Friday June 22 6-8pm: Artist Reception
“The act of archiving is an evolving process. It exists within and outside of bodies and spaces and objects. Queer archiving is an art that stretches, extends, and challenges the body and its various constructions. In regards to the black queer body, archiving can act as a mirror, a map, a space of origin, a way to ask difficult questions. In the creation of a “visual diary,” Clifford Prince King’s photographs are reflective of this process–his work acting as a way to challenge, explore, and negotiate concepts of black gay sexuality, masculinity, and community. ”
Melanie Flood Projects
420 SW Washington Street #301
Portland, OR 97204
Featuring Work By: Vartan Avakian, Allan deSouza, Ziyah Gafic, Rula Halawani Nilu Izadi, Seba Kurtis An-My Lê, David Levinthal, Richard Mosse, Jo Ractliffe, Sebastiano Tomada Piccolomini
“Light in Wartime brings together photographers whose works shed new light on war, both forensically and symbolically. In a world so hounded by images of war, many of the photographers featured in Light in Wartime challenge the conventions and limitations of traditional reportage, underlining the tensions between art, fiction, and photojournalism. ”
Apexart – NYC
291 Church St, New York, NY 10013
Opening: 07.07. at 4 pm
Gallery Castle Klempenow
96 registered association.
“Sasha Gusov’s photos perfectly convey the dynamics and expressiveness of ballet dance. There are among them beautiful staged portraits and fascinating, finely grasped shots of rehearsals and performances. Shot on film, “on the move” and without additional lighting, they captivate with their efficiency. “Photography is documentary – it just fixing something that is happening in a particular moment,” says the photographer. And Gusov, like no other, knows how to masterfully catch these random situations. Nevertheless, he not only fixes the event, but also skillfully conveys the state of the caught instant.”
The Lumiere Brothers Center for Photography
Russia, Moscow, 3 Bolotnaya emb., b.1
Opening Friday, June 22nd from 6 – 8 pm
The Carnegie Center for Creativity
200 Mathews Street in Old Town Fort Collins, CO.
OPENING RECEPTION: Thursday, July 5, 2018, from 6pm to 8pm.
“Soho Photo Gallery’s competition attracted over 2,000 images from 198 photographers from 29 states. Paula Tognarelli, Executive Director and Curator of the Griffin Museum of Photography, is our competition’s distinguished juror. Geralyn Shulwit from Brooklyn, NY, was selected as the 1st place winner for her image titled Vilma e Lourdes.”
Soho Photo Gallery, 15 White Street, New York, NY 10013
Opening: June 21, 19:00
“Light and time have been defining constants in the oeuvre of Inge Dick for many years. And her approach has always been radically minimalistic, exclusively capturing for instance ‘white’ as the colour of light over long periods of time. She uses a wide range of media: pigment paint, Polaroids, analogue film stock and, most recently, the data stored directly on digital chips. In a setting that is itself almost clinically white, she shoots films over long periods of time that record how the light in the artist’s studio changes throughout the day. The data in turn yields large-format images through extraction and offsetting on a particular plane, with eloquent titles like frühlings licht weiss [spring light white]. Her artistic work explores light with minimalist methods that have a direct impact, with the artist’s interventions limited to a minimum of technology. Nonetheless, the films and image surfaces created are fascinatingly colour-intensive, making the experience of the actual composition of the white light highly sensuous.”
FOTOHOF / Inge-Morath-Platz 1 -3 / 5020 Salzburg / Austria
Opening: Saturday, June 16, 2018 6-9pm with Gallery Talk @ 7pm
“”Balancing Cultures is a family history project that bears witness to the tolerance and subsequent acceptance of a paradoxical dilemma. The images serve as a reminder of the injustices that can result from hysteria, racism, and economic exploitation. This work has also illuminated the origins of the Japanese American paradoxical worldview” -Jerry Takigawa. The work was selected from over 100 applicantsby juror Paula Tognarelli. “He leads the viewer into the work by way of a quiet, often-meditative aesthetic….In these current times, I wanted to award Jerry Takigawa as a reminder for us all to learn from the past and to learn to recognize a travesty of justice when put in motion.”
New Orleans Photo Alliance Gallery
1111 St. Mary St.,
New Orleans, LA 70130
67/11 is a new monograph by Jurek Wajdowicz which focuses on a series of photographs he made in his mother’s home in Lodz, Poland, when he returned there for the last time following her death to make the funeral arrangements and say goodbye. 67/11 is an artistic response to a deep sense of personal loss and the painful void it has left behind. It is an emotionally charged work that is at once starkly simple and richly layered, and an expression of sadness and poetry.
In his deeply personal book of photographs and writing, 67/11, Jurek Wajdowicz explores the universal experience of the loss of a parent and the meaning of home following the death of his beloved mother. His beautiful, dreamlike photographs were taken over several days and nights in his mother’s home in Lodz, Poland as he arranged and waited for her funeral.
Wajdowicz’s images evoke the feeling of taking mental snapshots of scenes which will never been seen again. He was soaking up the details that were meaningful to him. The seemingly mundane details from everyday life become invaluable when coupled with grief. The handles of doors that were touched thousands of times, the way sunlight filters through curtains, the herringbone pattern of the entryway – one can sense that he was trying to soak up everything in order to hold it dear for the rest of his life. Fearing of the loss of memory was a strong motivation for Wajdowicz, his deeply personal landscapes of his home and the surroundings where his mother lived for decades are a remembrance and a treasure.
Wajdowicz writes, “There was no plan. I just began to work, dealing with the undercurrent of nostalgia and the ambiguous afterimages of fact and fiction – while hoping to defer the end forever. I was avoiding the decisions as an only child must make, avoiding the final good-bye – to her and to the home of my childhood.” The address of his mother’s home in Poland was 67/11 – an homage to both the home and his mother.
Wajdowicz lingers on his mother’s possessions – a sewing machine, books, the foot pedals of a piano, picture frames, a watch, suitcases on a shelf, and his own paint brushes from art school that she had kept for over 35 years. Among the book’s most exquisite images is of four slightly wizened apples on a windowsill bathed in golden light, and the second to last image in the book, a framed portrait of the photographer’s mother on a mantelpiece. This image is preceded by what appears to be a shadowy portrait of the photographer/son himself in front of a curtained window, an intentional placement in the book of mirrored portraiture; a diptych of literal and emotional self-reflection.
67/11 by Jurek Wajdowicz
11.7 x 7.6 x 0.6
Published by EWS Press
Jurek Wajdowicz began his career as a graphic artist in Lodz, Poland, where he earned a Master of Arts degree in Graphic Design and Photography at the Lodz Academy of Fine Arts. He lives and works in New York City. He is an internationally acclaimed designer and photographer with several books to his credit, and his work is included in the collections of multiple international museums and collections.
To see more of Jurek Wajdowicz’s work, or for more information, go to: http://jurekwajdowicz.com.
For information about 67/11 and to purchase a copy, please visit: http://jurekwajdowicz.com/books/6711-2/
OPENING Thursday 14 June, 5.30pm
“Thomas Albdorf (1982, Austria) combines classic photographic genres with contemporary visual techniques. His landscapes and still-lifes are boldly aesthetic, but his use of the photographic medium is highly conceptual. Using both analogue and digital techniques, Albdorf constructs fictional realities from photographs of persistent visual clichés found online. His images of a mountainous landscape, a beach holiday or a flower arrangement look familiar at first glance, but are effectively impossible. Albdorf typically submits his constructions to image recognition software to see if the program could be tricked into identifying his fictions as ‘real’. ”
1017 DS Amsterdam
+31 20 5516500