18 January 2008

re-title.com newsletter - Photography, Film & Video January 2008

Home About Contact us Artist Opportunities Thinking of Joining Advertise with re-title.com

Ellen Curlee Gallery St Louis, MO Caroline Pagès Gallery Lisbon Sprüth Magers Projekte Munich Laurence Miller Gallery New York Yancey Richardson Gallery New York MKgalerie Berlin Bloomberg SPACE, London Cohen Amador Gallery New York Next Newsletters         sign up!

Ellen Curlee Gallery St Louis, MO JAMIE KREHER : re-construction next door: Video Series Travis LeRoy Southworth 25 Jan - 8 Mar 2008 Ellen Curlee Gallery is pleased to present recent work by local artist Jamie Kreher. Using methods associated with mass production such as repetition and homogeneity, Kreher builds pictorial space through sensuous accumulations of a single industrial item, interlocking abandoned lampposts, traffic lights and highway signage. Merging ideas behind conceptual art with a process of straightforward documentary photography, she focuses on everyday objects in the built environment, using them as source material. Kreher arrives at her final images by isolating these structures, combining the literalness of a photograph with the virtual look a digitally manipulated, computer-modeled environment. Kreher relentlessly searches for these overlooked, ordinary, outdated and discarded mass- produced geometric forms, looking to add meaning beyond our common understanding of them and allowing the final composition to evolve from their innate properties. Her new work is a humorous take on the repetition of banality within the modern suburban landscape and the feelings of anxiety that they evoke about our sustainability. Jamie Kreher earned her Master of Fine Arts, Photography in 2005 from the School of the Art Institute of Chicago, Chicago, IL. Her selected exhibitions include Slinger, Boots Contemporary Art Space, St. Louis, MO; Truck: A Kansas City/St. Louis Exchange Exhibition, La Esquina, Urban Culture Project, Kansas City, MO; 5th Photographic Image Biennial Exhibition, Wellington B. Gray Gallery, East Carolina University, Greenville, NC; Current Works 2006: International Photomedia Biennial, Society for Contemporary Photography, Kansas City, MO; Video Heart, Modern Formations Gallery, Pittsburgh, PA, 2005; Master of Fine Art Exhibition, Gallery 2, School of the Art Institute of Chicago, Chicago, IL, 2005; Woman Image: Image of Women, The Gallery at Dodds Hall, University of New Haven, West Haven, CT, 2002. Ellen Curlee Gallery is also pleased to announce its sixth video in its next-door video series with a work by Chicago based artist Travis LeRoy Southworth. In his work Wrestle Nebula, 2006, Southworth builds the video with stop-footage of WWF wrestlers in a virtual smackdown. By subtraction and isolation, Southworth layers, and twists the figures into a 2-dimensional wrestlemania, slicing moments from action packed wrestling matches in a compilation of stellar moves. Taking aim at these sporting spectacles, he generates a series of moving and ever mutating images in a fun manipulation of wrestling footage as you are confronted with an invisible impact. As the video progresses, these clashing giants are mashed up in a gravity-induced condensation of pile drives and body slams, as figures float around aimlessly in a series of flying moves and flat back bumps. Much like the remnant of a supernova explosion, referenced in its title, Wrestle Nebula is a scene of ultimate fighters, placed within a black hole while lightheartedly calling attention to these nostaligic characters. Southworth playfully fills the negative space, fusing his moving combinations of feuds and flips, within a torrent of superstars like Jake the Snake, King Kong Bundy, Iron Shiek and Brutus "the barber" Beefcake. Viewed from the street through the window next door to the gallery space, this series showcases video work by local, national and international artists 24 hours a day. The videos will change every two weeks. By showing video art in such a public manner, the gallery aims to heighten public interest in video work and hopes to instigate a dialogue about the individual works as well as the medium in general. image: Jamie Kreher Courtesy of Ellen Curlee Gallery Ellen Curlee Gallery 1308A Washington Ave St Louis Missouri 63103 Ellen Curlee Gallery, St Louis MO Read on... Ellen Curlee Gallery

Caroline Pagès Gallery Lisbon Manuela Marques : Still Nox 17 Jan - 1 Mar 2008 Still Nox is the first gallery exhibition in Portugal for Paris-based Portuguese artist Manuela Marques. The large-scale photographs on show are part of a study process on contemporary reality and the clear proliferation of states of fragmentation. The captured images are ones of expectation and encourage a questioning from the viewer, an active and reflexive posture, because there is no clear revelation of objectives, but rather the apprehension of yet-to-be disclosed moments, of intervals. These are images that are based on their own ambiguity that suspend them in less perceptible time and space, where the difficulty in finding affinities and relationships beyond that moment in focus becomes evident. At the same time, these photographs possess the recognition of images and the interaction between them within a field of imagination common to the observer, which leaves the discursive possibilities about these images wide open. These are not photographs within the ambit of the instant, although they may reveal, by chance, certain casual condiments; they are, however, something that springs from a pretension and foresight that the artist defines for her work and that the considered overall static nature of the movements consolidates. There is a distinct perceptive individuality in relation to what is photographed in the works of Manuela Marques. There is a sensation of a voluntary isolation in the choice of images that distinguishes the work and gives it a specific approach, extracting the maximum expression from a simple gesture. As such, the intimate nature of the images enters in full consonance, from capture to reception, while not avoiding the intrinsic tensions demonstrated to be an object of encouragement. What is more important than the material itself is examining how things and bodies of energy thrive on emotions and feelings and how they are dependent on them. The continuous exploitation of conciliatory elements as the permanence of a surrounding silence and the question of the light almost always applied in one register, one moment shadow the next naked brilliance, have also been an important mark that has distinguished her work. Still Nox is also the title of Marques's first monograph published by Marval Editions in Paris and due to be released in April 2008. Manuela Marques (Tondela, 1959) first showed her work in Portugal in the 2002 Encontros da Imagem in Braga curated by Rui Prata. In 2005, she took part in Lisbon's Photo biennial- LisboaPhoto in Empirismos, curated by Horácio Fernandez and Sérgio Mah shown at the Palácio de Ajuda. The exhibition then travelled to Brazil to the Museu da Imagem e do Som in São Paulo and to the Espaço Cultural Contemporâneo in Brasilia. In Brazil, Marques has been represented by the Galeria Vermelho (São Paulo) since 2004. In France, she has been represented by the Anne Barrault Gallery (Paris) since 2002. Since the early 1990s, Marques has shown her work extensively in French institutions such as the Centre National de la Photographie, Centre Photographique d'Ile-de-France, Domaine Départemental de Chamarande, Malraux Museum, Fonds Régional d'Art Contemporain d'Auvergne as well as at the Agnès B Gallery and the Camões Institute. Internationally, Marques has also exhibited collectively in New York city (Schroeder Romero Gallery) and in Canada at the Canadian Photography Museum in Ottawa among other institutions (St. Mary's University Art Gallery, Halifax and Uquam Gallery, Montreal). This month, Marques will also take part in a collective exhibition at the Centre Photographique d'Ile- de-France along with artists such as Francis Alÿs, Sebastian Diaz-Morales and Denis Darzacq among others. Her work has entered the public collections of the French Fonds National d'Art Contemporain in Paris, the Fonds Régional d'Art Contemporain d'Auvergne, the Domaine Départemental de Chamarande, the Camões Institute in Paris, the Museu da Imagem in Braga and that of Agnès B. in Paris as well as private collections in France, Brazil and Portugal. Rita Santos, December 2007 Caroline Pagès Gallery Image: Manuela Marques Untitled, 2006 C-print 165 x 115 cm Edition of 5 + 1 AP Courtesy Caroline Pagès Gallery, Lisbon Caroline Pagès Gallery, Rua Tenente Ferreira Durão, 12 - 1° Dto. 1350-315 Lisbon Portugal Caroline Pagès Gallery, Lisbon Read on... Caroline Pagès Gallery, Lisbon

Sprüth Magers Projekte Munich Karen Yasinsky "L'Atalante" 17 Jan - 8 March 2008 We are pleased to present Karen Yasinsky's third solo exhibition at Sprüth Magers Projekte. The exhibition includes a number of new animations and 20 works on paper. In all of these works, Yasinsky refers in different ways to Jean Vigo's 1934 feature film L'Atalante, which also provides the title for the exhibition. The film is both a source and a starting point for all these works, but then the artist abandons the film's narrative, distancing herself from the lineal drama so as to draw closer to it through specific images. It is important to note that the artist does not expect her audience to know the classic film L'Atalante and that it is not essential for an understanding of her work. The key work in this show is the projected stop-motion animation La Nuit, shown in a completely darkened room. Here the two film characters Juliette und Jean, who are recently married, spend one night of willful seperation. As in several earlier Yasinsky animations, the characters are played by puppets made by the artist, and the scenes are enacted against a background of sound and music with no spoken words. The atmosphere is close, tense and sometimes oppressive, but not as a result of the lovers being separated-the characters appear inherently introspective, more interested in the hidden depths within themselves than their absent lover. Although the faces of the puppets do not change, they seem to come alive as the film progresses. But the film does not tell a story in the sense of a plot or some psychological development, as the work rather circles around an idea using the language of film. Yasinsky's works on paper are based on film stills taken from a book about L'Atalante and copied or redrawn. Some stills have been reworked several times, using very differing drawing techniques in black and white and in color, as well as collages. Some of these works concentrate on the presentation of the characters, whereas others emphasize decorative elements. The patterns seem to become independent, and some are reminiscent of art nouveau ornament. Here too Yasinsky departs from the level of narration, but some of the selected scenes involve highly expressive situations between people- the lovers or newly wed Jean and Juliette, Juliette and the sailor Jules - so that the viewer inevitably starts to tell his or her own (new) story, especially as Yasinsky's drawing techniques also lead to new associations. Here Yasinsky moves progressively away from the film L'Atalante by intervening with drawing in the details of the stills. A further focus of the exhibition is on three of the four drawn animations. Here Yasinsky operates within a classical medium, but uses it innovatively by attempting the paradox of a motionless animation. In the film Jules and Juliette, for example, Jules, the tattooed sailor from the ship called L'Atalante, is seen bending down over Juliette. This moment is "frozen" like in a still, and nonetheless the film is animated, as Yasinsky draws each of the 12 images per second anew as identical drawings that, however, cannot exactly reproduce the preceding image. This means that the picture is not standing completely still - it seems to be animated and the characters seem to be moving because their outlines shimmer gently. Looking at the "still" but slightly animated image for a while on the monitor, the viewer imagines "real" movement-the sailor's chain sways and then stops moving again, and the viewer is not sure if this is an just optical illusion or one of the small movements of the animated picture. This film in particular, with its subtle sexual energy, shows Yasinsky's aim of looking at complex issues beyond language and spoken words, and literally holding fast to the unspoken and unspeakable in various media. Karen Yasinsky was born in 1965 in Pittsburgh, she lives and works in Baltimore, Maryland. Her work has been recently exhibited at The Baltimore Museum of Art, at The Sculpture Center in Long Island City and in a solo installation at the Wexner Center for the Arts in Columbus, Ohio. In 2002, the UCLA Hammer Museum presented a solo exhibition of Yasinsky's "Still Life with Cows". On April 28, 2008 Karen Yasinsky will be holding a lecture speaking about her work in the course of Modern Mondays at the Museum of Modern Art, New York. Image: Karen Yasinsky La Nuit, 2007 Stop-motion animation Courtesy of Monika Sprüth Philomene Magers Munich Sprüth Magers Projekte Ludwigstrasse 7 D-80539 Munich Germany Sprüth Magers Projekte, Munich Read on... Sprüth Magers Projekte, Munich

Laurence Miller Gallery New York Post-War Perspectives : Photography at Mid-Century 19 Jan - 29 Mar 2008 This survey of more than 50 works made between 1945 and 1960 explores the major trends and attitudes at mid-century as expressed by photographers around the world, including : Henri Cartier-Bresson Robert Frank Charles Harbutt Helen Levitt Roy De Carava Fan Ho Mario Giacomelli Paul Strand Eikoh Hosoe Alfred Eisenstaedt Peter Keetman Joan Colom Ted Croner William Klein Fred Herzog Ed van der Elsken Mario Giocomelli among many others. While the United States settled into a period of post- war prosperity, celebrating its victories in Germany and the Pacific, much of Europe and Japan began the long process of recovery, both spiritual and physical. On the one extreme we enjoy Alfred Eisenstaedt's classic "V.J. Day at Times Square, NYC, August 15, 1945," and on the other we sense the despair evident in Peter Keetman's bird's-eye view of destruction that once was downtown Munich. Anxiety and alienation seem to be common themes around the globe, from Fan Ho's 1955 "Running off the Tracks," in which a solitary figure dodges glowing railroad tracks, to Val Telberg's 1948 self-portrait from his series "Long Night Group," in which he seems to dissolve into thin air. These themes can also be found in Charles Harbutt's upside-down trapeze artist, William Klein's lurching woman, Eikoh Hosoe's pale female holding a helpless and shimmering fish, and Louis Faurer's 1947 "Goggled-Eyed Man," surrounded by an eerie blue light. There is much experimentation as well. In Vancouver in the late 1950's Fred Herzog produced dazzling color pictures of a downtown awash with neon, while Helen Levitt in New York captured an old woman sitting in her window, world weary and alone. Both Peter Keetman and Toni Schneiders in Germany extend a rich heritage of abstraction, making long exposures and multiple images that take the viewer beyond what the eye can see. Image: Jerry Uelsmann Mechanical Man, 1959 Courtesy of Laurence Miller Gallery, New York Laurence Miller Gallery 20 West 57th Street New York NY 10019 Laurence Miller Gallery, New York Read on... Laurence Miller Gallery, New York

Yancey Richardson Gallery New York Bertien van Manen A Hundred Summers, A Hundred Winters 4 Jan - 16 Feb 2008 A Hundred Summers, A Hundred Winters refers to the span of time, space, and emotional distance Bertien van Manen captured while traveling across Russia by train and bus from 1990 to 1994, documenting people in Moscow, Uzbekistan, Siberia, Moldavia, the Ukraine, Kazakhstan, and Georgia. Her camera searches out a sense of meaning from their homes' kitsch floral wallpaper, pullout beds, oilcloth covered tables, and gaudily-framed paintings. Her work is characterized by the intimacy she achieves with her subjects, with whom she spent time, sitting at their tables, lodging in their homes, immersed in their reality. Leading Polish journalist Ryszard Kapuscinski, noted that her lens stands apart from the typical journalistic report on Russia, capturing that "most inaccessible of places-the homes of ordinary people-in order to show us how millions of Russians live and sleep, what they eat, what they look like in their everyday life, in their flats, at their tables, in their beds." Van Manen's work is a meditation on human existence, revealing the truth of particular lives. In the case of the former Soviet empire, her subjects are a people who were conditioned to be fearful and suspicious, long forbidden to exhibit who they really were to the rest of the world. Van Manen shows the emergence of trust, gently penetrating their resistance to letting the world in, celebrating the country's richness and humanity. In one photograph, a baby is tossed into the air. It is a frightening, yet possibly redemptive moment, speaking to the country's rebirth and uncertain future. Kapuscinski wrote, "Through her excellent photographs and her inquiring and humanistic temperament, and with powerful artistic expression, Bertien van Manen shows what historians, writers, sociologists and political scientists argue, that there are at least two Russias. There is the official, imperial, external Russia, known to us from newspaper headlines, and the one within, the hidden, poor Russian of the anonymous, ordinary people of whose existence Bertien van Manen's moving and revealing album tells." Born in 1942 in The Hague, The Netherlands, van Manen currently lives and works in Amsterdam. A Hundred Summers, A Hundred Winters (1994) comprised a book, as did other extensive projects: East Wind West Wind (2004), for which she was a finalist for the prestigious Citibank Photography prize; and Give Me Your Image (2005), an exhibition of which was featured in the Museum of Modern Art's New Photography '05. Van Manen's prize-winning photographs are held in the collections of many major institutions, including the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, and the Stedlijk Museum. Her work has also been exhibited internationally in museums such as the Fotomuseum Winterthur, the Reina Sofia, and the Metropolitan Museum of Photography in Tokyo. Image: Bertein van Manen Tomsk, Railway Station, 1992 Chromogenic Print Edition of 10 Courtesy of Yancey Richardson Gallery, New York Yancey Richardson Gallery 535 West 22nd Street 3rd floor New York NY 10011 Yancey Richardson Gallery, New York Read on... Yancey Richardson Gallery, New York

MKgalerie Berlin Holger Niehaus 18 Jan - 23 Feb 2008 Something isn't right with Holger Niehaus' still life. In it, the motives are in no way unusual: dried flowers, an arrangement of fruits, an apple. But at second glance it becomes clear: The dried flower bouquet is in a vase which is overflowing with fresh water, the fruit has been peeled for the photo and the apple is revealed, upon closer inspection, to be a kohlrabi. Even the still life painters of the 17th century let irregularities flow into their images, sometimes by uniting flowers blooming in different seasons into one bouquet. Niehaus produces a hybrid branch of various blooms with the aid of masking tape, or adds the digitally created clones and the same blooms to a different bouquet. His images - aesthetically perfectly staged - lead viewing habits on to thin ice, when the artist includes unexpected moments of irritation into a seemingly harmless subject. One ultimately discovers that one has been the victim of optical illusion - but without the irritation being dissolved. There remains a feeling of unrest. If the still life of the 17th century was unequivocally coded and obligated to a set symbolism, one looks for "the" meaning in these photographs. His compositions cannot be unlocked; they deny the classical tradition of the still life in order to throw the observer back to the photography or the subject. As long as one looks: That which ingratiates itself in color and form, still does not allow itself to be brought to a coherent order. Experience and logic are decommissioned by his motifs. What remains is the amazement regarding the dead flowers that someone has watered - a completely senseless act - or the discomfort at the irregular, almost painful view of the cleanly peeled, naked fruits. The image of a baroque composed fruit bowl has an elegant and desolate effect simultaneously before the dark wood planking. Rotten fruit - that is a well known vanity motif from still life painting. This fruit, however, is not rotten, it has been attacked, even brutally lacerated. If most classical still life scenes are based on a memento-mori motif, death is only all too present in these images. This is also the case in one of his newest creations: a slit open, excepted fish is - similar to a marionette - hung on wires, so that its form takes on a lifelike force. Niehaus plays out a macabre game with his work as only children are wont to do in their lack of sophistication. The known motif of dead nature, the "Nature morte" becomes, in his work, "Nature tuee" (tuer - fr. to kill). The innocence of the objects is destroyed and the honest medium of photography is damned to bear witness to it. Tanja von Dahlern Image: Holger Niehaus Untitled, 2007 color photograph 110x89 cm/130x109 cm edition of 10 Courtesy of MKgalerie Berlin MKgalerie Berlin Kochstrasse 60 10969 Berlin Germany MKgalerie Berlin Read on... MKgalerie Berlin

Bloomberg SPACE, London SARAH BEDDINGTON : Places of Laughter and of Crying 12 Jan - 23 Feb 2008 Sarah Beddington's solo exhibition at Bloomberg SPACE presents a selection of her new film and video works. From 16mm film to multi-channel projection, Beddington demonstrates her ability to move between different types of film and video installation as fluently as she does between other media. Beddington's connection to film is partly informed by her practice as a painter. She constructs meticulously framed compositions that explore the relation between movement and stillness, repetition and the single moment. In Places of Laughter and of Crying, an ambitious large-scale commission created especially for Bloomberg SPACE, Beddington will hang 30 industrial unit LCD screens of differing sizes around the balcony area in a salon style installation. Each one depicts a single uninterrupted stretch of real time observation, up to an hour long, which has either personal or historical significance. The sense of duration in the works challenges the viewer to slow down in order to observe these parallel moments. Filmed in diverse locations all over the world, each scene appears loaded with either the memory of a past event or the anticipation of what might still happen there. In contrast, the main gallery at Bloomberg SPACE will be transformed into a dark environment to screen Shanghai Moon, a half-hour long portrait of contemporary China recorded in the most densely populated city in the world. This kaleidoscopic cross- section of detail and overview weaves an especially composed sound design around the imagery to emphasise the psychological aspects of time and place. Maximising the potential of four screens, the editing demonstrates a complex understanding of pacing, structure and spatial possibilities. Beddington's relation to place is specific but transcends documentation. Although non-narrative, a series of apparently disconnected sequences builds an eloquent insight, seen from a Western perspective, beyond the obvious frenzied surface of this city. None of Beddington's films are staged. She records unique social and aesthetic circumstances which can manifest themselves in unanticipated ways. In her new 16mm film Beddington characteristically focuses on often overlooked details. Here she creates evocative connections between nature, decay and the human presence. Typically, Beddington's work investigates the intersection between the social, the personal and the political in everyday occurrences. Under her detached gaze, cultural and visual fragments coalesce into poetic tableaux in which the glimpsed moment becomes abstracted and surreal. As a result the works often have a dream-like quality, existing within a non-linear, non-narrative time. Sarah Beddington is a British artist based in London and New York. Solo exhibitions include: Panoptiscope, Petrie Museum of Egyptian Archaeology, UCL, London (2005-2006); Parallel Lines and Other Stories at Artlab, Berlin (2005); Momenta Art, New York (2004). Group exhibitions include: Vanishing Point at the Wexner Center for the Arts, Columbus, Ohio; the e-flux international touring project Video Rental (EVR); Surveillance, The Moore Space, Miami. Her work is in private and public collections including Arts Council England. Shanghai Moon was initially conceived in collaboration with Artwise Curators. Image: Sarah Beddington Places of Laughter and of Crying, 2007 30 industrial unit LCD screens digital video and HD transferred to DVD, no sound duration variable Courtesy of the artist & Bloomberg SPACE, London Bloomberg SPACE 50 Finsbury Square EC2A 1HD London Bloomberg SPACE Read on... Bloomberg SPACE, London

Cohen Amador Gallery New York Olaf Otto Becker : Broken Line 4 Jan - 14 Mar 2008 The Cohen Amador Gallery is pleased to announce "Broken Line" photographs of Greenland by internationally renowned photographer Olaf Otto Becker from his newly published book of the same title. In the German photographer's second exhibition at the Cohen Amador Gallery, he progresses from his serene photo investigation of Iceland and moves to the billowing ice fields, sprawling glaciers and triple-insulated shacks of the planet's largest island. Having trained as a painter, Becker has transposed the patient methodology of that medium onto the instantaneity of photography. With his large format 8 x 10 camera he allows his landscapes to communicate with him, sometimes waiting for days for the conditions to be correct. When viewing his series from Greenland the result of this unique photographic style becomes apparent; Becker is not taking photographs, he is receiving and articulating the landscape. Though formally structured like the easel paintings of 19th century romanticists, Becker effectively translates the landscape as portrait, isolating the stoicism and melancholia of a land that few know and, due to climate change, few ever will. Becker pursues his art like an explorer, both in the great lengths to which he goes to attain his photographs, and in his search for imagery that articulates the splendor of an unknown world. Yet, like an explorer the images are infused with the desire to know what exists beyond the visible exterior. Indeed, there is a tension subtly imbedded within the series. Photographs of the houses of Greenland's few residents are presented devoid of people. Despite being empty, a ghostly sense of human presence pervades, evinced by clothes and possessions strewn about both inside and outside. Their absence seems temporary yet somehow alarming, alluding to events and circumstances that lie beneath the surface of the image. That same curiosity and awareness of greater happenings pervades the other images in the series as well. Several feature enormous ice cliffs and placid waters which span the entire photograph: scenes so calm that they seem to foreshadow coming changes and invest the viewer with a desire to know what lies over these immense sheets of ice. Other photos feature massive icebergs floating, their size put into relief by how serenely they rest in the water and yet their reflection reminds us that the greater bulk of their mass lies underneath the surface, available only to our imaginations. This is the tension of Greenland, which Becker has presented in a stunning visual synthesis of color and light, he effectively captures mankind's timeless desire for exploration as well as a contemporary sense of melancholy at the changing face of our world. Becker has exhibited widely in Europe and the US. His first book Under the Nordic Light was short-listed for the renowned 2006 Rencontres D'Arles Book Award and his images from Iceland were featured at the Reykjavik Museum of Photography. Broken Line, published by Hatje Cantz, is the winner of the "Deutsche Fotobuchpreis" 2008. Image: Olaf Otto Becker KUVDLORSSUAQ 3, 07/2006 25 x 30in. Ed 6 46 x 54. Ed 6 Archival pigment print Courtesy of Cohen Amador Gallery, New York Cohen Amador Gallery Fuller Building 41 East 57th Street New York Cohen Amador Gallery Read on... Cohen Amador Gallery, New York

Next Newsletters re-title.com - Independent directories of emerging & professional contemporary art re-title.com now lists more than 500 galleries and 1400 artists re-title.com is searched and researched by more than 250,000 art professionals & enthusiasts every month. re-title.com newsletters now reach out to over 25,000 recipients. The next re-title.com newsletters are scheduled for: Sculpture / Installation - January 23-24 Mixed Media - January 30-31 Painting / Drawing - February 5-6 Photography / Film & Video - February 13-14 Sculpture / Installation - February 20-21 Painting / Drawing - February 27-28 Advance Spring 2008 schedule now available. Please contact us to discuss and schedule your requirements for January 2008 - July 2008 These newsletter features are an exclusive service for re-title.com members. Please contact us to arrange inclusion in these newsletters and to discuss your publicity requirements in more detail. More Information...Click here