exhibition opening in the presence of the artist Thursday May 3rd from 6 to 8pm
“At times, the reflection presented in a photograph seems to be far away, untouchable. Understanding a photograph is simultaneously straightforward and difficult because while a photograph is, strictly speaking, a piece of documentation, it is also a meaningful observation that has been torn from the world. An image of a blade of grass on snow is strictly what is looks like but, at the same time, it is also a black gash across a white background. Tuning in to the atmosphere dictated by the image is essential when viewing a photograph. Like a window, mirror or a screen, the photograph is a prisoner of its frames. Nevertheless, the photograph dictates what we see within its frames.”
Photographic Centre Peri
Itäinen Rantakatu 38,
“This year, 1790 artists working with photography responded to Foam’s annual Talent Call, which has the reputation of representing the latest developments in photography. The final selection of 20 artists has been made on the basis of their innovative and often experimental approaches to the medium. ”
Beaconsfield Gallery Vauxhall
Vauxhall, 22 Newport St, London, United Kingdom.
Opening reception for the artist, Saturday, May 5, 5-7 pm
“Like the goddess of daybreak in Homer’s Odyssey, Sarah Anne Johnson’s new landscapes recur with beauty and wonder, in a multitude of guises. In her eighth solo show at this gallery, she is taking a more general approach, not limiting herself to a specific place or distinct history. She’s focusing on photographic tropes- landscape scenes from a variety of places that depict sublime natural beauty. But as always, the artist is concerned with the loop between photographic object and “reality.” She poses serious questions, and
answers with seductive playfulness. Once again she is trying to bridge that space through the psychology of place, and the dividing line between what is real and what is felt- a quality that remains a balancing act in all of her projects.”
Julie Saul Gallery, 535 West 22nd Street, 6th floor, New York, NY 10011
Artist Reception and Book Signing: Saturday, May 5th 5–7 PM
“The show in our new Project Space (inside our new bookstore) will be comprised of Stivers’ Polaroids used for creative idea brainstorming and lighting/composition tests, each placed next to their finished artworks.”
1300 Rufina Circle, Suite A3
Santa Fe, NM 87507
Opening Thursday 19 April, 5.30pm
“Gold and Silver offers a modern-day look at the nineteenth century gold rush in the United States. Contemporary projections, nineteenth century daguerreotypes and albumen photographs allow you to travel along the rivers of California and across the snow-covered mountaintops of the Yukon to fathom the ambitions, dreams and illusions of an entire generation of gold seekers.”
1017 DS Amsterdam
+31 20 5516500
“Shape of Light is the first major exhibition to explore the relationship between photography and abstract art, and considers how photographers have contributed to the development of abstraction. It is with great pleasure that we announce that both Cairns and Yokota have been specially commissioned by Tate to create exciting new work made especially for the exhibition. ”
“Flint is a place is a project about Flint, Michigan, both as it’s perceived and experienced. What happens in Flint happens in many other urban American cities. But in Flint, it happens all at once. It’s what makes Flint so important in the national conversation.”
Bronx Documentary Center
614 Courtlandt Ave
Bronx, NY 10451
I’ve recently started to look at trees and, in no time at all, have become increasingly fascinated by the many shapes and forms in which they happen to inhabit planet earth. Hence my interest in this tome by American photographer Chuck Hemard who, I learn from the press release, “grew up in the middle of the pine belt of southern Mississippi where as a child he would rake longleaf pine needles, collect them in wheelbarrows, and move them to the landscaping beds around his yard. The imprint of this landscape on his identity would later inform his work as a professional photographer.”
In 2010, he embarked on a seven-year photographic study of the longleaf pine trees of the Deep South and the landscape that supports them. The result you can see in this tome. I do not tire to look at these pines – I’m saying this on purpose for I do have the feeling that I’m looking at pines and not at photographs of pines. And, as is often the case when looking at photographs of nature – it is nature who is the artist, not the photographer. This is not to diminish the importance of these pics for they make it possible and thus allow me to imagine the Coastal Plain of the southeastern United States where they were taken.
It is one of the advantages of taking nature photographs that you can hardly make mistakes. Whatever you will decide to frame will almost unavoidably look impressive – for the simple reason that nature always looks impressive. Yet Chuck Hemard’s main goal was not to bring back impressive pictures of a variety of pines but to make us aware of the significance of the longleaf pine.
“These photographs represent places that have stood the test of time, including lightning, hurricanes, tornados, and the exponentially more damaging threat of human intervention. I approach these places with a sense of respect, that they might teach us new things if we can slow down and tune in … I hope they might provoke us to ask questions about our role in this”, he writes in the book’s foreword.
To slow down is indeed increasingly imperative if we do not want to go completely nuts. Moreover, it helps us to connect to our natural surroundings. In the words of Chuck Hemard: “Slowing down, attempting to be attentive to these places with a relatively long history, time seems to become more present and nearly tangible. I begin to position myself as a human in a much larger narrative of life on this planet and within the culture of this country and region.”
Looking at the photographs in this tome with these words in mind I can sense a calm and a presence that I associate with meditation.
And while “The Pines” is a deeply personal book, it also informs us about the wider context. Becky Barlow’s essay “Past Forward: How the Past Has Shaped the Longleaf Pine Forests of Today” elaborates on what its title promises (this is not the rule when it comes to academic essays), and concludes “If we want to keep the longleaf pine ecosystem functioning in the long term, we need to remember and understand the past. Because ultimately we determine the future of longleaf forests.”
Last but not least, the book includes an inspiring poem by Nick Norwood that made my brain create lots of fascinating pictures. It also made me look at Chuck Hemard’s photographs with again different eyes.
Photographs by Chuck Hemard
Preface by Chuck Hemard
Poem by Nick Norwood
Essay by Dr. Rebecca Barlow
Daylight Books. February 13, 2018
To purchase or for more info: https://daylightbooks.org/products/the-pines-southern-forests
OPENING RECEPTION: THURSDAY, APRIL 26, FROM 6 – 8 PM
“The exhibition features Body Remembers, a series of ten large-scale photographs, and the single-channel video, Vigil. These works had their debut to wide acclaim as part of Moffatt’s solo presentation for the Australian Pavilion in the 2017 Venice Biennale, and Vigils marks their first showing outside of Venice. The exhibition will be immediately followed by The Travellers (June 7 to July 27, 2018), showcasing the second photographic series, Passages, from Moffatt’s Australian Pavilion.”
Tyler Rollins Fine Art
529 WEST 20 STREET, 10W NEW YORK, NY 10011
“William Ropp is an internationally acclaimed contemporary French photo-artist known as the Shadow Sculptor. His haunting portraits are compared to paintings — with shadow and light manipulated to create a unique experience for the viewer.”
THROCKMORTON FINE ART
145 East 57th Street, third floor, New York, NY 10022