Sandra Jordan: Hidden Beauty
5 October – 22 October 2016
L A Noble Gallery
L A Noble Gallery
Opening: Monday, October 17, 2016, from 18h to 21h
Esther Woerdehoff Gallery
36 rue Falguière
75015 Paris – France
Opening Reception: October 8, 6pm–8pm
Home is the center-weight of Odette England’s artistic practice, with memory and forgetting being the counterbalances. Her photographs are fragile, contemplative and temporal spaces. Throughout her practice, she works with expired film, vintage cameras, damaged negatives and alternative photo processes; exploring volatility of identity, emphasizing the unstable nature of the past/present and the parent/child seesaw. These overall themes continue to be examined with Excavations, which utilizes historical photographs from the artist’s family archive.
89 Water Street, Brooklyn NY 11201
Flor Garduño Photography
December 1, 2016 – February 25, 2017
Garduño’s photographs offer poetic images drawn from nature, village life, dreams, and the female form. Her images are usually sparse, but they are elegant and richly suggestive. Garduño has a surrealist, dream-like perspective, giving her photographs a mystical quality. They elicit a “second look,” and invariably contemplation. Garduño is technically sophisticated and demanding—and her photographs are always luminous and beautifully printed.
THROCKMORTON FINE ART
145 East 57th Street, third floor, New York, NY 10022
Over three decades, British born, New York-based photographer Adam Fuss has created a body of work that combines photographic techniques of the past with contemporary materials. His pinhole photographs and cameraless photograms, executed with technical rigor in a variety of media, have dealt with temporality, memory, regeneration, and death. This exhibition presents a remarkable suite of Fuss’s large-scale daguerreotypes that deepens his exploration into these themes. These are the largest daguerreotypes ever made. Prefacing the exhibition is Fuss’s selection of 19th-century daguerreotypes of nudes and post-mortem studies.
Hans P. Kraus Jr. Fine Photographs
962 Park Avenue at 82nd Street in New York City.
Starting in the early 1990s, Nollywood quickly gained worldwide relevance as the world’s second most prolific film industry (almost 2,500 titles released annually) ahead of Hollywood and behind Bollywood with revenues topping $600 million annually. Historically, film in Africa had a European sensibility with parochial scenes laboriously captured on expensive celluloid, owing to the colonial funders. Nollywood, in contrast is characterized by independent cheap and quick filmmaking, capitalizing on the falling prices of digital recording equipment and meeting the demands of a continent for authentic stories that reflect the reality on the ground. An entrepreneurial rags-to-riches story, its producers are private individuals getting little or no assistance from government who make and distribute film across the continent despite infrastructure deficiencies and barriers to trade.
In October 2014, artist Iké Udé returned to Lagos, Nigeria, after three decades away, and took photographs of 64 Nollywood personalities. Udé captured an impressive cross section of the industry including renowned screen icon Genevieve Nnaji, veteran actor Richard Mofe-Damijo, established actor/director Stephanie Okereke, maverick filmmaker Kunle Afolayan, as well as the next generation of rising stars. The objective of this project is to celebrate these African personalities in the timeless, classic, elegant style the artist is known for.
Museum of Contemporary Photography at Columbia College Chicago
600 S. Michigan Ave.
Chicago, IL 60605
‘MTWTFSS: Chapter 1. 2010-2015’ is a vulnerable, honest and intimate photo book by the emerging photographer Sophie Harris-Taylor whose autobiographical body of work is made of images taken from her photographic diary of the past five years.
The book is laid out in a traditional journal form, much like a decent sized Moleskin notebook, complete with a strip of fabric to mark your place. The front and back cover are stamped/faux-embossed with the book title and short statement. I appreciated its understated presentation, especially in a time when larger photobook publishers are really trying to vie for the attention of their customers. The handcrafted design esthetic of MTWTFSS is definitely in the ‘Win’ column.
Harris-Taylor has compiled a collection of images spanning a five year period, in a diary-style fashion. Her images are presented almost exclusively as single image pages, with the occasional blank or two-page spread for visual pacing. The limited first edition of 500 copies are hand numbered and signed.
In describing the book, Harris-Taylor says, “MTWTFSS is an autobiographical, fragmented, sporadic photo diary. It is a reflection of myself and those I know and love. In familiar, often mundane surroundings I seek to capture some element of truth of our lives. For me these ‘everyday, forgotten nothings’ are more important and truthful than any other. These are the moments between the momentous.”
Harris-Taylor relates the personal aspect of the book by saying, “MTWTFSS is the most personal to me. It’s only become apparent recently that although I’m representing aspects of other people, I’m seeking the aspects I’m familiar with and which I can relate to the most. So I’m really using them to express myself.”
I truly did get the feeling I was privy to a photo diary, where the author had chosen certain places, people and images that evoked a sense of vulnerable moments captured between her and the people in her life. The book’s presentation didn’t feel forced, and while the promotion for the book describes the images as “spontaneous”, I would be more apt to describe the style as “informal” despite the acute attention Harris-Taylor gives to light, composition, and the connection to the people sitting before her lens.
“At the same time as seeking their vulnerability I was in awe of their confidence and ability to be comfortable in their own skin. In truth, I was in awe of my friends. One girlfriend in particular; she let me in, she gave me what to capture and I became almost obsessed with the act of photographing her. There were moments of sadness, moments of vulnerability, she never put up a front or undermined what I was doing, she let her guard down and this is what I became interested in.”
The understated moments that make up much of what we construct in our minds as the memories of what has taken place, where we have gone, and who we have encountered, are the memories we recall when reminiscing. Harris-Taylor has taken the reader/viewer into her own memories and revealed the mostly hidden, simple moments by being our (sometimes literally) bare and vulnerable self, our true moments without facade.
Limited 1st edition of 500 (hand numbered)
Leather-effect binding and blind embossed cover.
16x20cm, 176 pages
Offset lithograph printed on 140gsm uncoated paper.
Designed by Joseph Carter.
Sophie Harris-Taylor is a British fine art photographer and lecturer in photography. Born in 1988 in London, where she still resides, she received both her MA and BA (Hons) in Photography from Kingston University.
Harris-Taylor’s work has been nominated for the Taylor Wessing Photographic Portrait Prize and The Renaissance Photography Prize. Her work has also been exhibited in a range of shows, including The Young Masters.
To view more work by Sophie Harris-Taylor, visit her website at http://www.sophieharristaylor.com/
To order a copy of MTWTFSS, click here
The latest installment of Abdulaziz’s ongoing Water series focuses on the photographer’s home state California, which has been in the grip of a record, multi-year drought. Abdulaziz has illustrated California’s natural and man-made terrain with dramatic landscape shots, alongside humanistic scenes highlighting how the region has been challenged by scarcity.
THE NATIONAL GEOGRAPHIC MUSEUM, WASHINGTON DC
The Norwegian photographer Morten Andersen began in the 1980s with the photographing subcultural subjects, such as the Oslo punk rock scene. In custom fanzines (magazines by fans for fans), he presented his pictures a broad subculture scene, received from reputable magazines orders, and became an important figure in the vibrant and gritty rock Photography of the 1990s. His paintings are raw and expressive, and could be assigned to the literary concept of “dirty realism”. This describes the unvarnished, laconic but passionate participating depiction of everyday events, including downsides. Influenced by workshops such as Nan Goldin in New York, Andersen developed his powerful work, which was published today in numerous books.
FOTOHOF Inge-Morath-Platz 1-3 / 5020 Salzburg / Austria