Won-Chul Lee - Gyeongju #23

Won-Chul Lee – Gyeongju #23

1 September – 1 November 2015

Featured Artists – Jeonglok Lee Won-Chul Lee & Sungseok Ahn

Each of the artists’ unique vision and connection to their heritage combines to give us a sense of the cultural shift from their collective history to individual desire and experience. Jeonglok Lee uses the butterfly, the spirit symbol of moving between worlds, to highlight past and present, the emotional to the physical. Won-Chul Lee captures Korean Burial Mounds and the trees that grow at their base. It is the perception of a full circle of life that surrounds us, spiritually and visibly. Sungseok Ahn is holding us accountable for the present by reminding us of the past. That the continual march of progress should pay homage to what came before. Wholesale destruction of heritage, culture and the story of a people should not be dismissed without honor.

wall space gallery
116 East Yanonali Street in the Funk Zone of Santa Barbara

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Jonas Adriaan Verheyen @ LES Projects Space

Jonas Adriaan Verheyen
September 15–October 1, 2015

Opening Reception: Friday, September 18th | 6-8 p.m.

Focusing on the introspective, emotional conflict within, Inherent Self is a series of expressive self portraits. Taken over a 9 month period of private performance pieces conducted in the artist’s studio, and drawing on the traditions of Abstract Expressionism and conceptual performance art, the works utilize performance, photography and painting as tools for psychological exploration.

LES Projects Space
175 Rivington St.
New York, NY 10002

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Harold Feinstein

Harold Feinstein

AL SATTERWHITE – aRound New York
SEPTEMBER 3 – 31, 2015

Leica Gallery Los Angeles
8783 Beverly Boulevard
West Hollywood, California 90048

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Marc Baruth @ Art Galerie

Marc Baruth: “______”/LAND
15. November 2015 – 9 January 2016

Based on vintage black and white photographs found in family albums, landscapes which were mere backdrops are placed in the center. The traces of that what once was are still there, the blank spaces conspicuous. How does an image change when bereft of its original intention? A haunting beauty emanates from these monochrome images of woods, meadows, houses and lakes, which do not instantly reveal their secret.

Art Galerie
Fürst – Johann – Moritz – Str. 1
57072 Siegen

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038e6c0c4abf425779590ed350027ddeYAEL BEN-ZION



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Weegee @ The Ryerson Image Centre

unnamedWeegee: Murder Is My Business
October 14 through December 13, 2015

Murder Is My Business looks at the urban violence and mayhem that was the focus of Weegee’s early work. He worked almost exclusively at night, setting out from his small apartment across from police headquarters when news of a new crime came chattering across his police-band radio receiver. Often arriving before the police themselves, Weegee carefully cased each scene to discover the best angle. Weegee specialized in flash photography, illuminating crime scenes and tragedies with garish artificial light. This new approach produced lurid, high-contrast pictures, and he often used this method to reveal onlookers’ startled reactions to the events confronting them.

The Ryerson Image Centre
33 Gould Street
Toronto, Ontario, Canada

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Interview with photographer Erin Geideman

Ian on bloodstained bed

Ian on bloodstained bed

F-Stop Magazine: How did you first become involved in photography and what led to you working in this medium as an artist?

Erin Geideman: I started studying art photography at Syracuse University in the beginning of 2010. Although I had been interested in the medium since high school, I thought it was easy and didn’t require much effort. My opinion quickly changed when I was first shown the works of Nan Goldin and Larry Clark. I saw that these photographers were making breath taking images of the grittier side of life and using them to create complex and interesting narratives. In spring of 2012 I took a class taught by Doug Dubois that focused on photobooks and sequencing. We spent four hours a week looking at pivotal photobooks created over the last century and learned how to use our own images to create meaningful layered narratives. This cemented my interest in the medium as I believe photobooks are one of the most effective mediums to portray narrative, my main interest in art.

F-Stop: The current issue of F-Stop Magazine includes images from your project “I Can See Right Through You,” can you tell us about this project? How did this project come about?

EG: Following in the tradition of the snapshot aesthetic I first started photographing my friends in the winter of 2009. It wasn’t until my best friend Ian was shot on August 20, 2010 that my work had a direction. I was so disgusted by the tragedy I witnessed that the only way I knew how to process the event was by making pictures. I photographed Ian and his family for the next three years as they learned to cope with the trauma they endured. In the end I created I can see right through you an 84-paged photobook. Over time I saw how they gradually grew apart, fighting circumstances and personal traumas that rendered them depressed but not hopeless. I created a family album laden with themes of intimacy, alienation and pain.

Kristen and Ian

Kristen and Ian

F-Stop: Can you discuss your process for making these images or your creative process more generally? What were you looking to capture?

EG: I had two distinct approaches while creating I can see right through you. In the aftermath of the trauma my friends and I would frequently get together for alcohol-fueled parties. Here I would shoot with my DSLR and external flash, making thousands of snapshots over the span of three years. As time progressed however, I realized I needed to utilize other techniques in order to best tell our story. In 2011 I first started shooting medium format film. I would expand upon themes I saw in my snapshots and use those as jumping off points for my staged portraits and still lives. I wanted to capture the emotional and psychological impact of the event to show how we had been changed by it.

Ian in blue chair, I

Ian in blue chair, I

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

EG: I’ve always been bothered by the brevity and emotional carelessness of news stories. Ian’s story for instance appeared on the news for one day, “Man shot in apartment robbery” and then it forever disappeared from the public consciousness. I want to change that; to show that an event as minuscule as a single man getting shot has long term ramifications and consequences. I want my audience to gain an understanding of the emotional, physical, and psychological impact an event like that has, long after the news story dissipates.

F-Stop: Do you have a favorite image in this series? If so, which one and why is it the image that speaks to you most?

EG: My favorite image is Ian on bloodstained bed. It was made on Ian’s 22nd birthday, our last photo shoot together. Ian hated being photographed and would often become angry with me for making pictures. On this day he was so confrontational he actually made me cry. Afterwards, I made this photograph. I wanted to show him as an innocent martyr with the bloodstain on the bed functioning as a reminder to the trauma that stole his innocence.

Bloodstained bed, close up

Bloodstained bed, close up

F-Stop: Are you working on any other projects currently?

EG: I recently started another project, again focusing on themes of trauma and loss. In January my good friend’s two month son Benny was murdered at the hands of her husband. Since his death she has had a difficult time coping with the loss of her child and husband, while struggling to remain strong for their five-year-old daughter. I want to make pictures with her and her family to help aid the grieving process as well as to create lasting memories of her son whose life was cut far too short.

F-Stop: What photographers or other artists inspire you?

EG: Nan Goldin and Larry Clark were my early favorites, but recently I’ve been looking at a lot of photobook makers. Valerio Spada is excellent; I love his use of color and his creativity in bookmaking. I’m also a big fan of Alec Soth, Doug Dubois, and Leigh Ledare.


To see more of Erin Geideman’s work:


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Gail Albert-Halaban @ Kopeikin Gallery

unnamed-1Gail Albert-Halaban: Paris Views
September 12th – October 17th 2015

‘Paris Views’ is a follow up to Albert-Halaban’s “Out My Window’ – a conceptually similar series shot in New York City in 2009. These projects invite the viewer to see inside and outside at the same time. The glass panes of a window somehow become even more transparent with the blending of two worlds. The outside world whizzes by, as the inside seems immune to the passage of time. Loneliness is examined simultaneously through multiple windows – a man sits in solitude on his bed, a woman alone at her desk, a child practices her wind instrument solo – leading to a sense of relation among them all. With Albert-Halaban’s staging of this project, strangers become neighbors – individuals form a community.

Kopeikin Gallery
2766 South La Cienega Blvd
Los Angeles, CA, 90034

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Ghislain & Marie David de Lossy @ Fontana Gallery

unnamedGhislain & Marie David de Lossy: Not Alone
Opening: Saturday 26 September 16.00 – 18.00 hours

Fontana Gallery, Lauriergracht 11, Amsterdam

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SECRET AGENT @ Finnish Museum of Photography

4 September 2015 – 16 October 2015

Judith Barry
Beth Collar
Chiara Fumai
Mathilde ter Heijne
Maud Sulter
Niina Vatanen

Secret Agent is a group exhibition composed from the viewpoint of feminist authorship and forms of collaboration in contemporary photography and film making practices. The six artists in the exhibition actively challenge the institutional structure of history and patriarchal authority – and imagine alternative narratives through the specificity of lens-based media. Acts of image-making, archiving, and guerrilla information tactics enable visibility and challenge relationships between author and authority.

Finnish Museum of Photography, Helsinki

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