EITAN SIMANOR: PHOTOGRAPHS OF JERUSALEM
NOVEMBER 12 TO 28, 2015
Saint Honoré Art Consulting
346 rue Saint Honoré, 75001 Paris (France)
Saint Honoré Art Consulting
346 rue Saint Honoré, 75001 Paris (France)
Florida Museum of Photographic Arts
400 North Ashley Drive
Tampa, FL 33602
Opening: Saturday 14 November, 5 – 7 pm
The focused exhibition will present a culmination of work spanning the photographer’s career to date; from early beginnings in North London to extensive social documentary, unsparing war reportage, haunting Somerset vistas and contemplative still lifes. The retrospective will map over five decades of visual history, bringing together a broad selection of McCullin’s most powerful and unforgettable images, alongside a series of compositions of the Somerset landscape he calls home. In addition to his photographic oeuvre McCullin will present a collection of personal memorabilia acquired throughout his lifetime, featuring the Nikon camera that notoriously saved his life from a sniper bullet during the Vietnam war.
Hauser & Wirth Somerset
South Wing, Somerset House
Strand, London WC2R 1LA
Opening reception: October 23, 7:00-9:00 p.m.
“Roz Joseph documented a world of self-styled baronesses in diamond tiaras, elaborate ‘royal’ coronations and gender-bending performance,” notes curator Joey Plaster. “Her photos show how gay men deployed theater and fantasy to make very real contributions to San Francisco’s gay community. We’re excited to bring these long-lost images back into public view almost four decades after they were made.”
GLBT History Museum
657 Mission Street #300 | San Francisco | CA | 94105
Opening reception with the artist: Thursday, October 29, 2015, 6pm – 8pm.
Laura McPhee, noted for her stunning large-scale landscapes and portraits has been traveling to Eastern India for over a decade. In her upcoming exhibition, McPhee has devoted her keen and perceptive vision to picturing layers of history, culture, religion and class in and around India’s former capital Kolkata (formerly Calcutta).
Benrubi Gallery | 521 West 26th Street, Floor #2 | New York City | New York | 10001
Who doesn’t love women with tattoos? Up until a few years ago it was a rarity to see women covered in ink. It was considered a taboo subject even among models themselves. This book bashes those archaic notions of what a model should look like or even what a woman looks like. I’m sure there are those in different parts of the country or world that would see it different but who cares? They aren’t the ones buying this book. The book Tattoo Super Models is loaded with awesome ladies that are covered in tattoos. If you like tattoos and gorgeous women then pick this book up. That’s pretty much the bottom line. The photography ain’t too bad either.
Christian Saint has been a photographer for many years and this book from Goliath (they make some pretty excellent photography books) showcases gorgeous photos of beautiful tattooed women. It’s hard to believe that tattoo culture can still be considered a taboo subject. Women are works of art to begin with and when these beautiful women use their body as a canvas for some amazing art then that makes everything just a bit more fun and glorious.
The tattoo sub culture is huge and if you’re walking around the streets of NYC or Brooklyn or Astoria you will see tons of beautiful tattooed women. When tattoos on a woman were a rarity 15 years ago it’s almost at the point where it’s commonplace as a showing of dedication, strength, art expression, and an awesome “why not!?” attitude. The models in this book however don’t have the girl next door look or the girl that works at the bar look. They have that fashion/print model glow or aesthetic but happen to be covered in ink. The simplicity of the photos are a testament to Christian’s work because he took the bare essentials of good photography and directing and let the models shine as well as their ink.
The book itself is on the smaller side and makes for a great flip through read. It’s a fun hop into a world that many folks don’t know about but I think maybe an essential for anyone who is a fan of photo books because it’s something different. The art on display is amazing and plus who doesn’t like to look at pictures of beautiful women? Christian takes much commercial sensibilities and applies them to many of the images in this book as well as jumping into a bit of modern/retro pinup style photos. Great book!
Tattoo Super Models
By Christian Saint
For more information and to purchase the book: www.goliathbooks.com/detail/index/sArticle/134
F-Stop Magazine: The “Where I Live” issue of F-Stop Magazine features your project “Mea Sharim”, can you tell us about this project? What led to this project?
Ofir Barak: Mea Shearim was established in 1874 as the fifth settlement outside the walls of the Old City of Jerusalem. Its name is derived from a verse in the weekly Torah portion that was read the week the settlement was founded: “Isaac sowed in that land, and in that year he reaped a hundredfold (שערים מאה, Mea Shearim); God had blessed him” (Genesis 26:12). Today, Mea Shearim remains an insular neighborhood in the heart of Jerusalem with its overwhelmingly Hasidic population. Life revolves around strict adherence to Jewish law, prayer, and the study of Jewish religious texts.
The sights that I witnessed during my initial visits to this area were different from anything that I’d ever seen, because the residents resembled one another so strongly. Traditions in dress code for men include black frock coats and black hats. Long, black beards cover their faces, and many grow side curls, called payots. Women and girls are urged to wear what is considered modest dress – knee-length or longer skirts, no plunging necklines or midriff tops, and no sleeveless blouses or bare shoulders. Some women wear thick black stockings all year long, even in summer, and married women wear a variety of hair coverings, from wigs to head scarves. The residents speak Yiddish in their daily lives, as opposed to the Hebrew language spoken by the majority of Israel’s population. The only use of Hebrew for residents is in prayer and religious study, as they believe that Hebrew is a sacred language to be used only for religious purposes. This area has a lot of contradictions even today and there is an ongoing pursuit of the old versus the new. One can say it is the past versus the present. It is basically a city within a city.
I began documenting Mea Shearim in early 2014 after returning to Israel from the U.S. During the time I spent there I learned a lot about photography and once returning I had an idea in mind of what I wanted to create.
F-Stop: How do you prepare for a project, can you elaborate on your creative process ?
OB: I think the most important thing I have learned is to think in a series of frames and not in a single frame when doing a project. It is very easy to take one picture of a theme but when you have to take a few pictures of the same theme its quite different and challenging.
I advise also to set a time frame for a project. A time frame helps you put a starting point and a finishing point for the theme. A finishing point is very important because sometimes you can just get caught up and don’t want to let go.After that you have set those, you have to keep in mind your commitment to the project and push yourself to go out there and shoot, no matter the weather – summer or winter. It would be important to show different situations of the same subject / idea. After that, I assume the rest will present itself as the photographer will move forward.
F-Stop: How do you choose what to photograph and when, what are you looking to capture?
OB: I usually try to capture what interests me and to capture the everyday goings on of their life without disturbing them. We are living in a digital age when every camera is intrusive and people are fearing for their privacy. I found that in the holidays people are more relaxed and less care about the camera so a large part of my work there is being made around those days.
F-Stop: What do you hope people see or perhaps learn when they look at your photographs?
OB: I hope people can see, feel and even smell the area I’m shooting. I hope it triggers in them something and makes them think. There are times when I show my friends or family a photo and they immediately start sharing a story with me, they may have seen or recognized something familiar there and it triggers them. That is what I love about photography that in each person it may result in a different emotional response.
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?
OB: A lot of the times, a photographer connects the images he took to the experiences he had during the shoot – how was he feeling that day, how was the weather and so on. I have a lot of pictures that I consider favorites but only one that I hold dearest – It was the first picture I took of this series. The picture is of a jewish beggar asking for charity at night – He had a white beard that indicated his age and his had was reached for the people walking by. I hold this one so strongly because this is the last picture I showed to my late grandmother. I was by her bed in the ER of “hadassa” hospital, and I told her I went to Mea Sharim to start a project. After she saw it she told me she really liked it and said it was very different from everything I have done at that time. Sadly, she was ill and passed away the next day.
I can honestly say its not a great picture – I didn’t focus well on him when I was passing him by and the picture came a bit blurred, but every time I look at it, I can remember that moment I shared with her and it brings me joy.
F-Stop: Are you working on any other projects currently?
OB: I still have a year or so for “Mea Shearim” and while I’m working on a project I try to concentrate only on it. Even though, sometimes halfway through I start to wonder what can I do next or how else can I reinvent myself. I have a few ideas about that and one of them is to follow the Christen religion and document it, I have a few monasteries and churches around my area and I think that could be a different angle on religion. Maybe I would turn it into a multiple project that includes all major three religions – Judaism, Christianity and Islam.
F-Stop: What photographers or other artists inspire you?
OB: I would have to say that the late Garry Winogrand was the most influential photographer in shaping my perspective. I hadn’t heard of him until 2014, when I visited Washington D.C. and went to one of the museums there. I just strolled through the galleries and by mistake I entered the exhibition from the wrong side – from where the people exit. I didn’t know who the photographer was that took all these great pictures. I had an epiphany there that this is what I want to do. I spent two hours at the gallery but realized after a while I just couldn’t consume it all at once and eventually I went back there three more times. There was a small screening room with his famous talk at the Rice University, I took a notebook with me and sat at the corner of the room and write myself small anecdotes of what I want to achieve and how to while he talked. George Bernard Shaw once said that Life isn’t about finding yourself its about creating yourself, and I think I found and created myself in that small corner of the gallery room… with Garry Winorgrand by my side.
To see more of Ofir Barak’s work: www.ofirbarak.com
What drew me to this book was its subtitle, “architecture and light” for “The Barbican” did not mean anything to me. And so I turned to Wikipedia that informed me that “The Barbican” is the largest performing arts centre in the City of London. “The Centre hosts classical and contemporary music concerts, theatre performances, film screenings and art exhibitions. It also houses a library, three restaurants, and a conservatory.” It is also a residential building.
In the preface, architect Piers Gough states: “The Barbican displays a sheer physical joy in its combination of long horizontal buildings with tall vertical ones. I still think these are the most handsome residential buildings in London. The horizontal ones are the quintessence of horizontality and repetition and the verticality of the towers is equally emphatic.” His enthusiasm is infectious, as is the skillful display of lines in Alain Ainsworth’s photographs.
It goes without saying that a photographer interested in architecture and light will wonder whether considerations about light figured prominently in the architects’ planning. Chris Rogers, who writes on architecture and visual culture, and Jane Northcote, a Barbican resident, management consultant, photographer and writer, are pointing out that the architects thought indeed a great deal about it.
What is of interest here is however not the architects’ planning but Alan Ainsworth’s mostly black and white photographs. Well, black and white doesn’t really describe accurately what – “colour-wise” – we get to see: various shades of white, grey, dark, pitch-dark on smooth as well as on rather rough surfaces.
To photograph means, literally, to paint or to draw with light. I must admit that I’ve never really understood what that means for I’ve always thought that one paints with a brush or that one draws with a pencil – but with light?
However, contemplating Alan Ainsworth’s photographs sort of modified my point of view. His photographs, apart from being thoughtfully composed, make you aware that it is the light that makes us see what we are seeing.
The photographs in this work do not really show “The Barbican”, they show selected parts of the buildings. In other words, the sensations that I experienced while spending time with these photos were not chiefly related to the construction as a whole but to certain, carefully chosen, aspects that showed me how fascinating, intriguing, even mysterious, parts of buildings can look.
Alan Ainsworth is not only an accomplished picture-taker but also a gifted man of words. It does not happen often that I come across a photographer who knows so eloquently to put into words what he sees. “The multiplicity of lines and shapes, both positive and negative, which catch and channel light in different ways in the Barbican is remarkable. Straight lines run horizontally, diagonally up staircases and vertically, counterposed in many cases by the jagged line of the edges of the towers. As these multiple shapes combine with the different shadow shapes which move slowly across the built landscape, a series of geometrical patterns emerge. Shadows form of different planes and the effect of this gradually-changing cubist collage can be mesmerising. The round globe lighting fixtures counteract the lines of the buildings and, when caught in the sunlight against shadow, seem like glowing bulbs. Plate glass windows create reflections of light and shapes and multiple the criss-cross patterns from the buildings.”
Alan Ainsworth’s photographs are a most convincing demonstration of how light not only influences but transforms our perception. Rarely has it been made so visible to me that “framing by making use of light” (and that, to me, is what make these photos special) is nothing short of art.
“The Barbican” is a truly extraordinary book, I do highly recommend it.
The Barbican: Architecture and Light
by Alan Ainsworth
Oblique Publishing, London 2015
For more information and to purchase the book: http://www.obliquepublishing.com/ordering.html
OPENING RECEPTION AND BOOK SIGNING:
SATURDAY, OCTOBER 3, 6-9PM, 2015
Opera is an eight year project that presents a thorough documentation of over 40 opera houses in 19 countries ranging from the prosaic but odd Death Valley Junction’s Amargosa Opera House in the US, to the ornate, Baroque period Markgräfliches Opernhaus in Bayreuth, Germany, to the modern Metropolitan Opera House in New York, and finally to the contemporary, stark Palau de les Arts Reina Sofia in Valencia, Spain.
ARTHUR ROGER GALLERY
434 Julia Street
New Orleans, LA 70130
Opening Reception: Saturday, September 26, 6:00 – 8:00 pm
Color Photographs marks Daisuke Yokota’s first exhibition in the United States. Celebrated internationally for his interdisciplinary and energetic approach to art and bookmaking, this show will focus on the artist’s experiments with color photography. With this series, as Yokota explains, he “tried not to take pictures,” and instead sought to “draw out the physical aspect of film.” Yokota layered sheets of unused large format color film and applied unorthodox developing methods before scanning the results. Here, documentation is replaced with darkroom alchemy in order to show that the essence of photography rests not necessarily with the camera, but in film itself.
87 Newtown Lane
East Hampton, NY 11937