Joel Meyerowitz @ Howard Greenberg Gallery

Joel Meyerowitz, Provincetown, Massachusetts, 1977
Copyright Joel Meyerowitz, courtesy Howard Greenberg Gallery

Joel MeyerowitzJoel Meyerowitz: Between the Dog and the Wolf
September 7 – October 21, 2017

“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.

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Past Present Future @ Silver Eye Center for Photography


Past Present Future: Western Pennsylvania’s People and Places
JUNE 27 – AUGUST 19, 2017

“Past Present Future explores and celebrates photographic landscapes and portraits of Western Pennsylvania, spanning over 100 years of image making in the region. The exhibition features the work of over 40 artists and is presented in a nonlinear salon style. Past Present Future creates visual connections between the images and traditions of iconic giants of mid 20th century photography like W. Eugene Smith, Esther Bubley, and Duane Michals and contemporary artists making work today throughout the region. ”

Silver Eye Center for Photography
4808 Penn Avenue
Pittsburgh, PA 15224

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Black Lines 2017 @ Black Eye Gallery

‘Concrete 10’, Rhiannon Slatter, ‘Blue Brute’, David Manley, courtesy of Black Eye Gallery

Black Lines 2017
AUG 8 – 20, 2017

Opening night- Thursday August 10, 6-8pm

The exhibition features works by Chris Round, David Manley, Tom Evangelidis, Rob Tuckwell, Tom Blachford, Damien Drew, Rhiannon Slatter, Chris Walters, Terrence Chin, Luc Remond, Rodrigo Vargas, Gary Sheppard, Vin Rathod, Jade Cantwell, Richard Glover and Kate Ballis.

“Moving beyond the highly polished images of commercial architectural photography, Black Lines 2017 surveys a wide selection of photographs of the built environment, turning a critical eye on places and buildings often considered banal.”

Black Eye Gallery
3/138 Darlinghurst Rd, Darlinghurst 2010 02 8084 7541

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Water 2017 Exhibition @ The Center for Fine Art Photography

Odyssey © Julie Brook Alexander

Water 2017 Exhibition
December 22, 2017 – January 27, 2018

Reception Date | January 26, 2018

All Selected Artists | Nicholas Abriola, Babeth Albert, Julie Brook Alexander, Paige Bennett, S Brian Berkun, John Bonath, Melissa Borman, Claire Burnett, Lorraine Castillo, Eugene Daams, Marianne Dalton, Ellie Davies, Scott Durka, Rachel Ferguson, Jerry Freedner, Caroline Fudala, Alessandra Tecla Gerevini, Anahid Ghorbani, James Glass, Carole Glauber, Alexander Heilner,
Ken Hochfeld, Marty Ittner, Stephan Jahanshahi, Leslie Jean-Bart, R
ose Wind Jerome, Andrea Laue, Tracy Laulhere, Alan Leder, Heami Lee, Bonnie Levinson, Court Loving, Andy Mattern, Chris McCann, Teresa Meier, Carsten Meier, Bobby Mills, David Obermeyer, Jane Paradise,
Heather Perera, Beverly Poppe, Karol Rice, Lee Saloutos,
Debora Schwedhelm, Julie Stephenson, Graham Stewart, JP Terlizzi,
Preston Utley, Katie Waugh, and John Zimet.

The Center for Fine Art Photography, 400 North College Ave., Fort Collins, CO 80524

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Book Review: What is Left Behind: Stories from Estate Sales by Norm Diamond

Wedding Dress

What Is Left Behind features photographs of items at estate sales that explore themes of memory, mortality, and cultural history. Norm Diamond visited estate sales in the Dallas area community where he lived, photographing objects that evoke sadness, humor, and ironic commentary on our cultural history.

Estate sales have become a common way for people to dispose of their parents’ possessions after they die or move to assisted living. Over the course of a year, Norm Diamond visited countless estate sales, photographing objects that evoke feelings of sadness, humor, and sometimes the ironic commentary on American cultural history. The resulting images are gathered in Diamond’s first monograph: What is Left Behind: Stories from Estate Sales.

Mrs. Pritchett’s Kindergarten

Diamond says the way he would decide what to photograph during these weekly excursions was not too different from his time working as a radiologist. He relates his photo expeditions to the process of looking through thousands of images of people’s bodies, until an abnormality became obvious to him. While looking over hundreds and hundreds of objects, something of importance or significance would stick out; something would catch his eye. A poignant memento, a cultural knickknack, or an item so intimate and evocative that he knew he must photograph it.

Man Of The House

Thousands Pay Homage

The little items and personal effects reminded Diamond of a key case that had belonged to his mother. After her death, he chose to keep it due to attached memories – especially the car rides only he and his mother took together. He recalled the alarming way she drove when she had first learned, how she would talk to herself in soundless conversations during these rides, and he way the case would swing and dangle from the Chevy’s ignition.

As Diamond says in his introduction, “Preserving an meaningful possession with a picture hopefully extends its life and also the memory of its owner. The photo becomes a story about this anonymous person, often embellished with tinges of sadness and poignancy – sentiments that attracted me to estate sales in the first place, and which I avoided so long in the past.”

 

Stetsons and Old Spice

The objects, magazines and articles Diamond came upon defy conventional expectations: a science project from 1939, a century-old letter from a rejected lover, and a complete collection of Playboy magazines. Poignant photographs of these possessions reveal clues about otherwise unknowable people. These items take on a life of their own, both in these photographs and in the idea that they will now move on to new owners.

Wedding Night Negligee

Bass Lure

Some of the objects were purchased and taken home by Diamond to be photographed with studio lights and a background. Other images are taken in-situ, with price tags affixed – seemingly in the exact spot where the previous owner had placed it. Either way, the images in What is Left Behind remind me of the countless garage sales and antique stores I visited with my parents when I was a child. While I had always been looking for something I couldn’t live without, or a highly collectible or valuable item – Norm Diamond has found treasures that remind us of our own mortality, and of our own possessions which might mean nothing to one person, but to another it may be the key to priceless memories.

In her essay, Kat Kiernan sums up What Is Left Behind beautifully: “The complexity of a person’s life cannot be truly understood from their possessions alone, and Diamond makes no claims to such an understanding. Instead, he gravitates to scenes of sadness, humor, banality and absurdity to present broader ideas of what it means to be human. These unusual scenes, punctuated by price tags, signs, and awkward displays, remind us that when a life comes to an end, it does so with loose ends left untidy.” 

Norm Diamond is a fine art photographer with a previous career in interventional radiology. His work has been shown at the Houston Center for Photography, the Davis Orton Gallery, and the Griffin Museum of Photography. In 2015 he was named a finalist in the 2015 Photolucida Critical Mass competition.


What is Left Behind: Stories from Estate Sales by Norm Diamond
Hardcover, 128 pages, 10 x 10  inches
66 color photographs

To purchase a copy of the book, please visit the website for Daylight Books

To see more work by Norm Diamond, visit his website.

All photographs shown are © Norm Diamond, used by permission.

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Interview with photographer Orestes Gonzalez

My first impression of Gonzalez’s photograph of a small figure between large looming shadows of the Trump Towers in Miami was that it had punch. It was timely. It had layers of meaning. When I asked him about the image, and its inclusion in an exhibit, Future Isms, at Glass Box Gallery in Seattle recently, he said, “I’ve always had an aversion to the dark, long shadows that fall on Florida beaches as a consequence of the new tall buildings. These just happen to be Trump buildings, so the irony and timeliness worked to my benefit.” The curator of Future Isms, Jon Feinstein, made a comment that Gonzalez’s work is ‘grounded in discomfort’. But Gonzalez said the comment was not of great consequence to him. “Unless there’s irony or kitschiness involved,” says Gonzalez, “I hate happy pictures. For years I used to see those huge Kodak images blown up inside Grand Central Station and always thought how dull and empty they were.”

 

‘Fishermans House, Miami’ from Intimacy series — © Orestes Gonzalez

It feels to me the aspect of Gonzalez’s work being grounded in discomfort is of more consequence than he might easily admit. Think about the work of Saul Leiter, with its naturalness and unassuming character, with a little bit of Diane Arbus’ street portraits thrown in for some good seasoning. Gonzalez’s work, while being grounded in solid storytelling and visual richness, also has the underlying feeling of throwing off from the stability of the ‘known’… And this is one of his greatest strengths.

‘Dad, Before and After’ from Intimacy series — © Orestes Gonzalez

‘Dad, Before and After’ from Intimacy series — © Orestes Gonzalez

“After I retired as an architect a few years ago at age 51, I started to focus more on my photo work, and only started applying to shows last year. Surprisingly, I got selected to some pretty cool exhibits. One of them, Latin American Fotografia 5, is traveling through four countries in Latin America, and will wind up in Photoville in Brooklyn in the fall.”

Gonzalez also curated the exhibition, Disruption, recently held at The Factory in Long Island City, Queens, NY. Each distinguished artist chosen for the show uses documentary directness, humor, pathos and poetry in their images. Separately, they address the connective topics of lives interrupted, lives cut short, lives spent separated from family, their own cultural identity and of quiet personal sacrifices made every day. They bring the perspective of being outsiders, as well as insiders to the world we live in and sometimes struggle to understand and come to terms with.

 

From ‘Disruption’ – Zaida & Maria Elena, Queens, NY. Two undocumented students were chosen by a committee of teachers to represent their high school in a national student championship in Texas. Selected for their academic excellence, public speaking skills and overall leadership capabilities, these young women qualified for the event by developing an innovative sustainability project.Due to the current political climate, school administrators decided it was unsafe for them to fly to Texas. A less qualified, yet properly documented pair of students went instead.

The more I thought about Gonzalez’s image of the solitary figure on the beach, and much of the rest of his work, more and more layers became evident. Sensitivity to the subject is key, whether it is a person, place or thing. Gonzalez obviously takes many different aspects into consideration when making images. His work shot in the raucous event that is Calle Ocho (an annual Hispanic street festival in Miami, Florida.) is shot on-the-fly as he encounters people and scenes — yet it is clear he has already given thought to the elements that will be in his frame. Gonzalez says, “Be true to yourself. Take on projects close to your upbringing or background. Don’t go after trendy themes just because they are trendy. The more you can personally identify with your subjects the more powerful and honest your work will be. And for God’s sake, don’t be a ‘one-day’ photographer at a place you will never go back to and then create a whole series. The shallowness shows.”

From ‘Calle Ocho‘— © Orestes Gonzalez

“I photograph because I see things that I need to record for myself. Its that simple. I feel that as I got older, I needed to record the things that are important to a baby boomer like myself.” Gonzalez’s inspirations come from photographers and cinematographers alike (especially Italian Cinema: De Sica, Fellini, Bertolucci); and from his experiences growing up as a Cuban American in a bi-cultural environment in 70’s Miami. “And of course, living in NYC since 1987 and seeing all the transformations in these past 30 years drives me to record what’s soon not to be.”

From ‘Whitewashed’ — © Orestes Gonzalez

Similarly, his project based on photographing the home of his uncle, Julio, demonstrates his strong desire to be connected to his subject matter, to understand it better through the act of engaging with it, documenting it, and presenting it in a way that perhaps he and the viewer would not have expected. The project has also been published as a book earlier this year by +KGP.

Gonzalez goes far beyond trying to show stereotypical gritty street images just for the sake of the effect, or shots of people in his community in Long Island, NY or his hometown of Miami, Florida. “I work with images that communicate a past, that tell a story and bring a sense of nostalgia or irony to the viewer. Emotion to me is more important than being factual. It opens up story-telling in much more imaginative ways.”

JULIOS HOUSE, 2011

My Uncle Julio Santana died last year at 82.

In the 50’s he was a magician and a waiter on the ship “Floridita”. It used to ferry Amercican tourists on weekend gambling junkets from Miami to Havana in the evenings.

In the 60’s, he waited tables at the Eden Roc Hotel, and earned enough money to bring his mother, brother and two sisters from Cuba.

He owned a house in a tough, working class neighborhood of Little Havana, but decorated it with his favorite things in the kitschy style of Louis XIV. He would entertain his many friends and lovers with lavish parties and dinners. He was president of the Libertad Lamarque Fan Club for many years, and the Argentine film star, in appreciation, would occassionally meet with him from time to time.

He led a rich and vivid life.

When I asked him what new work was in store, Gonzalez mentioned a long-term project he is still adding work to, Unsettled. He said it deals with leaving and/or entering…disposing one thing you love in order to enter worlds that are more secure. With a statement like that, I return to the belief that the discomforting feeling underlying much of Gonzalez’s work is his bedrock. Without a challenge to the things we believe in, one cannot realize their full meanings.

Cassandra, from ‘Unsettled’ — © Orestes Gonzalez


To see more work by Orestes Gonzalez, please visit his website at http://orestesgonzalez.com

To see more about the book Julio, please visit the publisher’s website at: http://www.krisgravesprojects.com/julio

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Richard Dumas @ Polka Gallery

Miles Davis 1989 © Richard Dumas.

Richard Dumas: Amateur
September 7, 2017

Opening September 7 from 18h to 20h30

Polka Gallery
Cour de Venise · 12, rue Saint-Gilles · Paris 75003 · France

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FAMILIAR STRANGE @ Baxter St at the Camera Club of New York

Two, 2017, Sam Margevicius

FAMILIAR STRANGE:new works by the MFA 2017 graduates from the International Center of Photography-Bard College
June 29 – July 25, 2017

Closing Reception: July 25, 2017 from 6-8 pm

Participating artists are Sasha Louis Bush, Marla Hernandez, Gülsüm Kavuncu, Sam Margevicius, Hyungjo Moon, Cristina Velázquez and Nechama Winston.

Baxter St at the Camera Club of New York
126 Baxter Street
New York, NY 10013

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Keeping Watch @ Colorado Photographic Arts Center

Hasan Elahi, Alert v2, 2017, detail

Keeping Watch
August 4 – September 16, 2017

Opening Reception: Friday, August 4, 6-9pm, with an artist talk by Sheri Lynn Behr and Lauren Grabelle at 7pm

“Keeping Watch highlights the work of three photographers, who approach surveillance from different perspectives. In her project NoMatterWhere, Sheri Lynn Behr points the lens back at the security cameras looking at us to reveal the ubiquitous and pervasive nature of American surveillance systems and how it feels to be watched. Conversely, Photographer X, a series by Lauren Grabelle grapples with issues of voyeurism, as she documents casino life from the perspective of CCTV security cameras. Lastly, Hasan Elahi’s installation Alert V2, examines issues of surveillance, citizenship, migration, and transport. Photography throughout history has been used as a tool to both documentation and surveillance. This exhibition begins to question the varying ways in which our information is collected and shared.”

Colorado Photographic Arts Center
1070 Bannock St, Denver, CO 80204

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Annual Juried Exhibition @ Baxter St at the Camera Club of New York

Keith Anderson

Annual Juried Exhibition
August 17 – September 8, 2017

Juried by Andrianna Campbell

The exhibition of work by the three winners, Keith Anderson, Res, and Qian Zhao, will be on view from August 17th to September 8th, 2017. There will be a closing reception on September 8th with a screening in the backyard of work by the 15 Honorable Mentions listed below.

Honorable Mentions
Shay Arick
Leah Beeferman
Clint Colbert
Samantha Lynn Croteau
William Glaser
Juliana Halpert
Susan Rosenberg Jones
Dani Lessnau
Bollen Rie
Victor Rivera
Ryan Spencer
Caroline Tompkins
Anthony Urrea
Aaron Wax
Cristina Velásquez

Baxter St at the Camera Club of New York
126 Baxter Street
New York, NY 10013

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