank background, it reminded me of Gollum and how he would sit on his haunches. After adding in the misty background, it was really starting to scream RIDDLES IN THE DARK!!! Since it seemed an unavoidable title, which I love, I had to find what that would mean beyond the Hobbit reference, and given my tendency to mine the human psyche and all its idiosyncrasies for fodder, I decided to add the keys, which served as a puzzle to unlock, or secrets to uncover. The absurdity of the man being immobile, covering his face, possibly deliberately, struck me as a personality I know something about: one who deliberately blinds himself to the way out, while all around him, the answers dangle, waiting to be seized. Someone who needs confusion as fuel to proceed.
Riddles in the Dark, except the darkness is willful, and self-defeating, and the answers can be pretty obvious if you would only look around you!
You can see more of Michael’s digital artistry at http://www.michaelbilotta.com/
By Jim McKinniss
M+B is pleased to announce PHOTOGRAPHY SCULPTURE FIGURE, a group exhibition curated by Matthew Dipple, with artists Daphne Fitzpatrick, K8 Hardy, Sara Greenberger Rafferty, Mariah Robertson and Sara VanDerBeek.
Photography composes space in two and three dimensions. Sculpture exists within space and defines volume. Within these volumes and dimensions the figure exists dangling, dancing, laughing, living, hidden, exposed . . . somehow it all connects. Not like mathematics. Photography, sculpture and the figure are companions that know each other intimately. They can live without each other, but get on so well when they are together: they co-exist in space, sharing rhythms, textures and thoughts.
The exhibition Photography Sculpture Figure brings together five New York artists all working in photography and (frequently, occasionally or abstractly) in sculpture. These five artists also, but not always, address the figure in their work. The pieces in the exhibition explore photography, sculpture and the figure—and the unavoidable physicality that results—in differing combinations of movement, the body, identity and performance.
Daphne Fitzpatrick was born in 1964 in Long Island, New York and lives and works in New York City. Her work has been exhibited at the Contemporary Arts Museum, Houston, TX; The Center on Contemporary Art, Seattle, WA; ICA, Philadelphia, PA; LACE, Los Angeles; Sikkema Jenkins Co, NYC; Participant, NYC; Art in General, NYC; Colgate University, Hamilton, NY; Jack Hanley, San Francisco. Fitzpatrick has contributed work to the publications ARTFORUM, North Drive Press and Interview Magazine, and she has received grants from Art Matters and The Jerome Foundation.
K8 Hardy was born in 1977 in Fort Worth, Texas and lives and works in New York City. She has had solo exhibitions at Balice Hertling, Paris; Galerie Sonja Junkers, Munich, Germany; and Reena Spaulings, NYC; and her work was included in the 2012 Whitney Biennale at the Whitney Museum of American Art, NY and the 2010 Greater New York exhibition at MoMA/PS1. She has performed at the Tate Modern, London; Artists Space, New York; The Serpentine Gallery, London; and the Transmodern Age Festival of Experimental Performance, Baltimore, Maryland. Hardy is represented in New York by Reena Spaulings and in Paris by Balice Hertling.
Sara Greenberger Rafferty was born in 1978 and lives and works in Brooklyn, New York. She has exhibited solo projects at The Kitchen, NY; MoMA PS1, NY; Eli Marsh Gallery at Amherst College, MA; and The Suburban, IL. She has participated in many group shows at venues such as the Aspen Art Museum, CO; Neuberger Museum of Art, NY; Gagosian Gallery, NY; Public Art Fund at the Metrotech Center, NY; and the Jewish Museum, NY. Her work is included in the collections of the MoMA and the Whitney Museum of American Art. Greenberger Rafferty received her MFA from Columbia University in 2005 is represented by Rachel Uffner Gallery in New York.
Mariah Robertson was born in Indiana in 1975, though grew up in California and now lives and works in Brooklyn, New York. She has exhibited widely including recent solo institutional shows at the Baltic Centre for Contemporary Art, UK and Grand Arts, Kansas City, Missouri, as well as exhibitions at MoMA/PS1, NY; the Silver Eye Center for Photography, Pittsburg and recent inclusion in Out of Focus at the Saatchi Gallery, London. Her work is in the collections of the Museum of Modern Art, NY and Los Angeles County Museum of Art, CA and is featured in an ongoing documentary for Art21 titled New York Close Up. Robertson is represented by American Contemporary in New York.
Sara VanDerBeek was born in Baltimore, Maryland in 1976 and currently lives and works in New York City. She has had solo shows at the Hammer Museum, Los Angeles; Metro Pictures, New York; Altman Siegel Gallery, San Francisco; Whitney Museum of American Art; and The Approach, London. Her work has been exhibited at many international institutions including the Museum of Contemporary Art, Los Angles; the Los Angeles County Museum of Art, Los Angeles; Guggenheim, New York and Bilbao; Museum of Modern Art, New York; and the Hirshhorn Museum, Washington D.C., all of which have included her work in their permanent collections. VanDerBeek is represented by Metro Pictures in New York and The Approach in London.
The exhibition will be on view from September 15 through October 27, 2012, with an opening reception for the artists on Saturday, September 15 from 6 to 8 pm.
M+B is located at:
612 NORTH ALMONT DRIVE
LOS ANGELES, CALIFORNIA 90069
Telephone: 310 550 0050
By Jim McKinniss
Los Angeles Harbor College Fine Arts Gallery is pleased to present Unmade & Winter’s Light, New Photographs by Ann Mitchell. The exhibition will open with an Artist’s Reception on Saturday, September 15, from 4 – 7 PM.
Ann Mitchell was born in New York City and raised in California. After earning a BFA in Photography from Art Center College of Design, she worked as an award-winning advertising and editorial photographer for more than a decade. She then left commercial photography to pursue her own imagery, concentrating on urban landscapes and structures. In 1997 she completed her MFA at Claremont Graduate University and is currently Associate Professor of Art and Photography Program Coordinator at Long Beach City College.
Her photographs have been included in numerous solos and group exhibitions, and featured in a number of publications including LensWork, View Camera, Los Angeles, Better Homes and Gardens, Victoria, and Home Magazine. In 2007 Balcony Press released Austin Val Verde: Impressions of a Montecito Masterpiece, a monograph on the artist’s intimate examination of a prominent example of the Classic Estate period in California.
The photographs of Unmade & Winter’s Light are black and white archival pigment prints on handmade Nepalese paper. Unique in both texture and tone, the paper becomes a voice in each image, softening detail and providing a palpable luminance. This work shares the intimacy of Val Verde, but ups the ante. Representation and abstraction merge seamlessly in Unmade; images of a rumpled bed, empty in early morning light, are devoid of human presence yet rife with absence. The spare images of Winter’s Light provide a counterpoint to Unmade – here the land sleeps, bare trees become linear sculptural forms arrested in seasonal change. Everyday-ness is transformed; the familiar becomes an object of meditation.
Curated by Ron Linden, the exhibition runs through November 2. For visuals or additional information please call 310-600-4873. Gallery hours are Monday – Thursday, 11 AM – 4 PM, and by appointment. This exhibition funded in part by the generous support of Linda Lee Bukowski.
The Gallery is located at 1111 Figueroa Place, Willmington, CA
This show runs September 15 – November 2, 2012
Artist’s Reception: Saturday, September 15, 4 -7 PM
By Jim McKinniss
Organized by the Museo Casa Estudio Diego Rivera, Mexico City,
and curated by Rachael Arauz and Adriana Zavala with James Oles as curatorial advisor
• Members Opening: September 22
Open to the general public September 23
The Museum of Latin American Art presents for its fall exhibitions the work of two Modern artists who defied the norms and were pioneers in their respective mediums—Débora Arango from Colombia and Lola Álvarez Bravo from Mexico. Lola Álvarez Bravo (1903-1993) is one of Mexico’s most important photographers from the twentieth century. Albeit the prolific aspect of her career, which spanned nearly fifty years, she remains historically overshadowed by her famous husband, Manuel Álvarez Bravo, and other important photographers of her time such as Edward Weston and Tina Modotti. Lola Álvarez Bravo’s production combined commercial practice and teaching with her personal artistic concerns, including experimenting with various photographic techniques such as photomontage and photocollage, and the exploration of political issues of her time, which contributed to the development of modern Mexican photography.
Lola Álvarez Bravo: The Photography of an Era will provide an unprecedented opportunity to reconsider the career of this remarkable and influential artist, as it will introduce many photographic materials to the public for the first time. This will also contribute to the scholarship and open avenues for new research on her oeuvre. Soon after her death, a significant part of Lola’s archive, including negatives, documents, and over 100 prints, was acquired by the Center for Creative Photography, from her son Manuel Álvarez Bravo Martínez. However, a previously unknown portion of Lola’s archive remained in Mexico in the collection of the Rendón family.
The exhibition is comprised by this recently discovered group of photographs in the Rendón Collection, which includes unpublised negatives and archival material of Lola’s work, but also over twenty vintage prints by Manuel Álvarez Bravo and a group of images by Lola’s students at the Academia de San Carlos, including Mariana Yampolsky and Raúl Conde. This remarkable and well-preserved collection reveals the complex breadth of Lola’s career from the formation of her aesthetic in her husband’s darkroom in the 1920s to her influence on the work of her students in the 1950s.
Organized by the Museo Casa Estudio Diego Rivera, Mexico City, and curated by Rachael Arauz and Adriana Zavala with James Oles as curatorial advisor, the exhibition Lola Álvarez Bravo: The Photography of an Era, will be on view at the Museum of Latin American Art from September 23, 2012 to January 27, 2013, before concluding its tour at the Center for Creative Photography in Tucson, Arizona.
Débora Arango / Lola Álvarez Bravo
Sunday, September 23, 2012, 2:00 – 4:00PM
Balboa Studio Room
Moderator: Cecilia Fajardo-Hill.
Panelists: Oscar Roldán Alzate, curator of Débora Arango Arrives Today (Museo de Arte Moderno de Medellín); and Adriana Zavala, co-curator of Lóla Álvarez Bravo: The Photography of an Era.
Women on Women
Thursday, November 8, 2012
Join Associate VP of Education Gabriela Martínez and Assistant Curator Selene Preciado in a conversation about women artists depicting women in Modern Art, related to the exhibitions Sociales: Débora Arango Arrives Today and Lóla Álvarez Bravo: The Photography of an Era.
Lola Álvarez Bravo (Mexico, 1907-1993)
Diego Rivera, 1945
Gelatin silver print
Familia González Rendón Collection
© 1995 Center for Creative Photography, The University of Arizona Foundation
By Jim McKinniss
The following text appears in Aline Smithson’s LENSCRATCH blog.
The complete LENSCRATCH article can be read at: http://www.lenscratch.com/2012/08/success-stories-douglas-beasley.html?spref=tw
Known for his Vision Quest workshops and stunning photographs about Native Americans and the American West, Douglas Beasley is someone who has found a place in the world where the earth meets spirit. He lives in a passive solar home surrounded by trees in Saint Paul, MN and when not out traveling the world he can be found tending his Japanese gardens or enjoying a strong cup of coffee while listening to loud music.
Douglas received a BFA from the University of Michigan, Ann Arbor where he also studied Eastern Religions and Native American culture. After working in a variety photo studios, he opened his own in Minneapolis, MN with an emphasis on commercial and editorial fashion. As a strong feminist, he considers himself the world’s most unlikely fashion photographer. This evolved into shooting throughout the country for various advertising, educational, public service and non-profit clients. He currently works on fine-art based commercial projects around the world.
As founder and director of Vision Quest Photo Workshops, Beasley provides workshops that emphasize personal expression and creative vision over the mechanics of camera use. His upcoming workshop, Zen and the Art of Photography at Breitenbush Hot Springs in Oregon is running September 16th -21st. Douglas has also created Vision Quest cards that help keep photographers motivated.
I just wait until [my subject] appears, which is often where I happen to be. Might be something right across the street. Might be something on down the road. And I’m usually very pleased when I get the image back. It’s usually exactly what I saw. I don’t have any favorites. Every picture is equal but different.
Gagosian Gallery is pleased to present an exhibition of photographs from William Eggleston’s Los Alamos series. This will be Eggleston’s first solo exhibition in Los Angeles in over a decade.
A Memphis native, Eggleston carved his distinct oeuvre from the immediate world around him, incorporating all shades of life into his vivid photographs and thus pioneering an approach that derives its power from a refined form of spontaneous observation. A modern-day flâneur, he captures compelling fragments, events, and personalities of the ordinary world on the streets and in the parlors of small-town America. His subject matter, such as parked cars, billboards and abandoned storefronts, are seemingly banal, yet the idiosyncratic manner in which he orders his observations creates a world of enigma and unexpected beauty, unflinching in its veracity.
This exhibition comprises thirty-seven large-scale pigment images from the Los Alamos series, printed from vintage negatives. Some images were first printed in the 1970s as dye transfers. Others have never been seen before. Eggleston shot them on the road between 1966 and 1974 in the Mississippi Delta, New Orleans, Las Vegas, Los Angeles, Los Alamos, and other locations across the United States, naming the Los Alamos series after the laboratory where atomic weapons were developed. In the intimate portraiture and stark landscapes, the profound influence of his aesthetic on contemporary image-making is plain. His self-professed “democratic camera” seeks out spontaneous moments of aesthetic exception—a neon light glowing piercingly in a darkened motel room; the back of a smooth, perfectly arranged grey updo; a collection of porcelain dolls; a gawky young man pumping gas. Tightly cropped and condensed, each object or subject assumes a narrative life of its own, charged with mystery and possibility. Geographically non-specific and seemingly timeless, the freedom and congeniality of these loosely framed portraits is a hallmark of Eggleston’s working style—emanations of a steadfastly egalitarian vision and a poetic eye.
Eggleston is largely credited with legitimizing color photography as a fine art form. More than a century after the advent of color film and a decade after popular media fused with contemporary art, his first museum exhibition at the Museum of Modern Art, New York in 1976, was also the first fine-art exhibition of color photography. Some thirty-five years after this historic moment, he continues to innovate in the photographic medium. The vibrant and exquisite dye-transfer process, that became a hallmark of his oeuvre, has limitations predicated on the size of available photographic paper. In recent years, advances in digital printing have allowed Eggleston to create his images on a much larger scale—44 x 60 inches—while equaling and even surpassing the quality of color saturation previously available only to the dye-transfer process.
William Eggleston was born in 1939 in Memphis, Tennessee and raised in Sumner, Mississippi. He studied at Vanderbilt University, Delta State College and the University of Mississippi. His work has been the subject of numerous solo and group exhibitions worldwide including “William Eggleston and the Color Tradition,” the J. Paul Getty Museum, Los Angeles (1999); “William Eggleston,” Foundation Cartier, Paris (2001, traveled to Hayward Gallery, London); Documenta 11, Kassel, Germany (2002); “William Eggleston: Los Alamos,” Museum Ludwig, Cologne, Germany (2002, traveled to Museu de Arte Contemporanea de Serravles, Portugal; National Museum for Contemporary Art, Oslo, Norway; Louisiana Museum of Art, Humlebaek, Denmark; Albertina, Vienna, Austria; San Francisco Museum of Modern Art, San Francisco, California; Dallas Museum of Art, Dallas, Texas through 2005); and “William Eggleston: Democratic Camera, Photographs and Video 1961–2008,” Whitney Museum of American Art, New York (2008, traveled to the Haus de Kunst, Munich; the Corcoran Gallery, Washington, D.C.; and the Art Institute of Chicago through 2010).
Opening reception for the artist: Thursday, September 27th, from 6:00 to 8:00 pm
For further information please contact Alexandra Magnuson email@example.com
456 North Camden Drive
Beverly Hills, CA 90210
By Jim McKinniss
Gallery 478 is pleased to present State of the Blues, an exhibition of photographs by Jeff Dunas.
Los Angeles-based photographer, Jeff Dunas has created a stirring visual tribute to the blues in a series of intimate portraits of the greatest artists of the genreincluding B. B. King, Bobby Blue Bland, Buddy Guy, John Lee Hooker, Etta James, Taj Mahal, and many others. The exhibition includes timeless photos of legendary landmarks and birthplaces of the blues along the Blues Highway, a heritage trail through the American South stretching from New Orleans to Chicago, where the blues continues to thrive today.
Photographer, author, publisher, lecturer and Palm Springs Photo Festival director, Jeff Dunas has contributed photographic essays to publications worldwide. His photographs have appeared in more than 60 one-person exhibitions around the globe and in nearly every mainstream magazine including GQ, Life, Vibe, Entertainment Weekly, and Esquire.
Jeff Dunas does a lot of things well-portraits, fashion, fine art and beauty-for his own projects and for publications as diverse as Life, GQ, Vibe and Entertainment Weekly. He is the recipient of the Print Magazine Photography award and the New York Art Directors Club Award, among others.
He began to interview and photograph legendary blues performers in 1994, and the result is the stunning collection, State of the Blues, published by Aperture. With a preface by John Lee Hooker, the book showcases Dunas’s portraits of dozens of legendary blues artists, from Hooker to B.B. King to Etta James. There is also a historic essay by William Ferris, and interviews with over 25 musicians about what it means to live, to have, and to play the blues, mixed with Dunas’s photos of the music’s birthplace. A permanent exhibition of the work is installed at the House of Blue in Los Angeles.
Curated by Arnée and Ray Carofano.
For visuals or additional information please call 310-732-2150. Gallery hours are Monday – Friday, 11 AM – 5 PM, and by appointment. This exhibition funded in part by generous support from the CRA/LA.
This show runs September 6 – November 29, 2012
Open 1st Thursday, September 6, 6 – 9 PM Artist’s Opening Reception:Saturday, September 8, 4 – 7 PM
Gallery 478 is located at 478 W 7th St. , San Pedro, CA
Phone: (310) 732-2150
By Jim McKinniss