The Fahey/Klein Gallery will be presenting a selection of images from Diego Uchitel’s first monograph, “Polaroids”. This exhibition represents a curated collection of Polaroid images that capture Uchitel’s signature ethereal and painterly style and span over 30 years of the photographer’s work.
In pre-digital shoots, photographers depended on Polaroids to test a shot before committing the image to film. Described by photographers as the initial moment of the creative process, a Polaroid photograph became the first exploration of the photographer’s composition. Like many artists, Uchitel had a very visceral attraction to the medium of Polaroid photography.
In his first New York Studio, Uchitel began to casually pin Polaroids to his studio walls as a way to review the layout of a shoot. Instead of replacing the images after each shoot, he added to them, and over the years the wall of Polaroids grew. The mosaic became a centerpiece of his studio, a physical timeline and a placeholder for memories and various moments of Uchitel’s career. Visiting photographers and models would scour along the mosaic of people, faces, and moments to spot friends and colleagues. Before moving to a new Studio, the wall was carefully catalogued, archived, and preserved under glass, to be reinstalled in a new Studio location.
The exhibition consists of Uchitel’s Polaroids reproduced in large scale producing a trompe- l’oeil effect when these photographs are viewed. The oversized Polaroid appears to float weightless in the frame. The tape marks, pin holes, tears and worn edges of Uchitel’s Polaroid photographs become emphasized, reiterating the physicality of the medium and reinforcing the strange beauty in imperfection. The Polaroids elegantly display their age, existing as they are, as relics from another time. They are both fleeting and immediate, ephemeral and permanent, science and magic. Spontaneous in nature, Polaroids possess the unique quality of capturing a brief moment while physically existing in the same moment—translating an instant in time to a physical object.
Diego Uchitel grew up in Buenos Aires, Argentina where he assisted his physician father by taking countless documentary photographs of the hospitalized patients under his father’s care. Diego moved to Los Angeles and attended film school at UCLA, but soon realized that photography was his true passion. Diego’s work has been featured in Elle Magazine, Vanity Fair, Harper’s Bazaar, German and Spanish Vogue, Vogue Hommes, and The New York Times Sunday Magazine among others. Diego Uchitel’s monograph “Polaroids” (Damiani, 2012) chronicles more than 25 years of his work with Polaroids, a medium that has both defined his universe and developed his own style. Diego Uchitel lives and works in New York City.
This show runs May 1, 2014 through June 7, 2014
Reception for the Artist: Thursday, May 1, 7 – 9 p.m.
By Jim McKinniss
PHOTO INDEPENDENT is an annual photography art fair held in Hollywood, California, making its inaugural debut at Raleigh Studios, across from Paramount Studios, in 2014. As the first and only high-visibility platform for independent photographers, PHOTO INDEPENDENT presents a forum for direct exchange of ideas and contacts between photographers, collectors and art professionals. PHOTO INDEPENDENT provides you with the unique opportunity to invest in the most exciting established, emerging and undiscovered photographic talent today.
Andy Summers, Sting’s old band mate, is doing a special exhibition called Mysterious Barricades, 2014.
Raleigh Studios, Hollywood
5300 Melrose Avenue, Hollywood, CA 90038
Friday, April 25
Trade Day, 1pm-5pm
Press Preview, 5pm-7pm
Opening Night Premiere Party, 7-10pm
Saturday, April 26, 11am–7pm
Sunday, April 27, 11am–6pm
By Jim McKinniss
Paris Photo Los Angeles, the US edition of the world’s most celebrated art fair for works created in the photographic medium, will take place at Paramount Pictures Studios April 25th-27th offering the ideal setting to explore how artists have been and are using photography and moving image in their work in the 20th and 21st centuries.
Leading international galleries will present historical and contemporary bodies of works by renowned and emerging artists in the legendary Paramount Pictures’ soundstages. The New York Street Backlot, the one-of-a-kind replica of New York City’s streets, will be dedicated to the presentation of cutting-edge solo shows, Young Gallery exhibitions, and bookseller projects, each exhibiting within an exclusive movie set.
The public program is also an important component of the fair. Built around cultural events involving artists, art world professionals, collectors, and cultural institutions, this year’s program will include special exhibitions and the Sound & Vision series of conversations and screenings.
Join us for this highly anticipated major event.
By Jim McKinniss
dnj Gallery will be presenting the work of Pamela Mayers-Schoenberg from her project called Vermont Avenue, 1998.
Here is what Pamela says about this project.
Vermont Avenue runs for thirty miles through Los Angeles, from Griffith Park, through Los Feliz, Hollywood, Koreatown, and South Central, to the harbor. It serves by the Observatory, the Greek Theater, Los Angeles City College, USC, and the Coliseum, but I prefer to focus on the smaller entities of the street: homes, shops, schools, clubs, parks, and markets, and the people.
It is one, single community, made up of independent, yet interconnecting parts. Los Angeles is, and has always been, a great melting-pot. Through my images, I want to build a collective vision and create an interaction among the various neighborhoods.
To see more of Pamela’s work visit her website: http://www.mayers-schoenberg.com/
This exhibition runs May 3 through May 31, 2014
By Jim McKinniss
I have been watching David Morris Cunningham’s photographic journey for several years. David shows a clarity of vision and artistic sensibility that I admire.
David’s favorite quote is from Matsuo Basho: ‘The haiku that reveals seventy to eighty percent is good. Those that reveal fifty or sixty percent, we never tire of.’
Here is what David has to say about his photography:
My journey through the haiku lens began in February, 2008 while participating in the workshop, ‘Zen and the Art of Photography.’ It was a journey I had sensed coming but had no idea the breadth it would entail. Sprinkled throughout my early work were clues as to the direction I would someday travel, but it was during that week in Santa Fe that I became aware of the path I was to walk. A path so simple the challenge seemed (and still seems) daunting.
During the months that followed the workshop, belief systems were tested, transformed, abandoned and sown. Thoughts and ideas slowly coalesced. A new understanding began to emerge.
The notion of using my camera to make a visual haiku quietly found its way to the edge of my awareness. The idea excited me. Instead of making a picture speak a thousand words, I would work to make an image whisper seventeen syllables.
Made in 2008 at the Zen and the Art of Photography workshop in Santa Fe, I consider this image to be the image that began my journey through The Haiku Lens. During the workshop I consciously began to strip away the extraneous within the frame that I felt were distractions to rather than elements of the photograph.
I made this image while working on a project where I forced myself to notice of the moments of beauty at my feet. It was a photograph I made several years ago but didn’t process until somewhat recently. These images are usually windows into my future; a part of a body of work that I didn’t realize I was working on when I initially pressed the shutter release.
I’ve always been a huge fan of abstract painting and photography. With this image I entered a more abstract phase of my work; the first photograph that successfully bridged the gap between the more realistic and the abstract. By making an image of a tangible object in such a way that the photograph becomes somewhat mysterious slightly altered my way of seeing and recording the world around me.
Another subject that has always interested me is the play between shadow and light and geometry. Diagonals is a photograph that serves as another bridge in my evolving process, stripping away the subject and synthesizing the image down to the elements of light, shadow and geometry.
Rice Paper and Bamboo #2
This image belongs to my latest body of work. The series consists of photographs made using a rice paper shade as the canvas for my further study of the interplay between shadow and light; creating a piece of work that contains several “windows”, each one working alone and as a collective whole.
DAVID MORRIS CUNNINGHAM
PO Box 1426
Woodstock, NY 12498
By Jim McKinniss