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
Reception: Saturday, April 28th, 2 – 4 pm. Book available.
“The exhibition, as with the book, is a chronological journey through Ballen’s entire oeuvre divided into four periods. Part I explores Ballen’s formative artistic influences and his later rediscovery of boyhood through photography, culminating in his first published monograph, Boyhood, in 1979. Part II charts the period between 1980 and 2000, during which he released his seminal monograph Outland. Part III covers the years 2000-2013, when Ballen achieved global recognition and his work began to veer away from portraiture altogether. Finally, in Part IV, Ballen reflects on his career.”
148 N La Brea Ave, Los Angeles, CA 90036
In a continuation of Dave Jordano’s critically-acclaimed Detroit: Unbroken Down (powerHouse Books, 2015) which documented the lives of struggling residents, A Detroit Nocturne is an artist’s book not of people this time, but instead the places within which they live and work: structures, dwellings, and storefronts. These photographs speak to the quiet resolve of Detroit’s neighborhoods and its stewards, independent shop proprietors and home owners who have survived the long and difficult path of living in a post-industrial city stripped of economic prosperity and opportunity. Jordano’s images show us the framework of a city whose glorious days of growth and energy lie sleeping in the streetlight-painted facades of night clubs, markets, houses, and shuttered buildings.
These nocturnal images offer a chance to view the locations in an unfamiliar light and offer a moment of quiet and calm reflection.
In many rust-belt cities like Detroit, people’s lives often hang in the balance as neighborhoods support and provide for each other through job creation, ad hoc community involvement, moral and spiritual support, and a well-honed Do-It-Yourself attitude. With all the media attention about Detroit’s rebirth and revival, it is important to note that many neighborhoods throughout the city have managed to survive against the odds for years, relying on local merchants and businesses that operate on a cash only basis who have stuck it out through decades of economic decline.
The photographs Jordano makes of Detroit’s night landscape transform the parts of the city where economic revival have been slow, or non-existent, to recover from the hardship the city has endured. I talked with Jordano about the background of this project and how it relates to his larger body of work documenting Detroit. “Currently Detroit is going through somewhat of a resurgence,” Jordano reflects, “but it only involves specific areas of the city where developers have reinvested with the assurances of profiting from their investments. It only covers approximately seven square miles of a city that has a total land mass of 138 square miles. Do the math, and you can see that over 130 square miles of the city has been basically overlooked. It’s these areas that I’ve concentrated my efforts on documenting because it represents the true character of the city.”
Determination and a strong sense of self-preservation, Detroit’s citizens manage to survive by maintaining a healthy sense of connection without the fear of giving up. All of these places of business and residencies, whether large or small, are in many ways symbols representing the ongoing story that is Detroit, and a testament to the tenacity of those who are trying desperately to hold on to what is left of the social and economic fabric of the city. These photographs speak to that truth without casting an overly sentimental gaze.
A Detroit Nocturne is a wonderful portrait of a city. Jordano takes care and patience to evoke a personality from buildings and structures that he cannot coax a reaction from. When I asked him about the comparison between ‘Nocturne’ and ‘Unbroken Down’ as being a portraiture project of two aspects of a city Jordano said, “To impart respect, dignity, and honesty to my subjects, whether they’re a person or a building, are hopefully qualities that will translate to a broader viewing audience. True, you don’t have to elicit an expression when photographing a building,” he continued. “But my approach is one of trying to bring the most out of the subject in the most honest and factual way that I can. Buildings were built plum and square, so my insistence to keeping the verticals straight is practiced throughout all of my work. It’s a simple thing, but important to keeping as close to the truth as possible. Obviously, people are different and the collaboration between the subject and photographer takes on a much more important and connective role. I really never considered myself a “portrait” photographer in the strictest sense, but I felt there was a huge imbalance with what photographers were depicting in Detroit so I made it a priority to work through the fear of meeting people in order to make their portrait and dispel the city’s usual dystopian trope.”
The images of buildings emblazoned with hand-lettered signage, ad hoc lights illuminating their facades, and mixed hues of color cast from street lights might evoke a feeling of Edward Hopper’s images of empty streets, and strong visual contrasts between inhabited environments and their shadowy surroundings. A subset of his images in A Detroit Nocturne all begin with the title ‘Hoop Dreams’ followed by the location of a basketball backboard and hoop. The midwest is riddled with many basketball goals set up in cul-de-sacs, driveways, and practically any space where a pick up game could be played. The absence of any people in these images of basketball hoops, and the inclusion of the word ‘dream’ evokes a feeling of hopelessness and abandonment. Perhaps, the loss of the proverbial American Dream.
His chosen locations are often vacant of human activity, and they frequently imply the temporary nature of the life and use of structures we use for a home or business. Prosperity in early phase of a building’s life gives way to dormancy and later abandonment. Jordano captures these scenes by using the available light to reveal Detroit’s overlooked neighborhoods in a pitch-black night. But whether it is a scene with steam rising from underground pipes, a foggy new housing development, or fresh snowfall blanketing a makeshift, side-street basketball court – I was struck by the distinct sense of calm his night scenes bring; and with calm comes hope. Like the saying: ‘It is always darkest before the dawn’, the resilience and endurance of Detroit, as reflected in its residents and the environment they call home, will surely see their way through this metaphoric night.
A Detroit Nocturne by Dave Jordano
Foreword by Karen Irvine
Hardcover, 12 x 10 inches, 120 pages
All images used with permission. From A Detroit Nocturne by Dave Jordano published by powerHouse Books.
To learn more about Dave Jordano, and see more of his work – please visit http://davejordano.com/
Dave Jordano was born in Detroit, Michigan in 1948. He received a BFA in photography from the College for Creative Studies in 1974. In 1977 he established a successful commercial photography studio in Chicago, shooting major print campaigns for national advertising agencies. Jordano is the author of Detroit: Unbroken Down (powerHouse Books, 2015) and has exhibited nationally and internationally and his work is included in the permanent collection of several private, corporate, and museum institutions, most notably the Museum of Contemporary Photography, Chicago; the Museum of Fine Arts Boston; the Museum of Fine Arts Houston; the Detroit Institute of Arts; the Detroit Historical Museum; The Mary & Leigh Block Museum of Art at Northwestern University, Evanston; Library of Congress, Division of Prints and Photographs; the Harris Bank Collection; and the Federal Reserve Bank.
Karen Irvine is Curator and Associate Director of the Museum of Contemporary Photography at Columbia College Chicago. She has organized over forty five exhibitions of contemporary photography, at the MoCP and numerous other venues.
OPENING RECEPTION WITH THE ARTIST: Friday, May 4 5:00 – 7:00 pm
“Tableaux continues his commitment to the people living in small towns in Italy, where human relationships are still the center of daily life. In Pergolesi’s newest series, he focuses his attention on the work surfaces that bear the markings and history of time. This can be seen in photographs of mathematical calculations, assorted tools used for framing, leather remnants discarded on the floor, and a paint splattered table that looks like a modern day Jackson Pollack.”
Catherine Edelman Gallery
300 W. Superior Street – Chicago, IL 60654