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Elizabeth Murray, 29 April 1992

MARCH 3 – 27, 2015


In her ground-breaking exhibition, “One Hundred Portraits: Women Artists,” American fine art photographer Barbara Yoshida presents a fascinating photographic survey of women artists through portraits that reveal a key aspect of each artist’s identity. Since 1990, Yoshida has travelled the world to document more than one hundred women in their studios and homes. Her diverse subjects, who range from art world luminaries to artists starting their careers, work in a variety of styles with no distinction between fine art and craft. Collectively, they can be seen as a community of artists that fearlessly pushes forward the boundaries of art making.

Salena Gallery at LIU Brooklyn (Library Learning Center, Ground Floor, 1 University Plaza, Brooklyn NY 11201.)

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Context 2015 @ Filter Photo gallery

 ©Hyoungsang Yoo

©Hyoungsang Yoo

Context 2015: Group Exhibition
February 6 – March 27

Opening Reception: February 6, 5:30 – 8:30 PM

Filter Photo gallery
1821 West Hubbard Street, Suite 207
Chicago, IL

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Portraits 2015 @ The Center for Fine Art Photography

Olympia (after Manet) © Niki Grangruth and James Kinser

Olympia (after Manet) © Niki Grangruth and James Kinser

Portraits 2015
January 17, 2015 – February 21, 2015

Reception Date: February 6 from 6-9 pm

Exhibiting Artists|
Craig Becker, Marina Black, Seiya Bowen, Alan Charlesworth, Yinan Cheng, Patrick Cobb, Bob Demchuk, Sharron Diedrichs, Karen Divine,
Kathleen B. Donovan, Ashley Feagin, Ana Galan, Eric Gant,
Hans Gindlesberger, Susan Goldstein, Niki Grangruth, Lauren Hegge, Picturisk*, Sebastian Holznecht, Angie Jennings, Tom M. Johnson,
Dave Jordano, Robert Kalman, Candace Karch, James Kinser,
Alexander Klang, Rita Koehler, Peter Maeck, Alyce Haliday McQueen, James Messerschmidt, Kendall Messick, Robert Moran, Susan Mullally,
Frank Mullaney, Elizabeth Orcutt, Zoe Perry-Wood, Jason Reblando,
Andy Richter, Michelle Rogers Pritzl, Kristen Roles, Guiseppe Santagata,
Fred Scruton, Nicholas Shepard, Elizabeth Siegfried, Ashok Sinha, Tina Starr, and Sebastiano Tomada.

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

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Staging Disorder @ London College of Communication

Richard Mosse, Airside, 2006-08

Richard Mosse, Airside, 2006-08

Staging Disorder
Monday 26 January – Thursday 12 March

Staging Disorder, an exhibition of photography, sound and moving image, explores the contemporary representation of the real in relation to modern conflict.

The exhibition includes selected images from seven photographic series that were made independently of each other in the first decade of the new millennium: Adam Broomberg & Oliver Chanarin’s ‘Chicago’, Geissler/Sann’s ‘personal kill’, Claudio Hils’ ‘Red Land Blue Land’, An-My Lê’s ’29 Palms’, Richard Mosse’s ‘Airside’, Sarah Pickering’s ‘Public Order’ and Christopher Stewart’s ‘Kill House’.

London College of Communication, Elephant & Castle, London SE1 6SB

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Interview with photographer Alison McCauley


F-Stop Magazine: How did you first become involved in photography and what led to you working in this medium as an artist?

Alison McCauley: I studied painting at university and I was a painter for almost twenty years. Towards the end of this period (in about 2006) I became much more interested in photography than in painting. I was tired of the way painting isolated me. Photography allowed me to continue to express myself visually but I could also connect directly with my surroundings and with the people that interested and inspired me.

F-Stop: The Black and White Issue (2015) of F-Stop Magazine includes images from your project “anywhere but here”, can you tell us about this project? What led to creating it?

AM: It’s a series that has grown very slowly and quite organically. The images attempt to express the restless feeling that the place I’m in isn’t where I should be and that the next location will be better. As someone who has always moved around, I am very interested in the idea of belonging to a country or a community. This is a feeling that I’ve never had and, although I feel like I’m supposed belong somewhere, I don’t want to. If I had this feeling of belonging, I wouldn’t have a reason to keep wondering about it. The geographical and temporal reference points in the photographs are blurred because the work isn’t about the location or time, but about a state-of-mind. There’s no real beginning and I don’t think there will be an end. The work comes from reality, but it’s a reality that’s distorted by subjectivity.


F-Stop: Can you discuss your process for making these images or your creative process more generally? How does making this work compare to your other projects? How do you choose what to photograph, what are you looking to capture?

AM: Most of my other projects are “about” a well-defined issue, idea or subject. This project is more personal, subjective, and open-ended. The process isn’t deliberate. It’s very instinctive. I never set off thinking that I will take pictures for the series; they seem to happen in moments when my mood and the scene in front of me are in sync. Sometimes the photograph is taken in a different context and later when I’m editing, I may feel that it has the right mood and that it should be part of the project.

F-Stop: What do you hope people see or feel or perhaps learn when they look at your photographs?

AM: When viewers look at these photographs, I hope they feel an emotional connection to the work. I don’t think that they need to know my reasons for making the work, but I want them to feel that I have exposed something about myself through the photographs.

F-Stop: Do you have a favorite image in this series? If so, which one and why is it the image that speaks to you most?

AM: This is my favorite image from the series:

anywhere but here

anywhere but here

This is one of the oldest photographs from the series. I took it in 2008. I enjoy the layers and the gloomy, ghostly feel, but my main reason for picking this one is because this was the photograph that helped me to understand what I wanted to express with this series.

F-Stop: What is it about this image that clarified the project for you?

AM: I’ve always struggled to photograph here in Geneva where I live.  I feel most inspired in warm, colourful, lively, friendly and chaotic places.  Geneva’s so organised, sterile, cool, detached and quiet.  I rarely felt inspired here, but after I took this photograph, I finally understood that I could tap into the feelings of restlessness I had about my location and that I could even find beauty when I explored those feelings.

F-Stop: Are you working on any other projects currently?

AM: I travel a few times a year to work on documentary projects. In May, I will go back for the third consecutive year to the Cannes Film Festival, where I tend to shoot all the things the other photographers ignore. It’s a lot of fun. In the early spring I will begin working on a book project in collaboration with an NGO that helps asylum seekers here in Geneva. Once this project is underway, it will be the main focus of my attention until I have the material I need for the book.

Following is a photo from the 2013 Cannes Film Festival.  It shows an excited fan and the Italian reality TV celebrity, Valeria Marini.

actress and reality TV star Valeria Marini and a fan

F-Stop: What photographers or other artists inspire you?

AM: There are so many. I particularly love the photographs of Michael Ackerman, Anders Petersen, Jacob Aue Sobol, Koudelka, Mark Cohen, Martin Bogren, Kim Thue and Trent Parke. Mark Rothko and Antoni Tàpies are probably the painters who I find the most inspiring and I’m inspired by the films of Mike Nichols and Alejandro González Iñárritu.

For more of Alison McCauley’s work:

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Book Review: Inside Tracks by Rick Smolan

Robyn Davidson1

© 2014 Rick Smolan/ Against All Odds Productions II


I felt impressed, enchanted, moved, encouraged, and uplifted by this truly wonderful work.

It is one of these rare books that not only inspire but empower you. That’s on the one hand to do with the stunning images (and the large book format clearly contributes to make them feel so powerful) and on the other hand with Robyn Davidson’s personality. “I’d like to think an ordinary person is capable of anything,” she says. And, she not only says it, she lives up to it.

Robyn Davidson, born 1950, is an Australian writer, who, in 1977, trekked across the Australian outback with four camels and a dog. Her journey was made into a film. The book Inside Tracks is divided into “The Original Trek” and “The Movie”.

I vividly remember reading her account of this trip many years ago. And while I do not recall any particular details, I since then carry images of the Australian outback in my head that instill in me a longing for vast deserts and orange skies.

Robyn Davidson3

© 2014 Rick Smolan/ Against All Odds Productions II


Well, from Rick Smolan’s photographs I learn that the skies over the Australian outback are by no means orange (soil and rock formations often are).

“This book is deceptive,” Rick Smolan writes. “It might appear to be the adventure story of a young woman’s 2700-kilometre solo trek alone across Australia’s outback, but it is, in fact, about a completely different kind of journey … the story of what happens when you discover that the most dangerous terrain is not external but internal.” I do not doubt his words yet the problem is that photographs cannot show the internal world, for photographs, by their very nature, show what can be seen, the external world, that is.

Moreover, although the photographs in this book attempt to document Robyn Davidson’s trek, they actually document the photographer’s journey. “… Rick’s photos are a record of his journey, not of mine,” Robyn states in her postscript.

I thought it particularly interesting that for years Robin “felt uncomfortable looking at Rick’s photos, and seldom did.” Today that is different. “I love them unreservedly now. They may have supplanted true memory, but aren’t they wonderful? And perhaps the journey was never mine, could never have been mine. From the get-go, it belonged to other people, just as an author’s text will have as many versions as there are readers.”

Robyn Davidson

© 2014 Rick Smolan/ Against All Odds Productions II


To face your fears, this is what this book is about. “The whole texture of what I wanted to do was to be alone, to test, to push, to unclog my brain of its extraneous debris, not to be protected, to be stripped of all the social crutches, not to be hampered by any outside interference whatsoever.”

Salman Rushdie’s memoir Joseph Anton came to mind, in which he mentions a passage in Robyn’s only novel Ancestors that portrays a lover as an unpleasant, sadistic character. (Davidson and Rushdie had a three-year long relationship) When asked whether this man was modelled after Rushdie, Davidson said: “Not as much as in the first version.” She’s really quite a character, this woman!

Rick Smolan visited her numerous times during her journey. On his third visit, they were sitting by the campfire when Robyn suddenly demanded: “When are you going to get here?” whereupon Rick, flabbergasted, said: “Robyn, I’m sitting here right across from you.” She stared at him and said: “No, you’re not. You are worrying about the film from your Taiwan assignment and where you are going to drop your car in two weeks when you leave me, and whether your photo is going to be on the cover of Time next week. You show up out here and then you are everywhere else but here. If you are going to come, then be here with me and not lost in your head the whole time.” I love that!.

Robyn Davidson2

© 2014 Rick Smolan/ Against All Odds Productions II


She wasn’t only with camels and dog on her trek but encountered tourists who “were a constant source of irritation. They would snap pictures, pester her with questions or treat her like an outback sideshow.” And, she encountered Aborigines, Mr Eddie for instance of whom she said: “He was sheer pleasure to be with, exuding all those qualities typical of old Aboriginal people – strength, warmth, self-possesion, wit and a kind of rootedness, a sustantiality that immediately commanded respect.”

I feel enriched for having spent time with Inside Tracks; it is a book I have a deep fondness for.

Inside Tracks
Robyn Davidson’s Solo Journey Across The Outback

by Rick Smolan
Against All Odds Productions, distributed by Sterling Publishers
November 2014, 224 pages

For more info and to purchase the book:

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IGAEL SHEMTOV: The Photo Album 1979-80

Opening Reception February 7, 2015 | 6 – 8pm

The main focus of the exhibition is Shemtov’s series ‘The Photo Album, 1979-80,’ a project that he intended to publish in the early 80s but that is only now being published as a limited edition artist book of two volumes. In this body of work Shemtov looks at lower-middle-class living environments in Israel during that period, depicting both interiors of private homes and exterior public spaces. Photographing in color with a “family album” snapshot aesthetic; he creates images that combine a sense of transience and poverty alongside his subjects’ embrace of kitsch.

Baxter St at CCNY
126 Baxter Street | New York | NY | 10013

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SIRKKA-LIISA KONTTINEN @ L. Parker Stephenson Photographs

10_goldenSIRKKA-LIISA KONTTINEN The Hoppings + Byker Revisited
January 30 – April 4, 2015

The exhibition includes work from two series:The Hoppings, once Great Britain’s largest traveling fair and Byker Revisited, the sequel to a chronicle of a neighborhood transformed by wholesale redevelopment. After arriving in the northeast of England from her native Finland in 1969 (via film school in London) Konttinen, a founding member of the Amber Collective, set about documenting the region with her camera. She has done so for over forty years, earning recognition from UNESCO for her contributions to Great Britain’s national and cultural history.

L. Parker Stephenson Photographs
764 Madison Avenue, Suite 4F | New York | NY | 10065

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H Lee Grassland 1
MARCH 7, 2015 – APRIL 28, 2015

Opening Reception: Saturday March 7 – 6:00 pm – 9:00 pm

While living among the cannabis growers of Northern California for a year, photographer H. Lee documented both a clandestine way of life and the process of cultivation in all its stages, culminating in the publication of her 2014 book, Grassland.

Spot Photo Works
6679 Sunset Blvd.
Los Angeles, CA 90028

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David Catá @ Project Space Kleiner Salon

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