Robert Whitman @ The Lumiere Brothers Center for Photography

FRAGRANCE SERIES 1995

FRAGRANCE SERIES 1995

Robert Whitman: MIKHAIL BARYSHNIKOV. BODY METAPHYSICS
October 12, 2016 – January 22, 2017

The exhibition features Robert Whitman and Mikhail Baryshnikov’s five artistic encounters from 1990s to 2015. The series include Perfume campaign shoot (1995); rehearsal with a master choreographer Merce Cunningham at American Ballet Theatre (1999); Baryshnikov usual classes (2002) and exercise; and the most recent commissioned shooting for AS IF Magazine timed to 10-year anniversary of Baryshnikov Art Center. Whatever the occasion, Whitman captures Baryshnikov’s magnificent grace, charisma and style. The Fragrance series reveals his lively and playful mood. The exhibition will also reveal contact sheets of each series showing behind-the-scenes shooting process.

The Lumiere Brothers Center for Photography

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JULIE BOSERUP @ Sous Les Etoiles Gallery

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JULIE BOSERUP: MISLEADING PERSPECTIVES
SEPTEMBER 15 – NOVEMBER 26, 2016

OPENING RECEPTION THURSDAY, SEPTEMBER 15, 6-8PM
ARTIST TALK MONDAY, SEPTEMBER 19, 7PM

Inspired by the Wurts Bros.’s novel technique of aligning ground level shots of skyscrapers with images taken from the upper levels of a nearby building, Boserup adds found images, drawing, geological images and her own photographs shot in the streets of New York to an enlarged digital print from the archive. Whereas Lionel Wurts chose his technique of combined images to compensate for the misleading perspective of the bystander’s view, Boserup crafts new visions of the historical document in order to add layers of meaning, mingling both the familiar and fantastical.

Sous Les Etoiles Gallery
100 Crosby Street #603
New York City, NY 10012

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Book Review: Elegy From The Edge Of A Continent by Austin Granger

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The Point Reyes, Tomales Bay

Elegy From The Edge Of A Continent is filled with dramatic images and writing based on the landscape to be found in Point Reyes, California. The area’s scenic bays, ridges, inlets, seascapes, and even our domestic detritus, prove to be beautiful subjects for Austin Granger’s camera.

This book is broken into two parts: the first half of the book is a collection of Granger’s writings, while the second half is the collection of images of Point Reyes. In his writings, Granger talks about making a creative space of his darkroom, and events involving his trips to photograph locations around the Point Reyes area in journal-style writing. Each outing is laced with literary and artistic references, metaphors, and dramatic scene descriptions. Granger’s writing style just doesn’t match my reading preferences – there is a significant amount of description put into these “chapters.” I would prefer instead to learn a little more directly about how he came to discover these beautiful locations off San Francisco’s northern coastline. Granted, those descriptions are there – but they’re hidden within the rhetoric of Granger’s life experiences.

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Clearing Storm, Drakes Bay, Point Reyes

Austin Granger’s photography is influenced largely by the inspirational work of photo legends such as Ansel Adams, who photographed the American West and the California wilderness with a similar approach of dramatic black-and-white images that exalt the wonders of the natural world.

Grainger came of age in the 1970s and 80s, so he certainly experienced the explosion of Ansel Adams’ work in calendars, posters, notepads; the ubiquitous ‘Moonrise over Hernandez’, images of Halfdome, and Yosemite National Park that all of us in the 1980s saw popping up everywhere. How can one not be influenced by these images, and strive to make our own comment on the natural world around us with those references in our mind’s’ eye?

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Abandoned Navy Compass Station, The Great Beach

Many of Grangers photographs in this book are similar takes on the areas that he has photographed. Point Reyes, Chimney Rock, Tomales Bay are all very visually rich places in which to photograph. It would be hard to differentiate oneself, photographically speaking, when walking the same trails as so many others who have come before. But Granger’s work in ‘Elegy’ starts to have its own voice when he documents these areas with blur and a bit of environmental chiaroscuro. His image of starlings flying over a field in advance of a storm gives us a sense of where he was and what was happening – a feeling that I can relate to more directly than an Adams-esque image of waves crashing, or a Weston-esque image of an deer skull amongst the rocks. Perhaps understandably, many of Granger’s landscape images in ‘Elegy’ feel derivative. However, many of the images Granger has featured on his website go beyond the images within ‘Elegy’ and one can see the influence of other great photographers in his work. Granger’s strong body of work is worthy of attention, all criticism aside.

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Running Elk, Tomales Point

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Upper Schooner Bay

Within ‘Elegy,’ almost a dozen other images struck me as being made through his own vision, his own voice. Through these images, I “hear” Granger more clearly than all the description he’s given us for his photographic method, his journeys to these locations, and the insightful inclusion of poems as they relate to how he frames the backstory to his creative process. His photographs of Duck Island at low tide, and high tide, give us the insight to how Granger sees the world. He has studied it, and recognizes the differences that each static place has in a world that is constantly in flux, whether it be in cycles like tides or seasons, or random occurrences such as quality of light.

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Duck Island from Hog Island at High Tide, Tomales Bay

As an influence to my overall impression of the book, the first meaning for the word elegy that came to mind for me was that of a song or lament of sorrow for someone or something that was dead. The term elegy can also be meant as a “pensive or reflective poem that is usually nostalgic or melancholy,” which fits Granger’s work better than one of sorrow. He seems to take a melancholy look at this area for what it means to him, and the way he approaches photographing the landscape around him. His note at the conclusion of the book covers a number of the places and people he encountered during the creation of this project. While some of those places and people are no longer with us, Granger addresses the perseverance that he and many successful artists take: you can’t change the past, it is not in the nature of reality. We continue working… we have successes and failures… and do the best we can.


Born in San Francisco in 1970, Austin Granger has worked as a baker, house painter, naval radar operator and camera salesman. He first began to photograph while studying philosophy in college as a way to get out of his head. Preferring to use traditional film cameras, Granger has come to see his photography as a spiritual practice–a way in which to shape his life and enrich his relationship with the world.


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Elegy from the Edge of a Continent: Photographing Point Reyes
Size: 9″ x 9″
Pages: 188 pages with over 80 stunning photographs
Binding: Casebound
Publication date: Summer 2016
ISBN: 978-1-935935-26-1
To see more work by Austin Granger, visit his website – http://www.austingranger.com/

To order a copy of the book, visit Goff Books website: http://www.goffbooks.com//book/elegy-edge-continent

 

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Oliver Curtis @ Royal Geographical Society

unnamedOliver Curtis: Volte-face
19 Sept to 14 Oct

On visiting the Pyramids of Giza in Egypt in 2012, Oliver Curtis turned away and found himself looking back in the direction he had come from. What he saw fascinated him so much that he has made a point of turning his back on some of the world’s most photographed monuments and historic sites, looking at their counter-views and forgotten landscapes.

Taken over a period of four years, Volte-face is an invitation to turn around and favour the incidental over the monumental.

Royal Geographical Society, London

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Franck Pourcel & Yohanne Lamoulere @ Trongate 103

Image: © Franck Pourcel

Image: © Franck Pourcel

Franck Pourcel: At Twilight
Yohanne Lamoulere: False Towns
1st – 25th September

Trongate 103, Glasgow

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Mustafah Abdulaziz @ Brooklyn Bridge Plaza

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Mustafah Abdulaziz: Water Stories (the global water crisis in pictures)
September 21 – October 31, 2016

Since 2011, Brooklyn-raiser photographer Mustafah Abdulaziz has travelled to eight countries for his long-term photographic project, Water, highlighting the global water crisis. This summer, he focused on New York’s waterways and water challenges. The resulting images, along with images from around the world (including Brazil, Nigeria, Pakistan, India and China), will be shown in Water Stories – an open-air solo exhibition. This will be his first in New York, as part of Photoville, a free photography festival in Brooklyn. The 68 images will be presented in massive light boxes along one of New York’s most important bodies of water: the East River and will be visible from Manhattan.

Brooklyn Bridge Plaza, DUMBO, New York City

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Thomas J. Panzner @ Esther Woerdehoff Gallery

unnamedThomas J. Panzner: Remains of empire
18.10 – 11.26.2016

Opening: Tuesday, October 18, 2016, from 18h to 21h

Esther Woerdehoff Gallery
36 rue Falguière
75015 Paris – France

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Interview with photographer David Bert Joris Dhert

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Cary Benbow (CB): Why did you become a photographer? How did you start in photography?

David Bert Joris Dhert (DD): It must be my curiosity by nature that got me first into documentary film and later into photography.

I have always been taking pictures, but I feel I really started making photographs only recently. The making of my documentary, We Must Be Dreaming, for which I have been exploring Rio de Janeiro and its many faces parallel to the coming and going of the World Cup and Olympic Games, has made me think more profoundly about the language of photography compared to film and I picked up a creative urge to also photograph.

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CB: Can you please explain the idea behind your portfolio images submitted to this issue centered on the theme of Enthusiasm?

DD: I have been going to the gatherings of the black candomblé and umbanda communities in the suburbs of Rio de Janeiro for years now to hear the music and witness the ceremonies. This resulted in the developing series ‘When The Gods Come Down’. The series is about transmitting life. For the people in the photographs, these gatherings are vitalizing and introspective moments. So I only photograph when I feel the time is right. Some projects simply require your patience before being photographed.

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The gatherings are intense experiences. Ceremonies of nine hours are not an exception, they go until deep in the night: singing, dancing, loud batuque (percussion), sweat, sand, blood and tears. At certain times, someone goes into a trance and then his or her soul is being taken over by the Gods and the Orixás. The spirits of the divine world then pass messages onto the others witnessing the trance. These messages commonly are formulated as a specific piece of advice for a decision the person who hears it is coping with. Observing these rituals made me think far beyond religion. It made me think about our proper nature. Why we develop formulas, why we write newspapers, why we make photographs. We all are storytellers and we all need stories. As lights in the dark.

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CB: Where do you get the ideas for your personal photography?

DD: I have been commuting between the two hemispheres over the last six years, living two lives at the same time, one in Brazil, one in Belgium, Europe. Half a year on the Northern hemisphere, half a year Southern hemisphere and so on. I would not recommend this for your personal life, but objectively this makes you watch your life from a distance very easily and it helps you consider your context and formulate specific ideas. The same way as reading books and watching theatre plays also set your mind to travel along the perception of the author. It’s all about changing points of view.

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CB: Who are your personal photography inspirations?

DD: There’s so many – but if I pick two in my state of mind today, I would say Magnum photographers Raymond Depardon and Josef Koudelka. I like the journey you make when you watch their work over the years.

CB: In your opinion, what makes a good photograph?

DD: Sometimes the best answer is in a question. I like photographs that make my mind work, give new air and new ideas. But the answer to what makes a good photograph comes from beyond reason. It’s a gut feeling, no theories or rules behind it. Photography being a language, and I like dialects.

Like the shell you take home from the beach, a film or a photograph recollects experiences. They are tracks of experiences in the search for ideas, stories, life and identity.


David Bert Joris Dhert is a documentary filmmaker and photographer based in Brazil and Belgium. For more information, and to see more of his work – visit www.daviddhert.com, and for his documentary film project, We Must Be Dreaming, visit www.facebook.com/wemustbedreaming

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Power and Politics @ Filter Photo

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Power and Politics
September 16 through October 22, 2016

Reception: September 25 | 5:30pm – 8pm

How does political power manifest itself visually and how much of its appearance is illusion, how much truth? When united, are power and politics dirty words, forces for good, or just the reality of life with a social structure? Juror Barbara Tannenbaum, Curator of Photography at the Cleveland Museum of Art, looked at hundreds of excellent submissions before deciding on a final 30 for this compelling and timely exhibition. The list of accepted artists is below.

Alejandro Acierto
Jasmine Clark
Gina Costa
Robert Drea
Whit Forrester
Tria Giovan
Lindsay Godin
Daniel Gonçalves
Alexander Gouletas
Karen Hirsch
Kevin Jones
Dave Jordano
T.J. Kirkpatrick
Charles Ledford
Nate Matthews
Charles Mintz
Greer Muldowney
Kelley O’Brien
Matt Rahner
Jim Ramer
Kevin Shick
Rebecca Sittler
Harit Srikhao
Sarah Sudoff
Leonard Suryajaya
Lorenzo Tassone
Scott Tavitian
Kristine Thompson
Tom Wagner
Zhiyuan Yang

Filter Photo
1821 W. Hubbard St., Ste. 207
Chicago

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Mauro Fiorese @ Robert Mann Gallery

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Mauro Fiorese: Treasure Rooms
September 8 – October 22, 2016

Opening reception: Thursday, September 8, 6-8 p.m.

Cavernous halls and labyrinthine basements overflowing with artwork too precious to go on view, are the imagined treasures hidden behind the closed doors of museums. However, these romantic fantasies give way to more astringent environments. Treasure Rooms of the Galleria Nazionale d’Arte Moderna captures a collection of gilded frames and lush oil paintings that are meticulously stored in sterile rooms; the life they depict at odds with the rigidity of their current environs. In Treasure Rooms of the Museo di Capodimonte a tunnel composed of endless racks of paintings reveals the ordered beauty in these storage sites. The regularity of these artistic barracks serve a vital purpose: the endless shelves, walls, and mobile racks that hold these masterpieces stand sentinel and preserve prizes that are laying in wait. Having been granted special access to these often unseen places, Fiorese brings to light the hidden works of museums, perhaps shattering the idealized vision of over stuffed attics. In reality these ‘treasure rooms’ are exhibitions unto themselves, each as carefully curated as those in the museum’s main viewing spaces.

Robert Mann Gallery is located at 525 West 26th Street, 2nd Floor. NY

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