Shai Kremer @ Julie Saul Gallery

 Shai Kremer, World Trade Center: Concrete Abstract #13, 2001-2013, 48 x 64", pigment print, ed. 7

Shai Kremer, World Trade Center: Concrete Abstract #13, 2001-2013, 48 x 64″, pigment print, ed. 7

Shai Kremer World Trade Center: Concrete Abstract
September 4 – October 25

Opening reception: Thursday, September 11, 2014, 6-8 pm

Julie Saul Gallery announces Shai Kremer’s third solo show, timed to coincide with the opening of the new World Trade Center. An evocation of site, a remembrance of tragedy, a progression towards healing – Shai Kremer’s Concrete Abstract series at once aims for an individual and universal response to the destruction and rebuilding of the World Trade Towers. Like his past series, Kremer maintains “a post-traumatic gaze to the cityscape of Manhattan – and by extrapolation, to the sociological landscape of America.” Kremer combined copious images to illustrate the site’s former self as well as its years of reconstruction. Kremer uses a process linking “accumulation, destruction, and reconstruction” forming images which are formally and psychologically complex. Here he literally layers images within one frame, whereas in past work he expressed his vision through individual images.

Julie Saul Gallery
535 West 22nd Street, 6th floor | New York | NY | 10011

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Kurt Kaindl @ Fotohof

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Kurt Kaindl: Travelling in No Man’s Land
19 7 – 24 8 2014

In 1989 the Iron Curtain fell. Today, 25 years later, the next generation has scarcely an idea of ​​the significance of this border, and especially by the great influence of her disappearance on the European development.

Geographically Kurt Kaindl s photo report follows the intra-European border line from Lubeck to Trieste. He has, at the suggestion of the “Federal Ministry for European and International Affairs” (BMEIA) started this project in 2008 and continued to the present day. Retrieved from “both sides” – from the East and the West – he approaches the (former) border and represents the special atmosphere is photographically: The situation created by the vast no man’s land landscape that remained, but also destroyed settlements and especially the people, still or now live again only at this limit.

Fotohof
Inge Morath–Platz 1-3, 5020 Salzburg, Austria

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Andreas Müller-Pohle @ Prague City Gallery

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Andreas Müller-Pohle: Coincidences
22 July—28 September 2014

Opening 21 July at 6:00 pm

Prague City Gallery
House of Photography
Revoluční 5, Prague 1, Czech Republic

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Hiroshi Sugimoto @ Cahiers d’Art

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Hiroshi Sugimoto
through July 30, 2014

Cahiers d’Art
14 RUE DU DRAGON
75006 PARIS

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DEAD RINGER @ Exhibit No.9

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Opening Reception
Saturday, August 2, 7-10pm

An experimental photography exhibition, featuring works of international artists:

MING MURRAY SMITH
ZELKO NEDIC
RENÉE MUNN
BERNHARD HANDICK
ALBERT GRØNDAHL
ROBERT PAUL KOTHE

Exhibit No.9
550-102 Cookman Avenue
Asbury Park, NJ 07712

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Group Exhibition @ London Photo Gallery

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29th July – December 2014

the following photographers were selected:
Andrew Hawkes
Andrew Lalchan
Anthony Cash
Joerg Karrenbauer
Laura McGregor
Linda Wisdom
Mark A Paulda
Mark Heathcote
Paul Bate
Robin Baumgarten
Stuart Cashmore

London Photo Gallery
Bridge Lounge Dining Room 186 Tooley Street, London SE1 2TZ

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Colin McPherson @ Free Space Gallery

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Book Review: Pamela Littky’s Vacancy

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Welcome Cowboys, Beatty, Nevada

“Perhaps it was the dramatically macabre title – the Gateway to Death Valley – that sparked my curiosity. I found myself wanting to explore these small towns and observe the kind of people who would live in the middle of nowhere where temperatures hold at 120 degrees for several months of the year, where the nearest grocery store was 45 minutes away, and where there is seemingly nothing to do,” photographer Pamela Littky writes about Vacancy.  I can easily identify with that. In addition, I find it significant that she points out that she wants “to explore these small towns and observe the kind of people” there.  In other words, she does not tell us what the people she photographed told her, she shows us images of what she decided she wanted us to look at – and I very much liked what I was looking at: the Country Store in Baker, California, Kids in Beatty, Nevada, Socks hung to dry in Baker, California, the Ensenada Grill in Beatty, Nevada … all the photographs in this book were either taken in Baker, California (“a central strip, a few sit-down restaurants, and most of the residences are trailers”) or in Beatty, Nevada (“another small town that also claimed the title of Gateway to Death Valley.”)

Many years ago, I was driving from Las Vegas to LA and quite a few of the scenes pictured in Pamely Littky’s Vacancy brought back mental images and some of the accompanying feelings from back then. Spending time with this well-done book also triggered memories from a more recent trip through Death Valley that included a night at Marta Becket’s Amargosa Opera House in Death Valley Junction and a visit to a casino at the Nevada border – the pics that Littky took in Beatty brought vividly back this casino visit.

Although photography is said to bring time to stand still, the pics in this tome radiate a strange absence of time and that probably has to do with the sensation of eternity that one can feel in the desert. “The desert air clears everything away,” as Pamela Littky observes.

Country Store, Baker, California

Country Store, Baker, California

“I wanted to know why people made their homes in such an extreme environment,” she writes.  I would have also liked to know that but, unfortunately, pictures do not offer an explanation. Too bad that Littky did not jot down the conversations she had with the people living there but opted for showing us only pictures with not exactly helpful captions (“Flatbed, Baker, California” for instance, or “Burned Out Truck, Baker, California”). Nevertheless, this is a book I like. For these photographs make me recognise somewhat familiar scenes. But also because they trigger longings for the desert.

I thought it particularly significant that Pamela Littky put her Vacancy-project into a wider context. During the time of her taking the desert pictures there was “the economic crash, the housing and employment crisis, the long wars still going” that however did not affect the small towns of Baker and Beatty. Her explanation? “The gateways to the big desert have never had much to work with in terms of big job-drivers; the people there make it work for themselves.” It might very well be that this is the reason they have chosen, and are capable of living in, such an extreme environment.

Vacancy Cover

Vacancy
by Pamela Littky
Kehrer
September 2014
For more info: http://www.artbooksheidelberg.com/html/detail/en/pamela-littky-978-3-86828-479-9.html

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COLLECTORS’ FAVORITES @ Leica Gallery LA

Mike Brodie, #5060 Period of Juvenile Prosperity 2006-2009  Courtesy of PAC LA member Michael Hawley

Mike Brodie, #5060 Period of Juvenile Prosperity 2006-2009
Courtesy of PAC LA member Michael Hawley

COLLECTORS’ FAVORITES
JULY 12 – 26, 2014

Reception Saturday, July 12, 7 – 9pm

WORKS FROM THE COLLECTIONS OF MEMBERS OF THE PHOTOGRAPHIC ARTS COUNCIL / LOS ANGELES

Leica Gallery LA
8783 Beverly Blvd., West Hollywood, CA 90048

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Interview with photographer Russ Rowland

Through The Looking Glass 12

Through The Looking Glass 12

Yvette Meltzer: How did you first become involved in photography and what led to you working in this medium as an artist?

Russ Rowland: It happened very slowly and very late in my life. I worked in PR and one of my accounts was a camera company. They gave me a little digital camera and I just started playing with it. After a few years I realized I really wanted to learn about photography and cameras in a more disciplined way so I got my first DSLR and enrolled in a course at ICP. That was in 2010.

Through The Looking Glass 11

Through The Looking Glass 11

YM: When did you know you wanted to pursue photography as a career?

RR: I never intended to be a photographer. Ever. I rarely looked at photography or cared about it. But once I found it, it really felt like the thing in life I was meant to do. Now I work, play and eat photography pretty much 24-7 and I’ve never been happier. You know how people say “do the thing you love and the rest will follow”? I always thought that that was a load of BS…until I started working as a photographer. Things have really fallen into place and keep encouraging me along the way like some guiding force. It sounds dumb I know. I’ve never experienced this with anything else in life.

YM: The “Open Theme” issue of F-Stop includes images from your project “Through the Looking Glass”. Can you tell us about this project?

RR: It brings together a number of things that continue to fascinate me: shooting portraits…the ways photographing through glass alters and enhances faces…my love of paintings, abstraction and the texture of brush strokes…and trying to find something transcendent in the utterly mundane (in this case using a shower as a medium.)

YM: So the whole is more than the sum of the parts?

RR: YES!

Through The Looking Glass 2

Through The Looking Glass 2

YM: What led to this project?

RR: Basically I just love the way glass, water and steam can be manipulated to create a painterly look, and evoke texture and emotion. It creates a look I covet. Also, I’ve been taken with creating images in camera that look like they must have been photo-shopped. It’s a challenge that fascinates me (probably because I was doing a lot of photo-shopping and wondered if I could save myself some time.)

YM: Can you discuss your process for making these images or your creative process more generally?

RR: It’s a bit like theater and a chemical process. I use the same exact set up each time, but I never know what I will get. There is ample room for anomalies, kismet and surprise. Each session lasts about 45 minutes and is collaboration between me, the subject, and the water on glass. It’s like a performance: we play and improvise as I move around the single light. Then we take a bow and go home.

YM: What is the intended end or purpose for the project?

RR: A gallery show would be nice…or even Bed, Bath and Beyond.

YM: What do you hope people see or feel or perhaps learn when they look at your photographs?

RR: I hope that they see beauty, something that grabs or touches them in some way before they run off to the next thing. I’m not really here to teach.

Through The Looking Glass 5

Through The Looking Glass 5

YM: Do you have a favorite image in this series?

RR: The ones that make the cut are all favorites in a way.

YM: What are you working on now?

RR: More altered faces! I’m shooting a lot of theater productions and I think that keeps inspiring me in ways. This spring I’ve been taking advantage of the blooming foliage to shoot another portrait series in the park, late at night, with a projector. It’s called “Force of Nature” and they are like a “non-humans of New York.” I’ve turned everyone I know into a sprite from a Shakespearean play.

YM: What photographers or other artists inspire you?

RR: Throughout my life paintings have always inspired me. In fact, I always refer to photos as paintings and have to catch myself. The works of Picasso, Di Chirico, Monet, Van Gogh (to name some obvious starters) have been in my head as far back as I can remember. It’s only recently that I’ve immersed myself in the world of photography. And there is so much knockout work that inspires me every day.

YM: What is the best career advice you have ever received?

RR: The best – and most liberating – advice I ever got was: “Go ahead, Make a mess.” Boy did that free me. You have to try stuff…even the silliest notion. If it all falls apart, and comes to nothing, so what? No one will die or bleed. But if you don’t push, experiment and play, you will never get anywhere interesting or meaningful.

YM: What is the most challenging work you have ever done?

RR: I don’t think I’ve done it yet. Hopefully that’s what I am working towards.

YM: Thank you, Russ for responding to all of these inquiries.

For more of Russ Rowland’s work: www.rrsnapshop.com

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