“Woodland Views, an exhibition of work by photography’s early masters, is on view at Hans P. Kraus Jr. Fine Photographs through July 27, 2018. The exhibition presents primarily 19th century landscapes beginning in 1844 by William Henry Fox Talbot, John Dillwyn Llewelyn, Benjamin Brecknell Turner, Henri Le Secq, Roger Fenton, Gustave Le Gray, Joseph, vicomte Vigier, and Captain Linnaeus Tripe, among others.”
Hans P. Kraus Jr. Fine Photographs
962 Park Avenue at 82nd Street in New York City
“‘HIGH: Photography from Above’ brings together the work of five photographers who adopt varied, and sometimes extreme, techniques to give the everyday a fresh perspective, sparking the imagination and inviting us to consider the world in new ways.”
49 Dorset Street, London, W1U 7NF
Opening Reception: September 7, 2018
Selected Artists: Peter Baker, Michael Cardinali, Jo Ann Chaus,
Kimberly Chiaris, Elizabeth Claffey, Michael Duncan, Kev Filmore,
Matthew Finley, Randi Ganulin, Juan Giraldo, Josh Hobson, Kevin Hoth,
Dai Ito, Mercedes Jelinek, David Johnson, Julie Jones, Pablo Lerma,
Joshua Littlefield, Lisa McCord, Kris Moore, Paul M. Murray, Aoife Shanahan, Leslie Sheryll, Zihui Song, Sabrina Staires, JP Terlizzi, Andrew K. Thompson,
Adolpho Veloso, and Sam Zalutsky.
The Artery in Fort Collins, CO
Reception for the Artist & Book Signing Saturday, July 14th from 6 – 8pm
“Steve Fitch is among America’s most well-known chroniclers of the American West and has been photographing its changing vernacular landscape and vanishing roadside landmarks for more than 40 years. In his new book, Vanishing Vernacular, Fitch displays both the ancient and the modern by way of roadside signage, drive-in movie theater screens and radio towers, most of which are now endangered due to the advent of the Interstate Highway System and corporate franchises.”
2766 S. La Cienega Blvd.
Los Angeles, CA 90034
“This body of work is a playful and rigorous enquiry into the lives of Elizabeth Maria Tyndale Warre (1790 -1872) and The Right Honourable Mrs Constance Portman (1854 -1951), using archive materials as ‘points of departure’ to develop interpretations of these two formidable women. Living under the shroud of a patriarchal society, both women ran the estate independent of men which was unusual for the time and as such adds more texture to the work and their characterisation. ‘Trish Morrissey: a certain slant of light’ eloquently puts flesh on the bones of dry history.”
Francesca Maffeo Gallery
Leigh on Sea, Essex UK
OPENING RECEPTION WITH THE ARTISTS: Friday, July 13 5:00 – 8:00 pm
“2018 marks the fifteen-year anniversary of The Chicago Project, created in 2003 as an online-only gallery devoted to unrepresented photographers in the Chicagoland area. In an effort to promote local talent, Catherine Edelman Gallery put out a call for submission to all local photographers, that exists on a year round basis. To date, the site has featured more than 100 photographers whose images range from traditional black & white landscapes and documentary work, to color narratives and digital constructions. The goal of the online gallery is to expose local artists to our ever-increasing global audience of curators and collectors. The artists featured in the fifteen-year anniversary show are Barbara Diener, Jim Ferguson, Whit Forrester, Andy Goodwin, Angie McMonigal, Natasha Spencer, and Samantha VanDeman.”
Catherine Edelman Gallery
300 W. Superior Street, Chicago, IL 60654
In 1864, Matthew Brandt recreates George N. Barnard’s 19th century images of a devastated, post-Sherman Atlanta. Using source imagery housed at the Library of Congress, he makes new albumen photographs from Barnard’s images. Fortifying the foundational ingredients of the 19th-century albumen print — egg whites, silver nitrate, and salt — with peaches, sugar, flour, cinnamon, and butter, Brandt plays with external assumptions about the South, at the same time revealing a complex understanding of the complicated history his project explores.
This complexity is addressed in the essay ‘Time and Place’ included by Greg Harris. He speaks to the idea that Brandt seeks to wrestle with the weight of conflict in American society surrounding the Civil War and the lasting impact it has on our culture. Harris also mentions that Brandt came to the work as an outsider with no direct connection to Atlanta or as a resident of the American South. But Brandt wanted to “address the legacy of the Civil War through objects infused with history and place, but spoke to a contemporary context.”
It is worth mentioning to people unfamiliar with Brandt’s work, 1864 does follow in the footsteps as some of his other projects. Brandt incorporates aspects of his subjects into the photographic developing process. His photographs are both of and by their subject. For example, actual source water was used in his portraits of specific Lakes and Reservoirs (in a project by the same name), and he toned Cyan, Magenta, Yellow and Black photo plates with Flint, Michigan contaminated tap water for his project Bridges Over Flint. The distressed images in their final full-color prints are an engaging exploration in how subject matter and process can make a statement on the debacle that plagues the drinking water supply, and directly impacted the lives of the people living there.
Tongue-in-cheek, aptly conceptualized or not, I can appreciate the manner in which these images were created. I have printed glass negatives from a historic collection, and the flaws, or lack thereof, found in large silver or silver-nitrate negatives produce an image that leaves the viewer with the distinct feeling that they are seeing the same view as the original photographer. A direct contact print from an 8×10 negative is a beautiful, wondrous object. But, images made after a military campaign that crippled the South at the end of the civil war – now suitable to be served with ice cream? Something smacks of either cultural callousness, or witty interplay/overlay of photographic mediums and cooking ingredients to make a comment about the complexity of a 21st century perspective on 19th century America. I cannot decide which way to lean. Perhaps this makes the project stronger; instead of dismissing the work, or losing interest, I’ve sought out the opinion of others and asked myself serious questions about the nature of Brandt’s work.
1864 is printed with a full range of tones and a varnish-like layer that adds depth to the images. I applaud Yoffy Press for taking on this project and making the book a well crafted and presented work. The linen cover evokes a sentiment that fits the time period of the original work, and adds a textural layer of meaning to the presentation of Brandt’s images.
Photographs by Matthew Brandt
Essay by Greg Harris
Hardcover, 10×8 inches
64 pages / 28 images
Limited Edition of 350
Matthew Brandt is a photographer whose work is in the permanent collections of Metropolitan Museum of Art, New York; National Gallery of Art, Washington, DC; J. Paul Getty Museum, Los Angeles; Brooklyn Museum, New York; and the Los Angeles County Museum of Art, among others. Matthew Brandt was one of seven artists featured in the 2015 exhibition at the J. Paul Getty Museum, Los Angeles, Light, Paper, Process: Reinventing Photography. Brandt was born in California in 1982, received his BFA from The Cooper Union in New York and his MFA from UCLA. He currently lives and works in Los Angeles.
Yoffy Press was founded by Jennifer Yoffy. She founded Crusade for Art in 2013, a non-profit organization whose mission was to engage new audiences with art. Jennifer owned a fine art photography gallery in Atlanta (Jennifer Schwartz Gallery) for five years, and she co-founded Flash Powder Projects, a photographer-focused collaborative venture and publishing company. In the spring of 2013, she traveled around the country in a 1977 VW bus, engaging audiences with photography.
OPENING RECEPTION JUNE 28, 6:00-8:00PM
Sous Les Etoiles Gallery
100 Crosby Street #603
New York City, NY 10012
Opening Reception on June 21st from 6-8pm
“This time, Shields is exhibiting both new works and work from the archives that play off of one another, re-contextualizing the content from several series in one fresh approach. Whether in the quiet strength of dramatic black-and-white, a graphic and bold portrait with red lips, or paint flying through the air, frozen for a moment in time, the work is undoubtedly Tyler Shields. His themes of the gaze, consumerism, fantasy, hyper-realism, an d cinematography are timeless, iconic, and on view at Miller Gallery. ”
2715 Erie Avenue
Hyde Park Square
Cincinnati, OH 45208
Benaki Museum (Pireos St. Annexe), Athens
An opportunity for artists to meet with international experts to get feedback on their work as well as to create meaningful connections.
Under the motto “We Speak Photography”, Photo Voices is designed as a set of short talks to share thought provoking images and words.
Educational programs offer intensive learning experiences for current and future generations of artists and photography enthusiasts.
This one night event brings together multiple perspectives on the use of images –both moving and still– in contemporary culture.
Photography as Performance
Experimenting with the ways through which performance and photography can cross boundaries and create interesting hybrids.
Athens Photo Marathon
Over 1.000 contestants will participate in a “photography marathon”, by recording through their own lens, four given subjects inspired by the urban life and its experience.
For more info: https://www.photofestival.gr/