“In Real Time: Celebrating Fifty Years in Photography” by Bob Kolbrener opens tomorrow at California’s Monterey Museum of Art. “Still using the time-honored methods of film and gelatin silver darkroom printing, Kolbrener explores the Western United States with his cameras, in pursuit of that exceptional moment and extraordinary vista,” reads a press release about the exhibit, which features new and rarely seen pictures. “In accord with his favorite quotation, Louis Pasteur’s ‘chance favors the prepared mind,’ Kolbrener’s dedication and enthusiasm finds him in the right place at the crucial moment; ready with everything he needs to capture that momentous lightning strike or once-in-a-lifetime cloud formation.” Most of those right places and crucial moments have been on the West Coast. Last August, the California State Library obtained the photographer’s black-and-white series, “The Western Landscape.” The Monterey Museum of Art will hold a reception for Kolbrener from 6 to 8 p.m. on
Category Archives: Exhibition/Shows
James Stopforth’s series, which combines fashion and scenic landscapes, is on display at London’s Red Bull Studios through Sunday, February 2. “I have always been fascinated by mysteries and unsolved stories,” Stopforth noted. “In this exhibition, I have awaken the characters inspired by my time living in Dorset,” including a Portland Stone Troll and a woodland maiden emerging from an autumn camouflage, “as if these have grown from the land around them,” and “hidden faces in cliff walls as if lying dormant alongside the real foundations of a hill.” The concept came out of sketches, building props, discovering locales, and adapting them to fit his vision. “Taking the picture just brings it all to life … for others to see,” he remarked. “Awaken Nature” Through February 2, 2014; 7 to 10 p.m. 155-171 Tooley Street London View James Stopforth’s collection of images on Gallery Stock here.
Moore’s series “Dirt Meridian” is on display at Manhattan’s Yancey Richardson Gallery, marking the photographer’s sixth solo exhibition in the space. “The title of the exhibition refers to the 100th meridian west, the longitudinal line which runs through North and South Dakota, Nebraska, Kansas, Oklahoma and Texas, and is historically regarded as the geographic beginning of the American West,” according to a press release. He started taking images of the area in 2005 and the selected pieces include digital aerial photographs and large-format negatives shot from the ground. “What’s remarkable about the 100th meridian is that as the very center line of this country, the absolute divide between East and West, it teeters between being lost in time, so to speak, yet at the same moment it’s highly affected by large scale global forces, such as climate change, energy exploration, resource management, and food production,” explains Moore. “All these issues
Beginning January 11, the photographer’s images of Cuba will be on display at Couturier Gallery in Los Angeles. Moore first traveled to the island in the late nineties, when the country was “in decay and neglect, still emerging from its ‘Periodo especial’ (Special Period), the period following the demise of the USSR and, with it, the loss of its main source of economic support,” reads a press release. “Everything came to a sudden grinding halt. The island was without the essentials of life, including food and fuel. Decay that had already begun in the 1970s only accelerated exponentially during the 1990s from total and absolute neglect and has continued ever since at an alarming pace.” The pictures in Couturier’s exhibit come from Moore’s most recent photo book of the same name (Damiani, Italy 2012). This tome is more hopeful than his first series released a decade earlier – “there’s an
The Belgium-based photographer’s first international solo exhibition, consisting of selections from his body of work to date, runs through February 16 at Bratislava City Gallery in Pálffy Palace. Stallaert “surprised the Belgian art scene with Bodybuilders’ World (2007-2012), a remarkable photo series of appealing images that seduce and threaten at the same time: muscled men, women and children in an imaginary world,” captured in Brussels, Prague, and Africa, reads the space’s website. Curated by Ladislav Babuščák, “Because Winter Lasts Longer Than Summer” also includes Stallaert’s “moving stills,” a project he started last year. The slow-motion images traverse the boundary between photography and film: “At a glance, we might think of these images as framed photos or video stills. It is only when we look closer and more carefully that we discover a picture moving in slow motion. With a dramatic tension between beauty and suspense, Kurt Stallaert’s moving stills invite
Nasser’s work is part of a mixed-media exhibition at Miles End Motors in conjunction with TRUNK Gallery. The ” ‘Voyeur Nocturne’ series resulted from a 10 month long project taking the photographer to different viewpoints across the city; many of the most spectacular shots are a product of careful planning and consideration,” according to TRUNK’s website. “Reflections present both opportunity and challenge; windows aglow invite the viewer in. As evening comes and the lights go on, a routine scene quickly becomes something with character and mood.” The images were officially hung in the Olympic Village (the only photographic works selected) and received an honorable mention at the LUCIE Pilsner Urquell International Photography Awards. “Amyn believes in the photographer’s magic – the ability to stir the soul with light and shape and color,” Barry Anderson, owner of Creative Intelligence, told TRUNK. “He respects classic disciplines, is easy to work with, while
Monday evening saw the vernissage of “Something + Nothing” at Sprüth Magers London, Shore’s first solo show in the British capital for more than six years. “Taking its title from composer and philosopher John Cage’s Lecture on Something and Lecture on Nothing, a reference to the artist’s search for beauty in the everyday, the exhibition [celebrates] a career that spans over four decades,” reads a press release. The New Yorker has previously had one-man shows at the Museum of Modern Art, New York; George Eastman House, Rochester; Kunsthalle, Dusseldorf; Hammer Museum, Los Angeles; Jeu de Paume, Paris; and Art Institute of Chicago. Curated by Todd Levin, the 65 photos in “Something + Nothing” include selections from American Surfaces (1972-3) and Uncommon Places (1973-79) – both out of print, according to Shore’s website – “displayed for the first time alongside works from the recent series Abu Dhabi (2009), Israel (2010), and
“INDUSTRIA,” which includes 30 printed photographs and more than 200 projected images, will debut at the Triennale di Milano, held November 29, 2013, to January 6, 2014. Biddau made most of the pictures at well-known Italian companies, such as Alessi, Borsalino, Pirelli, FIAT, Campagnolo, Italcementi, Campari, Dalmine, Marzotto, Missoni, Corneliani, Menabrea, Cassina, Zanotta, Mediaset, Mondadori, and Telecom Italian. According to a press release: “With alert eyes and attention to detail, Biddau gives us a ‘behind the scenes’ look at the complex industrial machine that watches over the production of objects and manufactured articles, the pride and joy of Made in Italy.” The photographer previously won first place at the Black and White Spider Awards in Los Angeles for selections from the work. Browse Niccolò’s collection of images on Gallery Stock here.
For the past two decades, Andrew Brooks has documented distinct, oftentimes hidden elements of the English city. “There was a time when I’d been here for about seven or eight years and I thought I’d captured all of [it] – I was ready to move on,” Brooks told Greater Manchester site Mancunian Matters. “Then I had this moment where I realized it is about being more creative, it’s about looking harder and it’s about how you can see the world differently.” By Brooks’s count, he’s made another 30,000 images since then. Each picture can take a year to plan and a month to retouch, and might combine 14 frames. Brooks named Beetham Tower as his preferred structure to shoot, according to Mancunian Matters, as his photographs capture the city’s modernization mingling with its past. Selections from Brooks’s Manchester series have been displayed in New York, Amsterdam, and China. For work
The former Oasis guitarist stares at the audience from an armchair, surrounded by a pot of Yorkshire tea, mug, and plate of shortbread in the Patrice de Villiers’ exhibit at London brasserie Quaglino’s. “Love Music, Love Food” also includes a portrait of Juliette Lewis atop a pile of raspberries; an image of V V Brown nude, lest for Marmite; the Howling Bells covered in cupcakes and frosting; and Biffy Clyro posing with haggis in front of a plaid backdrop. According to the Express, Quaglino’s created a special dessert and cocktail menu for the duration of the show – November 14 to February 1. The pictures were first featured in de Villiers’s Love Music, Love Food: The Rockstar Cookbook, with proceeds donated to the Teenage Cancer Trust, the U.K.’s singular charity devoted to providing care for younger patients. All money made from sales at the exhibit will be donated to the
“Itoshima,” Juliane Eirich’s second solo show opens Friday evening at Galerie f5,6 as part of Munich’s Art Weekend. Eirich visited southern Japan in the summer of 2011, several months following the earthquake that decimated the Fukushima nuclear power plant. She documented the Itoshima region using her camera, and is also releasing an 80-page book containing her images. “The photographs that were taken during the stay in Itoshima bear names as ›Towel‹, ›Wooden House‹, ›Palm Tree‹, ›Two Houses One Car‹, ›Fly Swat‹ or ›Gas Station‹. And that’s exactly what can be seen in the pictures,” reads Peperoni Books Berlin’s website. “And yet they are puzzling images. With deserted landscapes and cityscapes, houses, trees, cars, interiors and everyday objects Juliane Eirich forms a kaleidoscope of barely interpretable impressions. It’s all about the question, how environment and nature shape the way of life and culture and how people in return shape and cultivate
The Stephen Wilkes’ images from the aftermath of Superstorm Sandy are included in “Rising Waters,” an exhibit at the Museum of the City of New York. “For me, the photographs were about depicting the scale of the hurricane,” explained Wilkes. “People heard ‘Category 1,’ and we tend to react by thinking numerically – the higher the number, the bigger the damage – but Sandy didn’t fit that criteria. In this case, perception and reality were extremely different, and I wanted to show the reality.” That meant an aerial view of the destruction. Wilkes was initially hired by TIME to cover the scene through Instagrams in Connecticut, but decided to rent a helicopter several days later and flew over Breezy Point, Far Rockaway, and Seaside Heights; the latter where the Jet Star roller coaster lay in the ocean. TIME then sent him out to Staten Island, where he shot a house