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13 March 2007 | Photography March 2007 |
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 Monika Sprüth
Philomene Magers London Andreas Gursky Monika Sprüth and Philomene Magers are pleased to announce the opening of their new gallery in London with an exhibition of latest works by Andreas Gursky. This is the first show of works by the artist in the United Kingdom since nine years. In addition, White Cube is going to present more works by Andreas Gursky at Mason’s Yard. Andreas Gursky was born in Leipzig, Germany, in 1955 and studied at the Folkwangschule Essen and at the Kunstakademie Düsseldorf, where he earned his degree as a master-class student under Professor Bernd Becher. Since the late 1980s, the work of Andreas Gursky was exhibited in numerous solo and group shows. In 2001, the Museum of Modern Art, New York, organized the first retrospective of Andreas Gursky, which then toured to the Reina Sofia, Madrid, the Centre Pompidou, Paris, the Museum of Contemporary Art, Chicago and the Museum of Modern Art, San Francisco. Currently, his second retrospective is on view at the Haus der Kunst in Munich. His works are included in many international institutional and private collections. For the exhibition at Monika Sprüth Philomene Magers in London, Andreas Gursky is showing works from the last five years. With his large-scale photographs he portrays the 21st century as the age of a globalized, capitalistic society and addresses its phenomena such as mass events, stock markets or futuristic architectures. He also continues to devote himself to classical subjects such as landscape. The work can be composed out of a single shot or out of a number of shots put together using digital technology. The artist proceeds like a painter: he does not remain at the capture of a moment, but creates a composition out of a multiple number of shots. In this manner, images are being created which go beyond the moment and at the same time still show specific situations. For example, the view on the Formula 1 race-track in Bahrain might seem like a courageous abstract composition by the artist but is in fact a minimally manipulated shot of the car race in the desert state, where, on a closer view, some race cars can be deciphered. In this way, Bahrain I is landscape photography. It illuminates the phenomena of the Formula 1 and at the same time seems like an expressive painting. In his work, Andreas Gursky compiles the continuity and objectivity of the medium in the tradition of Bernd and Hilla Becher with the gesture of a painter. The opposite of mass and individual, the big picture and the detail, is a theme in the work of Andreas Gursky. The majority of his works is taken out of an elevated perspective and the spectator gets a view on the total. Within the mass, the human becomes ornament, be it at the techno party or at the mass ballet “Arirang” in North Korea. Getting closer to the images, single people can be seen, but rather than functioning as recognizable individuals, they are a deputy of the spectator. This way, Andreas Gursky draws the spectator inside his world which is made out of stereotypical images of our information age. Looking at the photographs, the question arises, how the human species can maintain itself in spite of the increasing speed, at which the world seems to be turning and the overwhelming technology or the struggle for survival within nature. The Formula 1 racing cars in Bahrain I seem tiny on the gigantic race track; the cyclists in Tour de France are overcoming the hardest stage of the Tour de France: again and again the artist shows that the border between overcoming and being overcome seems to be getting continuously thinner. Not only does Andreas Gursky redefine photography as a medium and presents an image of our times, he also analyzes its structures and asks vital questions: how does the individual exist within the mass and what will this world look like in the future? This discourse is being held with regards to the microcosm of the individual or a single situation on the one side and the macrocosm of the globalized world and its structures on the other side. Image: Andreas Gursky Bahrain I 2005 C-Print 306 x 221,5 cm Copyright: Andreas Gursky / VG Bild-Kunst, Bonn Gallery website Read on... Monika Sprüth Philomene Magers London |
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 gescheidle,
Chicago Chris Verene : Galesburg gescheidle is pleased to announce a new exhibition of Chris Verene’s photography series, GALESBURG. At age sixteen, in 1986, the artist began an ongoing documentary of his family’s rural Illinois hometown, Galesburg. This show coincides with several current museum survey exhibitions and catalogs which anthologize chapters of Verene’s twenty year project: Prairie Jews: The Jewish Identity Project, at The Jewish Museum, Shoot The Family, curated by Ralph Rugoff, Director of Hayward National Gallery of London, and forthcoming from Phaidon Press, Theater of the Face, an anthology of documentary portraiture by curator Max Kozloff. The show includes many works released as recently as the past six months reflecting the troubles Galesburg has been facing as economic hardship has gripped the community. Verene follows the lives of his family and friends as they face a depressed wartime America. Verene’s unstaged color documentary photography is largely appreciated for its honesty, intense color, and composition. The artist is committed to sincerely recording the powerful hope and spirit in his family’s community. Verene’s work has been praised for making the intimacy and humanity between the artist and his subjects function as the primary purpose of the work. The project follows in the historical trail of such documentarians as Diane Arbus, Nan Goldin, and William Eggleston. Verene’s works feature three generations of his family and the surrounding community, as seen in bright flash and sunlight in a variety of mundane and plainspoken interiors, trailer parks, and nursing homes. The work goes beyond documentation, as Verene spends countless days and years in deep relationships that form the basis for the artwork. This personal touch is enhanced through handwritten captions in black oil paint, signifying important facts in the larger story. Verene first gained significant recognition in 2000 appearing in The Whitney Biennial and through the publication of an extensive catalog by Twin Palms Press. Chris Verene is simultaneously known as a musician and an artist, currently co-leading the Latin Rock group Cordero (Chicago's Bloodshot Records), founding member of The Rock*A*Teens (Merge Records), and founding member of the legendary D.Q.E., a Chicago/Atlanta music group first recorded by Chicago’s Steve Albini in 1990. Verene’s work is in the collection of The Whitney Museum, The Metropolitan Museum of Art, The Jewish Museum, The San Francisco Museum of Modern Art, The Walker Art Center, and The Museum of Contemporary Art, Los Angeles, among others. In 2001, Chris Verene was the recipient of the first Pollock/Krasner award given for photography. Verene’s work has been featured in ARTFORUM, Art In America, ArtNews, The New York Times, The Village Voice, Vanity Fair, Parkett, Harper’s, Vogue, and The New Yorker. Image: Chris Verene Crystal and Barchetta at the Housing Project type-c archival print edition of 6, 36” x 30” 2006 Photograph includes a handwritten caption in oil by the artist, which reads, “Crystal and Barchetta at the Housing Project”. Courtesy gescheidle, Chicago Gallery website Read on...gescheidle, Chicago |
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 Branch Gallery,
Durham NC Jeff Whetstone : Pioneer Species Jeff Whetstone will present new series of large-scale silver gelatin prints in Pioneer Species. The exhibition takes its title from a biological term that describes species that take advantage of recently blighted ecosystems by colonizing and dominating it. Typically, the term refers to plant species such as Pueraria lobata (or kudzu)—species that are hearty, deep rooted, fast growing, and can thrive in poor soil. Working with a view camera in black and white, Whetstone references the history of American survey photographers such as Ansel Adams, Timothy O’Sullivan, and others who helped America identify the land as providentially and romantically wild. Yet, in Whetstone’s photographs, mankind takes on a predatory role, acting as a pioneer species that dominates a decimated landscape. These works continue the artist’s investigation of the world through the lens of evolution and human endeavor, exploring the on-going battle between culture and nature. As the artist states: “Spirituality, sexuality, and dominance intertwine in my work, as our survival as a species has relied upon these motifs. I find these themes most prevalent in masculine rituals that pertain to the Wild. Hunters, fishermen, and backwoods explorers instinctively enact the rites that connect them to the history of human struggle with nature. Our cultural mythologies are rooted in primordial mortality, where the Wild is both a metaphysical nemesis, as well as a benevolent provider. Remnants of these mythologies and our natural survival instincts simmer beneath our apparent modernity. I depict these instincts seeping out and making themselves evident.” image: Jeff Whetstone Circles Over Ages, Kentucky, 2005 silver gelatin print, 28" x 35" Courtesy of Branch Gallery, Durham NC Gallery website Read on...Branch Gallery, Durham NC |
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 Humble Arts
Foundation, New York 'group show' Curated by: Jon Feinstein, Stephen Schuster and Emiliano Granado Spurred by an enthusiastic reception from the art community, virtual photo gallery, group show, is to bring the work of twenty-one emerging photographers to Chelsea. Participating artists include Ahndraya Parlato, Brian Berman, Brian Ahumway, Carey Kirkella, Glenn Glasser, Helen Maurene Cooper, Jennifer Loeber, Jessica Roberts, Joel Sanders, Lyndsy Welgos, Marc mcAndrews, Matt Herzberg, Matt Lucas, Michael Marcelle, Mikael Kennedy, Peter Avarzbein, Rachel Sussman, Robert Lotzko, Sam Morgan, Sarah Madsen, and Timothy Briner. Founded in March of last year, group show is one of the first online galleries to focus on the work of emerging contemporary art photographers. The exhibit rotates every month, showing 18 (formerly 24) images each from the portfolios of 18 carefully selected photographers (the one-photo policy is in place to ensure that as much new work as possible is shown each month). The response to the gallery has been remarkable, making the site a must-click for photography enthusiasts around the world. Buoyed by this success, the site will launch a traditional gallery exhibit this spring in Chelsea: simply entitled ‘group show,’ the exhibit will open at New Century Artists on March 13, 2007 (opening reception: March 15, 6-9 pm). group show has mounted an online exhibit every month since its inception—and with each show, the number of visitors has increased exponentially. Artists have taken note: the site has received more submissions and from more established photographers in the past few months than ever before. Past group show artists include Alec Soth, whose work appeared in the 2004 Whitney Biennial, New York photographer and video artist Jen DeNike, and Pieter Hugo, a South African photographer who exhibits internationally. group show does not require any thematic focus for its submissions, selecting photographs based on artistic merit alone. Each month it offers a diverse, wide-ranging, and often startling artistic commentary on contemporary culture—much as the Chelsea show will do. ‘group show’ at New Century Artists will feature the work of 21 different photographers, all contributors to group show in the past. Photographers in the show are a diverse group including filmmakers (documentarian and photographer Jennifer Loeber), art advocates/activists (Interrupt Art founding member Mikael Kennedy), academics (Ahndraya Parlato, a lecturer at the California College of the Arts and professor at Ithaca College), internationally exhibited artists (Rachel Sussman), and successful commercial photographers (Getty-represented Marc McAndrews). Jon Feinstein is the curatorial director of group show and the Chelsea exhibit. “The submissions we receive are astounding,” he said. “While the online gallery fills an important niche in the contemporary art photography market, we also want to bring the work of emerging photographers to traditional exhibit spaces. Our debut in Chelsea is a tremendous milestone for group show.” The gallery exhibit is a logical extension of group show’s mission to showcase emerging photographic talent from around the world. Physical shows will continue to be an important element in group show’s programming. Image : Helen Maurene Cooper, 2007 Courtesy of Humble Arts Foundation, New York Gallery website Read on... Humble Arts Foundation, New York |
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 Packer Schopf
Gallery, Chicago TONI HAFKENSCHEID : Not to scale For several years, Toni Hafkenscheid's (Rotterdam/Toronto) work has examined artifice as a device for blurring the limits between reality and fiction. The exhibition Not to Scale - brings together his most recent photographs and blurs the line between reality and illusion. For the spectator, his idiosyncratic photographic process -- using a very shallow depth of field and combining areas of very sharp focus with very soft ones -- distorts the gaze into something surreal and disconcerting. Taken across North America, his recent images propose a singular perspective on ordinary landscapes, urban territory, suburbs and the grandiloquent Northern woods. Although they are taken from real life, the photographs have the inherent quality of a mise-en-scène-- the static, perfect, even idealized state of models and miniatures. Isolated by out-of-focus foregrounds and backgrounds, neat houses, deserted streets, shops and trains breaking through majestic landscapes make the dark side of things invisible. Meticulously circumscribed, the colored scenes of HO recall a certain American dream, a view of an immediate future typical of the 1950s. Toni Hafkenscheid has a MFA from the Rietveld Academy in Amsterdam. He recently was named one of the top 100 photographers to collect from a survey called Photography Now. He has exhibited his works at Dazibao in Montréal, Napier University in Edinburg, La Chambre Blanche in Québec, Desmet in Amsterdam, Capi Lux in Amsterdam, the Centre for Exploratory and Perceptual Art in Buffalo, the Canadian Embassy in Tokyo, the E3 Gallery in New York, the Power Plant in Toronto and the Floating Gallery in Winnipeg. Image : Toni Hafkenscheid Beverly Hils Street, CA. 2006 Lambda Print / Plexiglas. Ed. of 3. 48 x 48” Courtesy of Packer Schopf Gallery, Chicago Gallery website Read on... Packer Schopf Gallery, Chicago |
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 THIERRY GOLDBERG
PROJECTS, New York SWETLANA HEGER : Animal Farm THIERRY GOLDBERG PROJECTS is pleased to present the first solo gallery exhibition of the Berlin based artist Swetlana Heger in New York. Heger is primarily known for her project Playtime, a series of glamorous performances and staged photographs in which the artist has placed herself alongside luxury brand items. In her new project "Animal Farm" Heger presents a series of black and white photographs in custom-made color frames. An essay by artist and curator Gean Moreno will be published in conjunction with the show. For the full text please visit the gallery website, the following is an excerpt. Swetlana Heger has been taking photographs of bronze animal statuettes that are scattered in parks, zoos, and defunct kindergartens throughout the eastern part of Berlin. There's a peacock with its plumage replaced by intricate metal lacework, a pair of baby giraffes, a fierce goat, a cuddly bear, a trio of plump chickens. Innocent as all the beasts seem, they guard a secret: they've been made from Stalin's remains. In 1949 the Stalinallee became the main drag in the socialist half of the city. A giant bronze statue of the benevolent leader was eventually erected to crown and commemorate the achievement. Upon Stalin's death in 1961, it was urgent that a new name be found for the boulevard. This time, however, party officials waged on a name that was perhaps beyond opprobrium. They went with the much safer choice of Karl-Marx-Allee. A choice so safe, a name so beyond reproach, that it still stands today. But even after finding the perfect name for the street, there was still the matter of that bronze monument. It stood like a bad reminder of Stalin's intolerance, of the magnitude of his crimes, surely, but also of the quiet complacency of all those who had to pass by it everyday on their way to grim jobs and scripted university lectures. The statue itself needed to be eradicated. And so it was brought down. Unlike the images that censors and revisionists simply made go away whenever someone refused to toe the Party line, there was the matter of the actual physical substance that made up the Stalin statue. The bronze was melted and redistributed into all the animal figurines that Heger has been hunting down and documenting throughout Berlin. These insignificant animals, tucked away in insignificant parks, quietly carry not only a bit of the historical narratives of the last century but literally some of the material through which these narratives found physical form in the world. These innocent and abandoned animals, like a big joke on History, have become its depository. It's like alchemy, but in reverse. These are the cuddly forms where the narratives that we banked on with such hope go to die, adding, as they say, insult to injury. Image: SWETLANA HEGER animal farm (ape), 2007 gelatin silver print in custom made frame. 52 x 42 cm edition of 3 Courtesy of THIERRY GOLDBERG PROJECTS, New York Gallery website Read on...THIERRY GOLDBERG PROJECTS, New York |
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 Thomas Zander,
Cologne MITCH EPSTEIN : WORK Thomas Zander Galerie is pleased to announce an exhibition of American work by Mitch Epstein, on view March 17- April 24. The show contains a selection from three projects where Epstein fully exploits his interest in American culture: The City (1995-98), Family Business (2000-03), and the ongoing American Power. Epstein is a pioneer of color photography, who, along with William Eggleston and Stephen Shore, began to redefine it as an art form nearly thirty years ago. Epstein has developed a signature approach, wherein his pictures appear staged and spontaneous at the same time. They display, as critic Joanna Lehan put it, “a jaw-dropping talent for color composition,” and sabotage their own formal perfection with troubling or provocative content. Epstein’s work investigates the politics of human intimacy and how intimacy interacts with the world at large, while also examining how corporate and governmental power is changing the landscape in which we live. His pictures from The City are uncannily prescient of the post 9/11 urban environment: images depict an increase in surveillance cameras, carry an undercurrent of violence, and investigate individual attempts to safeguard or flaunt privacy in the public realm. Family Business is a study of the fraught life of A. William Epstein, the artist’s father. When the elder Epstein’s furniture and real estate businesses were going under in a decaying New England town, the artist began to photograph and film the demise. The result is his critically acclaimed, multimedia “novel” about the American dream gone awry – a dream that capitulated to corporate competition and family discord. Epstein’s current work, American Power, examines energy usage and excess in the United States. These pictures were made on forays to energy sources and their environs – what he calls “energy tourism.” The images implicate, but do not always directly reference the energy source. Epstein plays with the definition of American power, probing not just corporate power but the powers of sexuality and consumption. He also reflects on the value of very large photographs. Image : Mitch Epstein New Orleans Museum of Art II, 2005 Courtesy of Galerie Thomas Zander, Cologne Gallery website Read on...Thomas Zander, Cologne |
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 Eleni Koroneou
Gallery, Athens, Greece LYDIA DAMBASSINA : FAMILY STORY Eleni Koroneou Gallery is pleased to announce the solo exhibition of the greek artist Lydia Dambassina. Lydia Dambassina was born in 1951 in Thessaloniki. In the age of 15 she moved to Paris to finish school. She studied Psychopathology and Pedagogic and at the same time she studied at the School of Fine Arts of Grenoble. Lydia Dambassina works since 1976 with different mediums as painting, photography and installations. The current show will present the photographic series with the title 'Family story I'. The most photographs are staged. Lydia Dambassina started working on this photographic work in 2004, in which the photograph co-exists with texts from the greek and french daily newspapers. The subject matter doesn’t refer to the main important news but to the sociologically issues, on which the artist locates the rapidly development of today. The photographs show colour and black & white portraits, digital and analog with a sterile visual language. The photographs taken from 1977 coexist with those in 2006. 'Family story I' show the share of the personal and public subconscious in every event. The text and the photography in the pictures of Lydia Dambassina are morphologically clearly separated. While each of the two parts function autonomous, their coexistence is a structure (pattern), which gives space to the viewer for something new. The aim of Lydia Dambassina with this work is the unification of the intimate and the public and our personal position towards the technological, environmental, sexual, scientific and legislative development. 'We are all accomplice'. Lydia Dambassina has participated in group exhibitions, having exhibited at the Museum of Contemporary Art (Thessaloniki), the Macedonian Museum of Contemporary Art (Thessaloniki) and the Benaki Museum (Athens). Image: Lydia Dambassina Courtesy of Eleni Koroneou Gallery, Athens Greece Gallery website Read on... Eleni Koroneou Gallery, Athens, Greece |
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