featuring artworks by
Charbel-joseph H. Boutros
Paul Hage Boutros
“The five artists have been called to reflect on Giacomo Leopardi’s poetic testament
La Ginestra (The Wild Broom), highlighting, according to different but, at the same time, similar sensibilities, the contemporary value of the poem through installations, video and photography.”
Galerie Alberta Pane
47 rue de Montmorency,
75003 Paris, FR
“Peter Hujar (1934-1987) photographed his subjects with penetrating sensitivity and psychological depth, creating a hallmark style of portraiture. Unflinching and sometimes dark, he captured intellectuals, luminaries, and members of New York City subculture in moments of disarmed vulnerability.”
The Morgan Library & Museum New York City
Opening Reception and Artist Talk: February 9 6 – 9 PM
“Lom (from Slovak language: Refraction, Rupture, Fold, Break, Quarry) is a quiet, contemplative look at the immutable qualities of stone – both rigid and yielding. Presented in black and white silver gelatin prints, a handmade artists book, and found objects, Lom examines the permanency of this highly manipulated natural material. ”
1821 W. Hubbard St.
“The exhibition includes an exploration of photographers’ long-standing interest in the way paper can convey something beyond its physical presence. Spanning the years 1926 to 1967, works by artists like Manuel Álvarez Bravo (Mexican, 1902-2002), Alexander Rodchenko (Russian, 1891-1956), and Ei-Q (born Sugita Hideo, Japanese, 1911-1960) feature cut-paper abstractions and figures modeled from paper that have been photographed. For example, Rodchenko’s photograph Giraffe (1926-27) is a playful arrangement of figures modeled from paper that he created to illustrate a book of children’s poems called Samozveri (Auto-animals). The curiosity of these artists set the stage for more daring contemporary experimentation.”
J. Paul Getty Museum, Getty Center
F-Stop Magazine: Tell us a bit about your background as a photographer. I read that you are a pilot, which makes me curious which came first photography or flying and how did the two come together?
Luc Busquin: I got into photography at a young age borrowing my father’s camera. It was a Canon viewfinder camera with interchangeable lenses which mesmerized me as a child. And with it I started taking pictures of aircrafts at local air shows. Later as a teenager I put together a darkroom in the basement of my parent’s house.
All along I had a passion for anything to do with the sky. I built airplane models, kites, remote control airplanes, read anything to do with aviation, and learned to fly at 16.
The two passions came together naturally as I took pictures of airplanes, then attached a camera to a remote control airplane, and later took picture from the air.
F-Stop: The current issue of F-Stop Magazine includes images from your project “ATOP THE TROPOSPHERE,” can you tell us about this project? What led to this work?
LB: Initially the pictures I took from high altitude were disappointing to me. They didn’t capture what I saw from up there because of technical limitations that I couldn’t overcome with film camera. So I gave up trying to take picture from above. Modern digital camera changed that and allowed me to get over the issue of atmospheric haze and the distortion of the aircraft windows. Once I could get technically acceptable results, I set out to capture the beauty of what’s out there. Over time I started to realized that the images I was making were influenced by something from my childhood. All those Antoine de Saint-Exupery books I read as a child had influenced the way I look at the world and affected the esthetics of my photographs.
F-Stop: What is your process for making these images or your creative process more generally?
LB: I’m an airline pilot and I often bring my camera along. When I’m not the flying pilot, I scan the scenery outside the window for interesting compositions.
F-Stop: How did you choose what to photograph, what were you looking to capture for this particular series?
LB: I’m looking for images that tell a story about humanity in its environment. Either desolate landscapes that show a sense of fragility and isolation by the very absence of humanity. Or landscapes with large scale transformation by human activity.
F-Stop: What do you hope people experience or feel or think about when they look at your photographs?
LB: I hope people get a sense of wonder at the place we live in and I hope the images reinforce the notion that we live in a unique, beautiful, and fragile place.
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?
LB: My current favorite if I was forced to chose one is a picture of Lancaster County in Pennsylvania (see below). The image shows a quilt-like pattern of fields on rolling hills. It is the only place I know in the US where fields are not gigantic circles or squares. The fields in the picture carefully follow the contour of every hills. The reason these fields look so different is that they are the product of the Amish people. It shows beautifully the large scale effect that human culture and activity has on its land.
F-Stop: Why do you photograph? What compels you to make the images you create?
LB: Photography is the one creative outlet I’m not terrible at. I’d love to write books or make music but nobody would enjoy the experience 😉
F-Stop: Are you working on any other projects currently?
LB: Yes. First the aerials are ongoing. Second I started a series where I continue to shoot through windows but from the ground this time. It’s a project about the isolation of travel with pictures of the view outside hotel room windows.
F-Stop: And lastly, what photographers or other artists inspire you?
LB: Chiefly Ansel Adams of course and Antoine the Saint-Exupery.
To see more of Luc Busquin’s work visit: lucbusquin.com
Opening Reception: Thursday, March 1st, 2018
“Spano’s compositions are utopian at times and quaint at others, but always multilayered and engaging. Much like the surveillance cameras that abound in these images, Spano’s eye spies on the public/private spaces of the city. The mundane and the magical are combined into profound and whimsical moments. Urban Report transforms photographic information into painterly renderings, using tone reversal and transparency to animate the frame.”
Steven Kasher Gallery
515 W. 26th St., New York, NY 10001
“Hussain’s starting point for the project was the question, ‘what does it mean to be a British Muslim male today?’ Over a nine-year period, he photographed in Birmingham (where he grew up) stopping individuals in the street and starting conversations as he took their portrait. He later expanded the project to London and Nottingham. ”
Centenary Square, Bradford, BD1 1SD
On the Street with Bill Cunningham is an exhibition celebrating the career of iconic fashion photographer Bill Cunningham.
Colorado Photographic Arts Center
1070 Bannock St, Denver, CO 80204
OPENING RECEPTION Wednesday, March 21, 6:00-8:00pm
“The delicate sensuality and voyeuristic feeling in Leonardo Pucci’s work allows his photographs to act as indefinite episodes, stolen moments in the lives of individuals or couples caught unaware. But the narrative Pucci is most interested in, is the stories his photographs elicit from the piece’s observers rather than the story of his subjects themselves. ”
Robin Rice Gallery
325 W 11TH ST NYC 10014
OPENING RECEPTION WTH THE ARTIST: THURSDAY, FEBRUARY 22, 5PM; 4PM ARTIST TALK
“Throughout her career, photographic artist Amy Touchette has explored connections between humanity, making photographs of people within their social groups and communities. A documentarian and a street photographer, Touchette has utilized the power of photography to create authentic portraits of those who interest her. In 2012, The New York Times published images from New York Young, Touchette’s street portrait series of teenagers in New York City. The newspaper described the work as “a potent mix of street savvy and aching vulnerability …”
New York Young inspired Touchette to make the same style of portraits of teenagers in O’ahu, Hawaii and Tokyo, Japan to discover what teen culture looks like in three disparate island nations. She writes: “Before travel became so ubiquitous, island populations were more sequestered … their culture would reflect that isolation in that it felt more unified and unique than landlocked settings. Although the world is globalized now, significant remnants of each island culture still exist. I thought that because these three locations had strong and distinct personalities, it would create a more heightened and interesting visual experience.””
CALIFORNIA POLYTECHNIC STATE UNIVERSITY – SAN LUIS OBISPO GALLERY