” …a selection of vintage photographs from the 1930s by graphic artist and art director, Claude Tolmer (1911-1991). A member of the prestigious Paris-based printing firm Maison Tolmer, Claude brought modernist photography into the visual language of commercial imagery at a historical zenith of print production.”
L. Parker Stephenson Photographs
764 Madison Avenue, New York, NY 10065
FREE RECEPTION AND EXHIBITION Saturday, April 13, 2019 (7-10 pm)
“Each year photographers from around the World submit their best, most creative personal images to be curated by an industry luminary. Out of thirteen-hundred submissions, our curator selects only one-hundred images for this inspiring exhibition. This year the very talented and esteemed curator, W.M. Hunt, is taking the reins to put together a unique, compelling collection of images for Off The Clock.”
Santa Monica Art Studios
Hanger Gallery South
3026 Airport Avenue
Santa Monica, CA 90405
“The Lumiere Brothers Center for Photography presents an exhibition of photographs by Jean-Daniel Lorieux —one of the most famous French photographers, a legend of fashion photography, and a Chevalier of the Legion of Honour and the Ordre des Arts et des Lettres. Lorieux ranks alongside such huge names in photography as Helmut Newton and Guy Bourdain.”
Lumiere Brothers Center for Photography
opening reception Thursday the 11th of April from 6:00 pm to 9:00 pm.
“For almost two years Tom Jacobi traveled seven continents looking for archaic landscapes that are either dominated by their brightness or open up to the light in unrivaled moments. The photographs for “Into the Light” symbolize that man, coming out of darkness, striving towards the light in the search for the meaning of life. Gazing upwards towards the sun that fills us with the brightest of all colors: White. White, therefore, occupies a particular position in the spectrum of colors. White is, like black and grey, an achromatic color. Ultimately, it is not a color at all – or to put it differently: White is the sum of all colors, the sum of all wavelengths within the visible range. Thus, it arouses the same impression of color as sunlight. There is almost no context in which white is seen as negative. White is experienced as the positive gaze into brightness, whereas black is seen as negative, like gazing into darkness. White is affirmation; black is a negation. White has echoes of purity and spotlessness. It is the symbol of transparency and transcendence. ”
SR CONTEMPORARY ART Niebuhrstraße 11A, 10629 Berlin Deutschland
Reception May 24 5-8pm
“In 2016 Cody Brothers was a grant recipient of the prestigious “Imagine Your Parks” project, awarded through the National Endowment for the Arts and the National Parks Service. The grant officially sponsored Brothers work at Death Valley National Park in California, Great Basin National Park and Lake Meade Recreation Area in Nevada; Chaco Culture National Historic Park, Fort Union National Monument and Pecos National Historic Park in New Mexico. The Forgotten Horizon is a culmination of a project that has been over two years in the making.”
713 Canyon Road
Santa Fe, NM 87501
Opening: March 28, 2019 19:00
“Manfred Willmann’s Flash & gentian blue and 2018/2017 the FOTOHOF takes the two most recent work groups a central for Austrian photography and unique artistic position in the view. Similar to his earlier works (black and gold, from 1979 to 1981, the world is beautiful, from 1981 to 1983 as well as the country, from 1981 to 1993) is in these series are long-term and emphasized in its scope extensive clashes between the artist and his background and social environment. In this context, mention would be the contact portraits, 1985-1986 – are dedicated to people of his “environment” – with an analytical, serial approach. ”
FOTOHOF / Inge-Morath-Platz 1 -3 / 5020 Salzburg / Austria
A quote from Cormac McCarthy’s dystopian novel, The Road, sets the stage for The Moor. Robert Darch’s photo book depicts a fictionalized dystopian future situated on the bleak moorland landscapes of Dartmoor, England. Darch explains that the project draws on childhood memories, and influences from contemporary culture to create a narrative that references local and universal mythology; all of which gives context but suggests something altogether more unknown. Darch further explains that the realization of this dystopian future is specifically in response to a perceived uncertainty of life in the modern world and a growing disengagement with humanitarian ideals. The Moor portrays an unsettling world that shifts between large open vistas, dark forests, makeshift dwellings, uncanny visions and isolated figures.
‘He walked out in the gray light and stood and he saw for a brief moment the absolute truth of the world. The cold relentless circling of the intestate earth. Darkness implacable. The blind dogs of the sun in their running. The crushing black vacuum of the universe. And somewhere two hunted animals trembling like ground-foxes in their cover. Borrowed time and borrowed world and borrowed eyes with which to sorrow it.’ (Cormac McCarthy, The Road, 2006)
I came across the accompanying text on Darch’s website after having already paced through the book, which caused me to reconsider the underlying psychological pull of The Moor. The feel of an on-going narrative is reinforced by reappearing characters, often appearing on edge, in peril or distressed. The inherent wildness of the landscape heightens this fragile sense of existence, with the suggestion of an unseen presence adding to the isolation and tension. Darch uses constructed documentation to create dramatic narratives. Shifting between quasi-documentary and staged photography, The Moor transcends into narrative fiction, even if all the people and places are based on a real place.
The book left me with an eerie feeling; I felt the drawing power of inaudible whispers possibly luring the characters into the wilderness of the Moor, truths are tested, madness and hallucinations ensue, and a bit of ghost story is thrown in for good measure. Whether real or imagined, ultimately Darch created a palpable vision: The Moor depicts dark reflections of real world landscapes, mythology, and memories to create compelling storytelling.
The Moor is published by Another Place Press and was launched at the Martin Parr Foundation in December 2018.
The Moor by Robert Darch
54 pp / 235 x 190mm
Includes 3 foldout spreads
Fedrigoni & GF Smith papers
350gsm Colorplan cover
170gsm Uncoated text
Robert Darch is a photographer, educator & curator based in the South West of England. He holds an MFA with distinction in Photographic Arts and a MA with distinction in Photography & the Book from Plymouth University. He also has a BA with honours in Documentary Photography from Newport, Wales. To see more of his work, visit his website: https://www.robertdarch.com/
OPENING RECEPTION WITH THE ARTIST: Friday, May 3 5:00 – 8:00 pm
“For more than 60 years, Joel-Peter Witkin has stayed true to his mission: to create photographs that show the beauty of marginalized people by placing them into art referential tableaus, often laced with Catholic overtones. His work features hermaphrodites, post and pre-op individuals, and people born with physical abnormalities. In his eyes, all people are beautiful, regardless of societal norms.”
Catherine Edelman Gallery
1637 W. Chicago Ave. – Chicago, IL 60622
“Poignant images taken by Iturbide over the last fifty years in Mexico highlight the exhibition, as well as a powerful collection of gelatin silver prints shot by Iturbide during long stays in India, Italy, the United States, Madagascar and Spain. It is the empathy expressed by Iturbide and the deft juxtaposition of locations and subjects that makes Iturbide’s work so fascinating to view. ”
THROCKMORTON FINE ART
145 E. 57th Street, 3rd fl. New York, NY 10022
Combining poetic landscapes and interiors with portraiture, American fine art photographer Tema Stauffer explores the visually and historically complex community, culture and architecture of one of the oldest regions in America in her beautiful new monograph, Upstate.
The foreword and essay included in Upstate compliment each other and Stauffer’s photographs like a matched set. The pacing and layout of the book feels just right. Maybe it is the quiet, snowy morning in mid-March when this review is being written, but a quiet contemplative air about the book comes across without trite stereotype.
Stauffer’s color photographs leave the viewer with a sense of being there. Shot in natural light, taken over a long period of time, depicting scenes in different seasons – her portrait of the Hudson River area is an honest one. Some images evoke a quiet beauty and mystery emanating from the local architecture and artifacts. Scenes of urban and rural areas reflect upon the overlapping industrial and agricultural economies of upstate New York. Xhenet Aliu highlights in her foreword how in recent years the city of Hudson has revitalized itself as a tourist destination, the primary draw being its close proximity to New York City and its architectural charms. But we don’t see charming little antique shops, no baristas in sight. Stauffer shows us triple-decker houses and a diner scene, quietly preserving the historic energy of the authentic.
“… Tema Stauffer has produced an original body of work while acknowledging the histories and capabilities of her medium. Her treatments of the area’s landscapes and modest buildings often employ a dark and moody palette … The impression this produces is hushed, meditative, and nostalgic, suggesting a degree of timelessness, even as the precise detail made possible by the necessarily slow employment of large and medium-format film insists on the specificity of a particular moment in a particular place.” -Alison Nördstrom, photo historian and curator
Many ruins of post-industrial America have been photographed and written about, and an entire genre of “ruin porn” exists. Set aside that preconceived thought when taking in Stauffer’s evocative images. Upstate is a portrait of a place and a time; it just so happens to be in a rust belt state with a tremendous backstory. In her essay, Alison Nördstrom writes, “Even without people or buildings in them, the quotidian actions of people are evident in these images; their marks, and Stauffer’s respect for them, are essential to her humanistic approach.” She also remarks, “This is not “ruin porn,” nor does this series maroon us in the past. Stauffer’s earlier work concentrated on portraiture as a way to know a place, and both Paterson (2009-2014) and Ballad of Sad Young Men (2008) manifest the artist’s ability to connect with her subjects in a deeply human way… As we turn the pages of this strong and quiet book, it is Reggie, Mike and Peter who look back at us, and (it is) through them that Stauffer turns our gaze from the nostalgic past to the living present…”
Photographs by Tema Stauffer
Foreword by novelist Xhenet Aliu
Essay by photo historian Alison Nördstrom
Hardcover: 84 pages
33 color photographs
Tema Stauffer is a photographer whose work examines the social, economic, and cultural landscape of American spaces. She received a 2014 CCNY Darkroom Residency for her documentary portrait series, Paterson, depicting residents of Paterson, New Jersey during the years following the economic crisis. She received her BA from Oberlin College and her Master’s degree in photography from the University of Illinois at Chicago. Stauffer is currently an Assistant Professor of Photography at East Tennessee State University. For more information, go to: http://temastauffer.com
About the publisher: Daylight is a non-profit organization dedicated to publishing art and photography books. By exploring the documentary mode along with the more conceptual concerns of fine art, Daylight’s uniquely collectible publications work to revitalize the relationship between art, photography, and the world-at-large. For more information, visit www.daylightbooks.org