SoCal PhotoExchange

PETER LINDBERGH Photographs at Fahey/Klein Gallery

Posted in Uncategorized by Jim McKinniss on February 22, 2014

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Milla Jovovich, Vogue Italy, Paris, France – Copyright by Peter Lindbergh

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Nina Burri, Vogue Germany, Berlin, Germany – Copyright by Peter Lindbergh

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Karen Elson, Milla Jovovich, Vogue Italy (C20316-13), Downtown, Los Angeles – Copyright by Peter Lindbergh

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Georgia Frost, Vogue Italy, Downtown, Los Angeles – Copyright by Peter Lindbergh

 

 

The Fahey/Klein Gallery will be presenting a selection of photographs from photographer and filmmaker Peter Lindbergh’s expansive and influential career. Lindbergh’s work helped define the contemporary era of fashion and portrait photography. Having captured the most notable figures in the industry—Linda Evangelista, Christy Turlington, Tatjana Patitz, Naomi Campbell, Cindy Crawford, Kate Moss, Amber Valletta, Kristen McMenamy, Gisele Bundchen, and Cara Delevingne— Lindbergh’s indelible photographs go beyond the iconography of the “supermodel”. With a seductively intimate style and approach, Peter Lindbergh’s portraits reveal an inner truth to his subjects.

Inspired by the austere beauty of his childhood in Germany, Lindbergh’s intense and dramatic photographs employ the cinematic language of Fellini and early German filmmakers. Consciously alluding to images from 20th Century photographers Andre Kertesz, Marc Riboud, and Paul Strand, Lindbergh creates multilayered and multifaceted images with nuances of meaning. His deeply saturated black and white photographs resonate a story-within-a-story, intentionally playing with traditional archetypes of women in photography—dancers, actresses, vamps, femme fatales, heroines—to define and redefine the narratives of the women who inhabit his world. Lindbergh’s photographs explore the intermediate spaces that exist between fashion and portrait, portrait and nude, nude and landscape.

Peter Lindbergh is often credited with creating the “birth certificate” of the supermodel with his landmark 1990 cover for British Vogue—establishing a touchstone for the decade. He had a major part in launching the careers of the most recognizable supermodels of the time. Reinventing traditional notions of glamour, femininity, and seduction, Lindbergh’s models are moody, raw, gritty, sulky, uninhibited, and joyful. His women appear undeniably beautiful, yet strong, striking, and handsome— typically with their intense gaze fixed firmly on the viewer. It is evident that collaborating with Peter Lindbergh is a two-way process, as he ultimately approaches them not as models, but as modern women.

“The perception of the modern fashion photographer as someone whose rapid-fire apparatus commits countless thousands of exposures onto film accords exactly with the pattern of a relentless pursuit of an unattainable dream. But Lindbergh’s photographs, in spite of the apparent contradiction, provide some of the most concrete and confident depictions of contemporary women. His models may not necessarily comply with the putative ‘typical’ or ‘average’ women of today, but they nevertheless operate as cyphers for a type of women who has attained a demonstrable degree of freedom and independence. It is an independence they retain in the images; however improbable the fictional setting Lindbergh creates, there is never the impression that his women are merely being manipulated.” (Martin Harrisson, Images of Women Introduction, “Images of Women”, Schirmer/Mosel, 1997)

Peter Lindbergh moved to Paris in 1978, where he started working internationally for Italian, English, French, German,and American Vogue, and later for The New Yorker, Vanity Fair, Allureand Rolling Stone. In 1992, Lindbergh began working for American Harper’s Bazaar in New York and photographed the campaigns for Giorgio Armani, Jil Sander, Prada, Donna Karan, Calvin Klein and Comme des Garçons. Recognized for both photography and film, Peter Lindbergh is the recipient of numerous awards including the Chevalier de l’Ordre des Arts et des Lettres (France), Raymond Loewy Design Award (Germany), and the IFTC Best Documentary award at the International Festival of Cinema in Toronto. His work has been exhibited, collected, and published internationally. Most recently, in 2013, his classic Fashion monograph Images of Women was republished by Schirmer/Mosel. Peter Lindbergh lives in Paris, New York, and Arles.

 

This show runs February 27 through April 19, 2014
Reception for the Artist: Thursday, February 27, 7 – 9 p.m.

Location 148 North La Brea, Los Angeles, CA 90036

Phone: (323) 934-2250 

http://www.faheykleingallery.com/

 

By Jim McKinniss

February meeting – Photographers Exchange

Posted in Photographers, Photography, tPE members by douglaspstockdale on February 21, 2014

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untitled (Irvine Fine Art Center, Irvine, CA) copyright 2014 Douglas Stockdale.

This month, the informal group known as the Photographers Exchange had a slight change of venue within the Irvine Fine Art Center. Instead of using one of the art classrooms, we had an opportunity to use the open space of the gallery and take advantage of the more informal setting. Personally, I thought that this was a great location for our group as it worked really well while discussing the photographic projects that were being presented.

Admittedly, it was a bit tight in the front for the usually five print stands and lights, but it worked. With some more tweaks, it could be a great location and I hope that we can take advantage of this space again.

As usual, there was a pretty diverse range of photographic projects being shared, some of which were interesting enough that the process stalled a bit, such that not everyone had an opportunity to discuss their projects. So a bunch of folks will carry over to the April meeting, since next month is the annual print exchange, see below.

For the March print exchange, it’s fairly simple, but we still find a way to make it into an interesting mess. Basic rule, you bring one photograph (matted or unmatted, but not framed) to exchange with the others and you leave with some ele’s photographic print. It’s how the prints get exchanged that get’s messy, but we usually have a lot of fun. Also it’s pizza and soft drink night, while someone also brings a plateful or two of cookies (the best part).

Last night I had a chance to get squeezed into the last discussion of the evening to show prints and the book dummy (maquette) for my next limited edition self-published book Bluewater Shore. nice.

Cheers!

Doug

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A Royal Passion: Queen Victoria and Photography at the Getty Museum

Posted in Uncategorized by Jim McKinniss on February 20, 2014

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Portrait of Queen Victoria Holding Portrait of Prince Albert, negative July 1854; print 1889, Bryan Edward Duppa and Gustav William Henry Mullins, carbon print

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The Prince and the Queen, 1854, Roger Fenton, salted paper print, hand-colored. Royal Collection Trust

 

In 1839, just two years after Victoria became queen of Great Britain and Ireland, the medium of photography was announced to the world. This exhibition explores the relationship between the new art form and the queen, whose passion for collecting photographs began in the 1840s. On display are rare daguerreotypes, private portraits of the Royal Family, and a selection of prints by early masters of photography. 

Over the course of her long reign, the queen was photographed as loving mother, devoted wife, grieving widow, and powerful sovereign. She was the first British monarch to have her life fully recorded by the camera, and her portraits became emblematic of an entire age. 

 

This show runs February 4–June 8, 2014 at the Getty Center

J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, CA 90049-1687

Phone: +1 (310) 440-7330
E-mail: (for general Museum inquiries)gettymuseum@getty.edu

 

By Jim McKinniss

Hiroshi Sugimoto: Past Tense at The Getty Museum

Posted in Uncategorized by Jim McKinniss on February 18, 2014
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Polar Bear, 1976, Hiroshi Sugimoto, gelatin silver print. Copyright by Hiroshi Sugimoto.

 

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Roofline of Lacock Abbey, circa 1835-1839, 2008, Hiroshi Sugimoto, toned gelatin silver print. Photo copyright by Hiroshi Sugimoto

Since the mid-1970s, Hiroshi Sugimoto has used photography to investigate how visual representation interprets and distills history. This exhibition brings together three series by the artist—habitat dioramas, wax portraits, and early photographic negatives—that present objects of historical and cultural significance from various museum collections. By photographing subjects that reimagine or replicate moments from the distant past, Sugimoto critiques the medium’s presumed capacity to portray history with accuracy. 

Dioramas

Sugimoto first encountered the elaborate animal dioramas at the American Museum of Natural History after moving to New York in 1974 and began to focus his camera on individual scenes shortly after. Omitting the didactic materials surrounding each display, these works heighten the illusion that the animals were photographed in their natural habitats. While each photograph appears to be a candid moment captured by an experienced nature photographer, the subjects depicted will hold their poses indefinitely. 
 

Photogenic Drawings

In 2007 Sugimoto visited the J. Paul Getty Museum to study the earliest photographs by William Henry Fox Talbot in the collection. After photographing some of Talbot’s photogenic-drawing negatives, he produced large-scale prints and colored them with toning agents to replicate the hues of the paper negatives. The scale of the enlarged prints reveals the fibers of the original paper, which create intricate patterns embedded in the images. These works connect the artist intimately to Talbot and the origins of photography. 
 
This exhibition runs February 4–June 8, 2014 at the Getty Center
 

By Jim McKinniss

Pacific Northwest by Ray Atkeson at Duncan Miller Gallery

Posted in Uncategorized by Jim McKinniss on February 11, 2014

 

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Photo copyright by Ray Atkeson

 

 

Duncan Miller Gallery proudly presents Pacific Northwest: Vintage Photographs by Ray Atkeson. Prominent among photographers of the American West, especially winter landscapes and the emergence of the modern ski industry, Atkeson also made poetic photographs of the bustling industries gaining momentum in the region during the 1930s, ‘40s, and ‘50s. An ardent conservationist as well as an admirer of man’s ambitious rush to embrace modernity, Atkeson’s unique vision combined his affection for majestic, hardscrabble vistas and a fascination with the tumult of this new industrial frontier — resulting in images that are both strange and familiar, dreamlike and indelible, magical and ominous.

When we think about the 1930s, ‘40s, and ‘50s in American history, we tend to think about the Depression, the War, the Jazz Age, Art Deco, the rise of shining metropolitan centers, car culture, the Golden Age of Hollywood, maybe Beatniks. But we don’t always think of the stark, epic, inhospitable frontiers of the Pacific Northwest and the eccentric people who made their living and built their eventual empires farming, fishing, logging, shipbuilding, laying the ski industry infrastructure, and undertaking massive public works projects like dams and river diversion. Aside from the inherently compelling content and context of his subject matter, Atkeson had a special gift for framing his compositions with striking motifs, strident angles, heroic perspective, and soaring pictorial geometries — from the angle of a fallen tree, to the sweep of a ship’s hull, or the spectacle of urban lights — that underscore the scale of the story being told.

Atkeson has been included in several special publications, including Ansel Adams’ and Nancy Newhall’s This is the American Earth (1960), U.S. Camera’s The Best of 1957, and John Steinbeck’s last published book, America and Americans (1966). Yet the world he portrays and the visual language he uses to describe it are quite different from those of the WPA, naturalist, and avant-garde peers alongside whom he is regularly exhibited — diverse figures like Adams, Edward Weston, Dorothea Lange, Henri Cartier-Bresson, Richard Avedon, Lillian Bassman, and Eliot Porter. In addition to publishing in National Geographic, Time, Readers Digest, Life, The Saturday Evening Post and Popular Photography, Atkeson has published nine books, including Ski and Snow Country: The Golden Years of Skiing in the West, 1930s-1950s with text by skiing legend Warren Miller, and was named Photographer Laureate of the State of Oregon in 1976.

 

This show runs February 15 – March 29, 2014

Opening reception, Saturday February 15, 7-9 pm

DUNCAN MILLER GALLERY
2525 Michigan Ave, Unit A7
Santa Monica, CA 90404

Phone: 310.453.1111

Email: info@duncanmillergallery.com 

www.duncanmillergallery.com

 

By Jim McKinniss
 

Exhibition by photographers Dan Shepherd and Allan Gill at dnj Gallery

Posted in Photo Galleries by Jim McKinniss on February 5, 2014
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Alaska Trees #4 copyright by Dan Shepherd.

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Alaska Trees #8 copyright by Dan Shepherd.

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Griffith Park #5 copyright by Dan Shepherd.

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Hummer and Hybiscus Xray copyright by Allan Gill.

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Peony Trio Xray copyright by Allan Gill.

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Rose Xray copyright by Allan Gill.

 

dnj Gallery is pleased to announce its upcoming exhibitions, “Blinded by Science: Alaska/CaliforniaCollection” by Dan Shepherd and “Xradiography” by Allan Gill. Both exhibitions feature photographs that explore the interplay between science and art. With years of training in their respective scientific disciplines, the artist both use their expert knowledge as a starting point for works that include not just scientific analysis but also very personal perspectives on the natural world.

With an M.A. in Environmental Science from Columbia University and an International Diploma in
Plant Conservation from the Royal Botanic Gardens, Kew, England, Dan Shepherd uses his expert
knowledge of plants to capture their most interesting and graphic features. Shepherd develops a
layered, formal view of the environment by focusing on colors, shapes, and textures. As he
explains, he seeks to “use the power of abstraction to filter out the science details in his head” so
that he can focus on the purely visual elegance of nature and create almost portrait-like images of
trees, plants and landscapes. In this exhibition, he expands the breadth of his previous work by
photographing the characteristics of landscapes at two of his favorite botanical locations, Alaska and
California. Shepherd’s series is fundamentally about his return to seeing, rather than scientifically
analyzing, the natural world.

Shepherd currently works as both a visual artist and a conservation professional for organizations in
Los Angeles. His photographs have been exhibited in various locations throughout the country, and
have been featured in several recent publications, including “The Orion Magazine,” “The F-Stop
Magazine –Abstraction” and “Lenscratch.” This is Shepherd’s second solo exhibition at dnj Gallery.

After practicing veterinary medicine for decades, Allan Gill turned his medical X-ray equipment on
flowers and plants. His glowing images in Gallery II depict both the internal and external structures
of his subjects. As he explains, his “images are captured in much the same way as with conventional
photography, with the difference being instead of utilizing reflected light, I am able to utilize another
part of the electromagnetic spectrum….” Gill’s technique may seem simple but in fact is the result
of years of experimenting with different kinds of X-ray equipment to find the right combination of
conditions that would allow him to record the level of detail he desired.

Gill lives and works in Kelowna, British Columbia, Canada. In addition to establishing a growing

audience for his photography, Gill is also a veterinarian. His photographs have been exhibited in
Canada and sold in the United States and have been featured in LensWork Magazine, Focus
Magazine, American Art Collector, Color Magazine, ‘digitalis photo’ (Hungary), and Black and White
Photography (Britain). This is Gill’s first exhibition at dnj Gallery.

EXHIBITION: Dan Shepherd, “Blinded by Science: Alaska/California Collection”

Gallery II: Allan Gill, “Xradiography”

SHOW DATES: March 8 – April 26, 2014
RECEPTION: Saturday, March 8, 6 – 8 pm
GALLERY HOURS: Tues – Fri, 10 am – 5 pm; Sat, 10 am – 6 pm

dnj Gallery 2525 Michigan Avenue, suite J1, Santa Monica, CA 90404  

Website: www.dnjgallery.net

For additional information or images, please contact Pamela Schoenberg at (310) 315-3551 or
office@dnjgallery.net.

By Jim McKinniss

Mallory Morrison – Photographer

Posted in Uncategorized by Jim McKinniss on February 1, 2014

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Emerge copyright by Mallory Morrison.

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Shroud copyright by Mallory Morrison.

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Recess copyright by Mallory Morrison.

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The Path copyright by Mallory Morrison.

 

I met Mallory Morrison at PhotoLA in January. I was immediately impressed by the beautifully printed large photographs she had on display.

The photos shown on this blog post are from her Fog series. The photos in her other series such as the Air series are equally marvelous.

Here is what Mallory says about the Fog series.

In this series FOG, there are moments of fighting, desperation, release, calmness and resolve.  There is a feeling of being lost in the fog and trying to make your way through.  Whether you call in fate, making your own path, or finding yourself, we go through a process of creating our own happiness.  

 
During an unusually foggy week in Los Angeles, I found myself having a very visceral reaction to the weather and missing my native San Francisco.   I took that feeling of homesickness and the visual idea of fog and put it in the water. What came out the other end was a mirror into my sub-conscience.  The finished images told a deeper story than I had set out to tell.  The water gave my initial thoughts life and it felt like they grew into something more developed than I had planned.  When I put my subjects into the water environment, it bread very instinctive movements and raw emotions.  Through those moments captured, I found a story of my own journey.
 
You can see more of Mallory’s work at http://mallorymorrison.com/
 
 
By Jim McKinniss