January 2005
  issue 1 : PHOTOGRAPHY
 International Photography highlights this month


David Maisel, Terminal Mirage #223-1, 2002. C- Print 48 x 48 in. Von Lintel Gallery.

Von Lintel Gallery, New York

David Maisel : Terminal Mirage

David Maisel began photographing environmental destruction from the air after a visit to Mount St. Helens in 1983 to witness the aftermath of the volcano's explosion. He has focused his lens on land and water transformed by human impact. His work provides the viewer with a photographic abstraction that leaves few clues as to what has actually been photographed. As Vince Aletti noted in the Village Voice, "With virtually no landscape markers, Maisels chaotic, abstract, and weirdly beautiful images prompt us to meditate on the nature of representation—and the representation of nature".

The Great Salt Lake is considered a “terminal” lake, in that it has no naturally occurring outlets. Around its edges are industries of varying types. In 2003, inspired by Robert Smithson's apocalyptic writings on the Great Salt Lake, he began to make aerial photographs around its perimeter, and went on to photograph much of the surreal and brutal region of the Great Basin.

James Nicholson Gallery, San Francisco

Thomas Wrede : Adrift

Thomas Wrede searches for sanctuary within an environment increasingly subjugated to man’s intrusion upon nature. Wrede’s desire for asylum amidst chaos sends him seeking refuge in the infinite spaces that seem to hover at the remote edges of the world. Adrift upon endless expanses of beach, snow, and sea, Wrede renders beautiful the quietude of landscape in large-scale images that lure the viewer into their vastness.

On the beach, Wrede captures large swaths of sand dotted with people—extremely sharp specks frozen in the kind of detail a medium format camera affords. In one image the barely perceptible line between shore and sea winds its way down the center of the print with beachgoers and colorful tents vanishing in the far distance into nothingness. Devoid of any locating devices, it is as if Wrede has stumbled upon a community of people that have come in search of the same lost paradise that he too seeks.


Thomas Wrede, Beach, 2004. Lambdaprint mounted on aluminum with Plexiglas face 37 x 47 in. James Nicholson Gallery

"Claire" 20" x 24" - C-Print , Tanyth Berkeley.  Bellwether Gallery.

Bellwether, New York

Tanyth Berkeley : Love Parade

After Tanyth Berkeley approaches strangers on the subway to make an appointment for a photograph, the resulting portraits are striking evidence of the artist’s newfound friendships with compelling young women. Berkeley’s series of female portraits, Orchidace, refer to the rare species of orchids coveted for their unusual flowers. Focused attentively on the variety of natural representations of female beauty, Berkeley has considered many art historical and cinematic female subjects—from Bresson’s adolescent Mouchet and Bergman’s Monika, to Manet’s urban portrait “The Street Singer” and Rossetti’s “Ophelia.” Berkeley entertains a strong identification with her subjects, and perhaps a shared sentiment about mainstream standards of beauty.

The plain portraits occur in parks, where women subjects focus away from the camera with steadfast strength and dignity. Berkeley describes one woman she meets on the train as, “a cross between Marilyn Monroe and the moon.” Complementing these probing portraits are Berkeley’s videos of anonymous male singers, who croon love serenades to strangers on subway platforms. Berkeley translates her subjects’ secret feelings into her own, using photography and video to illuminate how desire manifests on the body and in one’s private, wandering thoughts.

Townhouse Gallery, Cairo

Osama Dawod

In his first solo exhibition at Townhouse, Osama Dawod uses the medium of photography to explore some of the nuances of street life inherent to the quintessential metropolis and its plethora of objects, images and people. Seen through the anonymous gaze of a curious outsider, his photographs depart from tourist mementos which re –monumentalise historical sites, and avoids familiar signifiers of place, to focus on the mundane. These large-scale images are printed on disposable paper, and are replete with visual and textual messages lifted from density of inscriptions that mark surfaces, exteriors and spaces visible in the city. In the context of a global urbanism where display, consumption and spectacle define the everyday, Dawod's gaze remains one of ambivalence, positioning his subject – the streets of the city – at once as an object of desire and repulsion.



Pamela Anderson, (Bamboo) 2000. Digital C-Print. Sante D’Orazio. Stellan Holm Gallery

Stellan Holm Gallery, New York

Pam: American Icon - Sante D’Orazio

The exhibition consists of large format color and black and white nude photographs of America’s premiere sex symbol of the turn of the millennium. Originally commissioned by Playboy, these photographs capture Anderson at a peak of larger than life voluptuousness. These are images that capture a primal moment as expressive of its time as Bert Stern’s Marilyn Monroe or Avedon’s Nastasia Kinski with snake.

D’Orazio studied painting and fine arts at Brooklyn College. He painted and worked as assistant to Phillip Pearlstein and Phillip Guston, before taking up photography professionally in 1981, shooting fashion for Andy Warhol’s Interview. He began shooting for Italian Vogue, and was soon working for the world’s leading fashion magazines. In 1994 he won Grand Prize at the International Festival of Fashion Photography for his photos of Jaye Davidson, Axl Rose and the Rolling Stones.

Since then his work has been exhibited around the world, including one-man shows in New York, Los Angeles, Bologna, Berlin, Cologne, Warsaw, Munich and Tokyo. He has published two books: “A Private View,” (Penguin Books, 1998) a diaristic account of his career, and “Sante D’Orazio Photographs,” a selection of from his professional and personal archives

Union, London

Scott McFarland : Analysing Trapping Inspecting

Since McFarland’s debut in 2002, he has been simultaneously working on three bodies of work Boathouse, Garden and Empire. The exhibition Analysing Trapping Inspecting brings together a selection from these groups of images, each linked through the artist’s referencing of historical photography and the subtle intervention of digital technologies.

Exhibited here for the first time, a selection of images from Empire, illustrates the famed botanical desert garden at the Huntington in San Marino, California. Developed in 1903, and named after the railroad and real estate developer Henry Edwards Huntington, the total desert garden is twelve acres making it one of the largest in the world. However, in contrast to the spatial expansiveness of deserts, the designed layouts and close arrangements of succulent plants produce an otherly world feeling which is all the more heightened by McFarland’s tight framing and absolute focus between the foreground and background.


Empire 19, Scott McFarland. Union


Photography exhibitions January 2005


Artspace Virginia Miller Galleries, MIAMI : Howtan: Light on Hell & Paradise

Chambers Fine Art , NEW YORK : Viewpoints: Chinese Photography Today

CLAMPART, NEW YORK : Jeannette Montgomery Barron : Mirrors

Daniel Cooney Fine Art, NEW YORK : Stuart O Sullivan : How Beautiful This Place Can Be

Golden Thread Gallery, BELFAST : Paused : Peter Richards pinhole photographs

Galerie Grita Insam, VIENNA : KEN LUM : I don t know

Hales Gallery, LONDON : PHOTO-MUTO

Jablonka Galerie, COLOGNE : BEAT STREULI

Kapinos Galerie, BERLIN : Doug Hall : The GDR Project: Revisited & Projekt Volker Kreidler


Luhring Augustine Gallery, NEW YORK : Yasumasa Morimura - Goya Photographs

Matthew Marks Gallery, NEW YORK :  Peter Hujar : Night

Nancy Victor, LONDON : Nicolas Ferrando : Everything Comes in a Bag / Todo Viene en Bolsa

Paul Kopeikin Gallery, LOS ANGELES : Nicholas Kahn and Richard Selesnick - The Apollo Prophecies


Galerie Thomas Zander, COLOGNE : Joel Meyerowitz : Early Work

Victoria Miro Gallery, LONDON : Photography 2005

Wendy Cooper Gallery, CHICAGO : SHIMON & LINDEMANN