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
By Jim McKinniss
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.
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)firstname.lastname@example.org
By Jim McKinniss
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.
By Jim McKinniss
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
By Jim McKinniss
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
For additional information or images, please contact Pamela Schoenberg at (310) 315-3551 or
By Jim McKinniss
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.