Dynasty Marubi @ Foam

Untitled, before 1881, Pietro Marubi © Marubi National Museum of Photography, Shkodër

Untitled, before 1881, Pietro Marubi © Marubi National Museum of Photography, Shkodër

Dynasty Marubi: Hundred years of Albanian studio photography
16 September – 27 November 2016

Dynasty Marubi shows extraordinary portraits from an extensive collection of 150.000 glass negatives, made in a photo studio in Albania.
Three generations of Marubi photographed a very diverse range of people, from the urban upper class to shepherds, the Ottoman emperor and King Zog, to criminals, famous actors and painters. Besides these portraits they also documented the most important events that took place in the tumultuous history of Albania. The exhibition is an introduction to the rich history of photography of this isolated European country that is often forgotten.

Foam
Keizersgracht 609
1017 DS Amsterdam

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MATTHIAS HOCH @ FOTOHOF

Matthias Hoch: Hotel Kobenzl, Salzburg 2014-16

Matthias Hoch: Hotel Kobenzl, Salzburg 2014-16

MATTHIAS HOCH
Hotel Kobenzl – The story of a house

The Salzburg Hotel Kobenzl, situated above the town, is known as a former luxury hotel. Meanwhile, there is a refugee distribution. As the Leipzig photographer Matthias Hoch visited together with writer Andreas Maier the Kobenzl 2 years ago for the first time, it is already empty for eight years.

The rooms are in good condition, virtually untouched and preserved. It’s like time travel. “The splendor of the former five-star scored something you could describe as charming patina.” However, it is not a house, but a group of buildings, consisting of the former mountain inn and various extensions of the 1970s. A single style mix. High interest to the history of the hotel, the traces of use, the question, which was considered a luxury.

By including archive footage is added another level, the history of the house is alive. We see the owner family Duke with celebrity guests such as Richard Nixon, Margaret Thatcher, Herbert Grönemeyer. Eventually, however, the famous stay away, the caravan moves on. In 2006, the hotel is closed.

FOTOHOF Inge-Morath-Platz 1-3 / 5020 Salzburg / Austria

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Daniele Tamagni and James Barnor @ October Gallery

Daniele Tamagni, Ngor, La Renaissance Africaine, 2012. Lambda C-Print, 80 x 57 cm. Courtesy October Gallery London

Daniele Tamagni, Ngor, La Renaissance Africaine, 2012. Lambda C-Print, 80 x 57 cm. Courtesy October Gallery London

Daniele Tamagni and James Barnor
8th September – 30th September

Featuring Barnor’s analogue photographs of London’s growing multicultural metropolis during the ‘swinging 60s’ and Ghana in the 50s, along with new works by Tamagni of striking fashion subcultures throughout contemporary Africa. This exhibition follows the 2015 publication of the book ‘Ever Young’, by James Barnor and the recent book launch of ‘Fashion Tribes’, by Daniele Tamagni.

October Gallery
24 Old Gloucester Street
London WC1N 3AL

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Jock Sturges @ The Lumiere Brother Center for Photography

Jock Sturges. Hanneke; Vierlingsbeek, The Netherlands, 1995

Jock Sturges. Hanneke; Vierlingsbeek, The Netherlands, 1995

Jock Sturges: The Absence of Shame
September 07 – October 30

Jock Sturges is famous for his series of families taken at communes in Northern California and in naturist resorts in France. The photographer’s initial rise to fame was burdened by controversy. The young age of some of his model drew the attention of a conservative federal task force that raided his studio and seized his files and equipment.

Despite these intemperate moral indictments his photographs are in fact devoid of exploitive or negative characteristics. There is beauty there; there is also truth – but no filth. His models never undress for the photographer – they were nude before he arrived and will be again as he departs. The photographer captures his models – girls and young women from nudist communities – in the surroundings that are organic to them.

The Lumiere Brother Center for Photography
Bolotnaya nab., 3, стр. 1, Moscow, Russia, 119072

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ANTARCTICA @ Confluences Museum (Lyon)

© Vincent Munier

© Vincent Munier

ANTARCTICA
April 26 – December 30, 2016

Confluences Museum
86 Quai Perrache, 69002 Lyon, France

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Benjamin Rasmussen and Michael Friberg @ The Center for Fine Art Photography

Mohammad Mounir Al Zamel in recovery by Benjamin Rasmussen and Michael Friberg

Mohammad Mounir Al Zamel in recovery by Benjamin Rasmussen and Michael Friberg

Benjamin Rasmussen and Michael Friberg
July 8- August 27, 2016

Artist Talk: August 5, 5:30-6:30 Free, Public Welcome
Reception August 5, 6:30-9:00 Free, Public Welcome

‘The Syrian civil war, now in its fifth year, began when a group of young people spray painted anti-regime graffiti on the walls of their school. Their arrest, detention and torture led to protests and a violent crackdown by the forces of Syrian President Bashar al-Assad.
The series of actions and reactions has led to the deaths of an estimated 470,000 Syrians and caused 4.8 million more to flee the country. More than 1.4 million of these refugees have headed south to neighboring Jordan. Some have stayed in the Zaatari refugee camp, while most have spread throughout Jordan, settling in for what they believe to be a long separation from their homes and communities as they wait out a war with no end in sight.’
-Benjamin Rasmussen and Michael Friberg

Photographers Benjamin Rasmussen (Denver) and Michael Friberg (Salt Lake City) have created an editorial style series of work about the refugee crisis and those currently living in the Zaatari camp in Jordan. The immediacy of the images makes the Syrian refugees’ turmoil and living conditions relatable to the viewer and all the more real than a news report.

The Center for Fine Art Photography
400 N. College Ave.
Fort Collins, CO 80524

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Book Review: Paradise Wavering by Alice Q. Hargrave

Esperanza_jpg1

Esperanza

Paradise Wavering is a photographic stream of consciousness that travels through lush flora, fauna, and tropical biospheres, exploring the fugitive nature of experience, time, light, and the photographic medium itself.

By interspersing her current photographs with re-photographed vintage source material from her own family archive of 8 mm films and snapshots, Alice Hargrave melds together past and present, while alluding to an uncertain future where environmental angst pervades.  

Inspired by the heroic landscapes of early travel photography, vernacular family pictures, and the first color processes such as Autochromes, Hargrave embraces, but also re-contextualizes and reimagines, the clichés of documenting family travels, where photography’s role is to harness the exotic or “Kodachrome” moments. She seeks the sublime in moments on the periphery of daily life, and her liberal, intuitive use of vivid, visceral color inscribes emotion, revealing how photographs literally color memory and perception. Color itself becomes a subject, leaving behind its mood and patina as a shroud.

Alice Hargrave’s resulting curvilinear narrative is fractured, frayed, and stained in color, as are memory and photographic substrates themselves.

Shade

Shade

Upon my first pass through the book, I felt like I was paging through a travel album from the shelves of David Lynch, or browsing outtake stills from Koyaanisqatsi by Godfrey Reggio. (This is the Hopi Indian term for “life out of balance”) Hargrave speaks to this sense of imbalance in the interview with Kendra Paitz when discussing the feeling of environmental angst in her work. The printed interview/conversation between Hargrave and Paitz at the conclusion of the book gives the reader great insights into Hargrave’s creative process and influences that informed her work.

Grizzly

Grizzly

The book is presented mainly as a series of her images laid out on alternating or facing pages, with interspersed poems and excerpts. The book section immediately following the main part of the book is an overview of 61 numbered corresponding thumbnail images with titles (the titles were not printed with the images in the main part of the book). This catalog-like summary was initially confusing to me because it unraveled the strength of the anonymous mystery via the sequence and pacing of the book up till that point.

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Swallow Flight

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Blue Tide Spiral

But the strength of the book lies in Hargrave’s use of evocative color photos that convey emotional spark and response rather then illustrative depiction. Intentionally blurry images, or grainy images in vivid color raise connotations of memory flashbacks, like a glimpse out the window of a moving car… Where am I going? Have I been here before? This looks familiar…

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Gust of Wind

The images are culled from various sources; crossing and intermeshing different times, locations and media. Hargrave’s use of varied photographic printing styles similar to early color autochromes, or cross processed film imparts color casts, and gives a surreal twist to landscape images where one would normally expect to see lush green vegetation, or deep blues ocean vistas. These intentional color conflicts support the visual discord that Hargrave explores throughout the book. The end result is an emotional, intimate exploration of how to catch the fleeting nature of time and memories and how color itself can be a subject, shrouding our memories and perceptions.


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ALICE Q. HARGRAVE: PARADISE WAVERING (Daylight Books)
ISBN: 978-1942084167
With essay by Allison Grant, interview by Kendra Paitz
Poems by Sandra Binion and Ralph J. Mills Jr.
Two excerpts from Rebecca Solnit’s seminal book A Field Guide to Getting Lost


To discover more, and view the work of Alice Q. Hargrave, visit her website: http://www.alicehargrave.com/

To buy the book, visit Amazon.com: here

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Ellie Davies @ Crane Kalman Gallery

Half Light 5 and Half Light 11 (2016)

Half Light 5 and Half Light 11 (2016)

Ellie Davies
21 July 2016 – 20 August 2016

Opening reception: 21 July 2016 6 – 8pm

The forest is Davies’s studio. Working alone she responds to, and alters, the landscape with a series of temporary interventions, such as making and building, creating pools of light on the forest floor, or using craft materials such as paint and wool. A golden tree is introduced into a thicket to shimmer in the darkness, painted paths snake through the undergrowth, and strands of wool are woven between trees. The final images are a culmination of these elements and each piece draws on its specific location. Using handmade sculptural elements, she superimposes her personal narratives on the landscape.

Crane Kalman Gallery
178 Brompton Road, London, SW3 1HQ

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Director’s Cut: Photographs About Nothing @ Atlanta Photography Group Gallery

Director's CutDirector’s Cut: Photographs About Nothing and Communion: The Spiritual in Contemporary Photography
August 19, 2016 – October 1, 2016

Director’s Cut: Photographs About Nothing,” features works without a clearly defined subject or narrative. By saying nothing in particular, they encompass everything.
Curated by APG intern Ericka Jones-Craven ,“Communion: The Spiritual In Contemporary Photography.” features artists John Howe, Madeleine Ivey and a collaborative project by Christina Ayala and John Morris.

Atlanta Photography Group Gallery
75 Bennett St NW, B-1
Atlanta, GA 30309

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ANDRÉ CEPEDA @ Fridman Gallery

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ANDRÉ CEPEDA: At the Eyes’ Ground
July 15-29, 2016

Opening Reception: Friday, July 15, 6-9pm

Cepeda’s flash-saturated, careful but quirky compositions challenge the contemporary notion of photography as automatic, instantaneous and objective. For example, he resists the obvious urge to capture landscapes with a horizontal frame, and shoots them vertically. The resulting space is not large enough to allow full viewer immersion; we are made hyperaware of the photograph’s two-dimensionality and of the process of its making. Denied the instant gratification of “entering” the picture and “identifying” with its subject, we are forced to examine them on their own terms.

Fridman Gallery
287 Spring Street
New York, NY 10013

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