Evan La Londe @ Melanie Flood Projects

Evan La Londe: Sundials
October 22-December 2, 2017

Reception: Sunday, October 22, 1-3pm

“Sundials is the seventh and final installment of an ongoing artist series at Melanie Flood Projects, Thinking Through Photography, an exploration of artists working with photography today. The series includes a comprehensive survey of contemporary photographic practices through programming that highlights experimental and diverse approaches to image making. Facilitated by exhibitions, artist talks, studio visits, interviews, and suggested readings which aim to expand the language surrounding photography, while also unveiling progressive work by local artists in the Pacific Northwest & beyond.”

Melanie Flood Projects
420 SW Washington Street #301
Portland, OR 97204

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Portfolio ShowCase 10 @ The Center for Fine Art Photography

Image © Ben Marcin

Portfolio ShowCase 10
October 6 – November 17, 2017

Reception: October 20, 2017 from 5:30 – 8:00 pm

Exhibiting Artists: Julie Anand & Damon Sauer, Frank Hamrick, Katie Kalkstein, Ben Marcin, Molly McCall, Lisa McCarty, Emmanuel Monzon, Matt Hamon, and Tema Stauffer.

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

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Detours @ SVA Gramercy Gallery

Detours: SVA Masters in Digital Photography 2017 Thesis Exhibition
October 14 – Saturday, November 11

Reception: Wednesday, October 25, 5:00 – 8:00pm

i3 Lectures
Tuesday, October 24
Eli Schmidt, Fashion & Editorial Photographer
7-8:30pm 136 West 21st., Room 418 NYC
Tuesday, November 14
Clay Patrick McBride, Photographer & Filmmaker
7-8:30pm 136 West 21st., Room 418 NYC

Location: SVA Gramercy Gallery, 209 East 23rd Street, New York City

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Diego Bardone @ House Space Museum Tadini

Diego Bardone: Milan street Photography
October 20 to November 19, 2017

opening to the public on October 20 from 18.30

“Cosa sarebbe Diego Bardone senza Milano e cosa sarebbe Milano senza Diego Bardone? Lui, fotografo di strada, ogni giorno comincia la sua giornata per le vie di questa città. Si apposta, come farebbe un ornitologo, a caccia dell’umano, del cittadino qualunque, del turista distratto, dell’improbabile situazione che si crea tra l’uomo e il suo contesto. Lo scatto che porta a casa Bardone non coglie solo uno sguardo, né solo uno scorcio di città, ma l’insieme. Dall’ insieme nasce la poetica del suo lavoro fotografico. Riesce, nella moltitudine, a cogliere una combinazione degli elementi che spesso è un intero racconto, altre volte, è uno spaccato istantaneo carico di contraddizioni, altre volte coglie tutto l’umorismo pirandelliano del vivere.”

House Space Museum Tadini
via Niccolò Jommelli, 24 Milan

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Inge Morath @ FOTOHOF

Inge Morath – collage with an early photo of Inge Morath, 2001

Inge Morath Pictures and letters. Biographical material from the archives
October 24 until January 13, 2018

Opening: Susanne Czepl reads from early letters and texts October 24, 2017, 19:00

FOTOHOF archive / Sparkassenstra ß e 2/5020 Salzburg / Austria
admission free

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© Marc Riboud, Courtesy Polka Galerie.

November 10, 2017 TO 20 January 2018

Thursday, November 9 OPENING THE 18 TO 8:30 p.m.

Polka Court · Venice · 12, rue Saint-Gilles · Paris 75003 · France

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Richard Avedon @ Pace/MacGill Gallery

Richard Avedon, Members of the Student Nonviolent Coordinating Committee, Atlanta, Georgia, March 1963 © The Richard Avedon Foundation

Richard Avedon: Nothing Personal
November 17, 2017 ­– January 13, 2018

Opening Reception: Thursday, November 16, 6 – 8 p.m.

“Pace Gallery and Pace/MacGill Gallery are honored to announce their representation of The Richard Avedon Foundation with an exhibition of Richard Avedon’s photographs and extensive archival materials drawn from Nothing Personal, Avedon’s 1964 collaboration with James Baldwin. ”

Pace/MacGill Gallery
537 West 24th Street, New York

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13 October – 12th November

Opening: Friday 13 October, 5–8pm

“After noticing how unengaged people seemed to be with birds, she began working on a series of portrait sessions, hoping to portray birds in a way that displayed their incredible beauty and diversity, and to inspire a deeper concern for their well-being. Her first solo exhibition focused on budgies, the ubiquitous family pet. Then, for her next series, she worked alongside wildlife carers to create a series of portraits of wild cockatoos. This was followed by ‘Prey’, which focused on Australia’s hunting birds, and has since worked on numerous shows exhibited around the world. She has also published an illustrated hard cover book in the US, Canada and UK entitled ‘Bird Love’ through Abrams.”

Olsen Gruin
30 Orchard St, New York NY 10002

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KENRO IZU @ Howard Greenberg Gallery

Eternal Light 40 #4, Allahabad, India, 2013
Gelatin silver print; printed 2016
Copyright Kenro Izu, courtesy Howard Greenberg Gallery, New York

October 26 – December 9, 2017

“Two holy cities, Varanasi and Allahabad, inspired New York-based Kenro Izu, who has traveled to India frequently since his first visit 20 years ago. With a name that means “city of light,” Varanasi is considered the spiritual capital of India, a destination for pilgrimages and, for Hindus, the final destination for those who wish to be cremated along the Ganges. Allahabad is the holy city where three rivers meet. The confluence point of the Ganges, the Yamuna, and the Saraswati rivers – called Triveni Sangam – is sacred, and bathing there is said to flush away all of one’s sins. ”

Howard Greenberg Gallery
41 East 57th Street, Suite 1406, New York

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Book Review: ObjectImage by Sarah Tulloch

ObjectImage introduces British artist Sarah Tulloch’s idiosyncratic approach to working with the photographic image. Tulloch uses photo collections left by her grandfather and daily newspaper imagery to explore themes that reflect on our shared habits of consuming photographic media. From the social history of documenting family to the juxtaposition of recycled media imagery she probes and questions both object and image to create new and beguiling works. 

Chavez-Kate Moss Queen Of Fashion

Honey Boo Boo Landscape

The book is laid out and composed to give Tulloch’s work deserved attention. The placement of both full images and details throughout the book allows the reader to view the works at various distances – and really get a chance to appreciate the craft and care taken to artfully construct these ‘new’ images. Shaggy fibers from rough cut edges and the smooth scalloped borders of the original prints contrast the other; layers of some collages are distinctly apparent and lend a tactile depth to the object.

“You have to have that point where the image
is released from its original use—value for it to become something else and for that imaginative process to do its work.”
Sarah Tulloch

Plant Boy

In Faultline, and the subsequent Cut Series and Postcards, Tulloch’s re-works her grandfather’s collection of photographs, slides and cine films. She describes her Cut Series “as an investigation into the slippery nature of memory and the photographs mediation between worlds that are obfuscated from one another. The material fabric of the photograph and its’ possibilities for ‘re formation’ are the material of my working practice.” Her photomontages allow her to re-focus the media, re-compose the image and ultimately re-find and re-purpose the photographic subject. 

from Postcard Series, Boy Dog

from Postcard Series, Boy Dog – Detail

Tulloch’s new work Newspaper Heads continues themes of transience and entropy but shifts the stage to public and contemporary events. Tulloch was drawn to the unexpected juxtapositions of subject matter in daily newspapers; overleaf from images of human tragedy are adverts for a new car. She reflects and re-presents this image culture and as with earlier work re-defines the photographic matter in the process. 

Leaning Hand


So many artists/photographers are creating work by mining the digital archives of the internet – whether it be appropriated news or mass media images, curated flotsam and jetsam of personal photographs online, or the like. Tulloch’s personally inspired work (she inherited her grandfather’s  extensive collection of photographs) in ObjectImage was made with thoughtful intent. Unlike the lucky happenstance of found photos that incidentally speak to an artist’s tastes and oeuvre – Tulloch’s cuts are not random; rather there is a clear choice to show, or not show, elements of the original images. The physical manipulation and technique of collage are not new, but her work feels fresh. The curation of her reinvented images, along with the accompanying introduction by curator and writer Matthew Hearn, and the interview with photographer  Marjolaine Ryley, really gives the reader a sense of Tulloch’s foundation and philosophy behind her creative process, and the images carry her new narratives forward.

ObjectImage by Sarah Tulloch
128 pages; 7 x 9 ½  inches (17.7 x 24 cm)
ISBN-13: 9781942084372

Sarah Tulloch holds a First Class honors degree from the Bristol School of Art and a Design and Distinction, Master of Fine Arts from Newcastle University. She concentrates on a close-range investigation of found photographs as both objects with specific material qualities and images in themselves. Her book, published by Daylight Books, is supported by the Arts Council England. Tulloch has exhibited in the UK and internationally, including Plus Arts Projects in London, Motorcade/FlashParade in Bristol, Baltic 39 in Newcastle upon Tyne, and Bergby Konst Centre, Sweden. Tulloch lives and works in Newcastle upon Tyne, UK.

For more information about Sarah Tulloch, please visit:

To order a copy of ObjectImage, visit Daylight Books here

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