Surrealismo Ojos de Mexico
SURREALISM IN MEXICAN PHOTOGRAPHY
September 21 – December 2, 2017
Throckmorton Fine Art
145 East 57th Street, third floor, New York, NY 10022
Throckmorton Fine Art
145 East 57th Street, third floor, New York, NY 10022
Opening on September 8th, 2017, Artist talk at 6pm
“In Passing brings together several bodies of work made between 2015 and the present, mapping the artist’s ever-evolving performance of identity through large-format self-portraits and vernacular installations. Through an array of campy stereotypes that range from a suspicious housewife peering out a window to a Divine-esque drag queen, Gaignard interrogates her own intersectional identity as a biracial woman as well as the often murky, difficult terrain of race, class, and gender in contemporary culture.”
Houston Center for Photography
1441 W. Alabama
Houston, TX 77006
Opening night- Thursday August 24, 6-8pm
“Liminal builds an interest with the potential for engagement that exists with the relationship between imagery and objects that sit within an in-between state of emergence and realisation.
This series proposes an encounter with the liminal image in construction, where there is an exploration and interaction with the blurred boundaries between the real and imaginatively unreal, and images that are in a process of slow and gradual emergence.”
Black Eye Gallery
3/138 Darlinghurst Rd,
“Published beginning in 1928, Blossfeldt’s work focuses on highly detailed close-up images of plant life possessing a Modern design sensibility a generation ahead of its time. A pioneer in the field of macro-photography, Blossfeldt often constructed his own cameras allowing him to magnify his subject 30x to craft compositions infused with abstract shape, transforming ordinary buds, pods, and twigs into exotic specimens with rhythmic form.”
photo-eye BOOKSTORE PROJECT SPACE
376 Garcia Street, Suite A
Santa Fe Nm, 87501
This tome documents the catastrophic consequences of inconsiderate use of agrotoxins by Monsanto in the Northeast of Argentina over twenty years, mainly congenital malformations. But there are also other kinds of sufferings that are not readily visible: miscarriages and cancer, as photojournalist Pablo E. Piovano, born 1981, states.
Unsurprisingly, most media rarely write about it. “Silence was what made most noise. So I decided to go out and document on my own to know what was happening to the health of the people living in the fumigated villages,” writes Pablo E. Piovano.
In other words: “The Human Cost of Agrotoxins” is classic documentary and this means: to go out into the world, to confront yourself with what is out there – and then tell us about it, with pictures, and with words. And this is precisely what Pablo E. Piovano did. Moreover, he did what journalists usually do: he talks to people, looks for knowledgeable folks and conducts interviews.
One of these interviews, conducted by Jan-Christoph Wiechmann, presently a correspondent in Latin America for the German magazine “STERN,” can be found in this book. The interviewee, Fabián Tomas, whose lungs are failing and whose muscles have disappeared, says that Monsanto, Bayer and all the others just talk about jobs. And he asks: “But what kind of jobs are these? And what did they do to this beautiful diverse landscape? Now it is all just monoculture and all the bugs and birds and butterflies are killed by massive machines; planes that spray the poison from above. I can’t believe that the most intelligent generation of human beings that ever existed has forsaken our values.” But what about the industry who says that it is not harmful to humans?, asks Jan-Christoph Wiechmann. Fabián Tomas responds: “Nobody knows how these millions of toxins that sink into the ground are affecting our health. There are no long term studies. Scientists from the University La Plata visited Basavilbaso. They found the poison in our water and in the air. Here in Argentina we were the laboratory for agri-business and the chemical industry ever since Monsanto entered the country under suspicious circumstances in 1996. Now there are thousands of victims.”
Yet there is also resistance, the movement of The Mothers of Ituzaingó, for instance. Patricio Eleisegui portrayed them for this book in which are also informative texts by Carlos Rodriguez (“We Just Miss the Happiness of Being Healthy”), Damián Marino (The Cry of the Invisibles), Darío Ananda (A Massive Experiment), and Wendy Watriss (Inconvenient Thoughts: Agent Orange and Other Chemicals).
The photos in this tome do what good photos always do, they make you pause. And, they make your thoughts wander and create other pictures in your head that illustrate the stories behind the pictures. It feels weird and disturbing to spend time with these photographs not least because I once travelled for weeks by bus through this part of Argentina without knowing anything about these things. Once again I was reminded of the old truth: we can only see what we know.
Guillermo Saccomanno, in his introductory text, asks himself whether “Pablo E. Piovano’s photos are art in themselves, or denunciation.” It is not a question that occurred to me but then again, it is pretty different what photos trigger in different minds. Saccomanno also felt reminded of Vietnam – and this I share. What I also share is his reference to the results of capitalism. “The capitalist reason, seeking profit from nature has, in fact, created that deformed girl crawling and those children with hydrocephalus and mental retardation.”
“The Human Cost of Agrotoxins” is a necessary and important book.
The Human Cost of Agrotoxins
El Costo Humano de los Agrotóxicos
by Pablo E. Piovano
Kehrer Heidelberg 2017
For more info and to purchases: https://www.kehrerverlag.com/en/pablo-e-piovano-the-human-cost-agrotoxins-in-argentina
“The exhibition includes newly commissioned portraits by Katherine Green, work by the students, archive material from the local studies library, oral history and contributed photos from members of the public. All celebrating the history of one of Europe’s largest housing estates.”
OPENING RECEPTION: AUGUST 11, 5-8PM
“Fleming-Ives’ photographs, taken with a medium format film camera, are largely confined to a quiet and still apartment, often cast with squares of warm afternoon light, and defined by objects relating both to a child’s development—rainbow toys strewn about the floor—and a mother’s—a guide to labor and childbirth entitled Birth. Fleming-Ives portrays both blissful interactions with her child alongside physiological stresses of post-pregnancy, and demonstrates motherhood as practiced and learned over time, rather than automatic and immediate upon a child’s birth. Layering meanings of “women’s work”—that of mother and that of artist—Fleming-Ives steps into the latter to illuminate the former, expanding the art historical theme of motherhood to include its effect on female identity, while newly exploring her own negotiation between the two roles. This idea is perhaps best articulated in the work Motherhood: The Reference Library, a shelf containing a collection of books that question what motherhood means to those who define themselves as mothers, and were meaningful to the artist while making this project.”
126 MAIN STREET
“Summer Group Exhibition at The Lionheart Gallery in Pound Ridge, N.Y., channel the monumental influence of summer in our lives—and some of the most powerful images come from a small group of featured artists who favor alternative process photography.
Emerging from different backgrounds and different parts of the U.S., they share an immersion in historic processes that yield quietly dramatic handmade images with painterly qualities.
At times summoning imagery directly invoking the feel of summer, these images reside in the zone below surface impressions as they dig deep into the psyche of this defining season—so masterfully that there’s hardly a need for color; a whisper here and there but otherwise just the penetrative majesty of black-and-white.”
The Lionheart Gallery
27 Westchester Avenue in Pound Ridge, N.Y.
Opening Reception: Thursday, September 14th, 2017
“Olivia Locher: I Fought the Law, an exhibition of photographs breaking an eccentric law from each of the 50 States of the Union. Locher’s photographs take on the tangle of our pork-belly, dairy-lobby, male-anxiety, sex-obsessed legislation. Her quirky illustrations of America’s most unusual laws will make both Dems and Repubs roll in the aisles. Has Olivia Locher built the bridges that can span our red-blue political chasm?”
Steven Kasher Gallery
515 W. 26th St., New York, NY 10001
“The exhibition title Between the Dog and the Wolf is a translation of a common French expression “Entre chien et loup,” which describes oncoming twilight. As Meyerowitz notes, “It seemed to me that the French liken the twilight to the notion of the tame and the savage, the known and the unknown, where that special moment of the fading of the light offers us an entrance into the place where our senses might fail us slightly, making us vulnerable to the vagaries of our imagination.””
Howard Greenberg Gallery
41 East 57th Street, Suite 1406, New York.