Staking Claim is the second of a three-part series which began in 2010 as part of the Museum of Photographic Arts’ (MOPA) triennial series. Its purpose is to celebrate numerous established and emerging artists who reside and make work in California. Each of the artists represented have a unique vision and have attained a certain level of individual achievement in the photographic world.
Currently, the medium of photography is so multi-faceted as a result of quickly changing technology, discontinuation of necessary chemicals, and the enduring creative spirit. This catalog is a perfect representation of the diversity of processes that are being used by contemporary photographers today.
From Siri Kaur’s vast, ethereal galaxies to Todd Hido’s microcosms of a suburban life, each artist represented illustrates a response to their personal history as it relates to the world of photography and contemporary culture. All photographers represented in the catalog are pushing the limits of photography today, as we know them. Eric William Carroll’s photographic installation and Chris Engman’s use of combining photography, sculpture and landscape is further testimony to the diverse and vast approach of contemporary photographers.
The fluid interpretation of photography as it is being currently executed lends itself to the logical layout and execution of the publication itself. The level of attention to detail in the making of the catalog takes it from a general photo book to a work of art. The embossed linen cover is a welcome sight along with the beautiful exposed spine binding and the multi-tiered pages divided into separate sections, which include the introduction and essay, plates, and artist bios. Staking Claim not only celebrates the current experimentation that is celebrated by the featured artists, but also fosters the intellectual inquiry of artist and reader alike. While at the same time, encapsulates an interesting layout that makes perfect sense for the photographs featured as well as the reader’s sense for the world of contemporary photography.
Photographers in Staking Claim: A California Invitational
Matthew Brandt Mona Kuhn
Susan Burnstine Matt Lipps
Eric William Carroll David Maisel
John Chiara Klea McKenna
Chris Engman Doug Rickard
Robbert Flick Mark Ruwedel
Todd Hido Paul Schiek
Siri Kaur Christina Seely
Staking Claim: A California Invitational
To purchase a book or for more information about MOPA, click here.
October 29 – November 24
Anthology is wall space gallery’s first exhibition of work by the East-coast artist, Lori Vrba. Presenting works from her Drunken Poet’s Dream series and select assemblage pieces, this exhibition inhabits the co-presence of discomfort and beauty and one photographer’s search for generative points of narrative tension. Vrba’s aesthetic re-imagines a Victorian sensibility and achieves an exquisitely lyrical exploration of femininity and the passage of time. wall space invites visitors to relish the vulnerability and intelligent beauty of these technically brilliant silver gelatin prints and one-of-a-kind assemblage works.
wall space gallery
116 East Yanonali St C-1
Santa Barbara, California 93101
October 24 – January 2014
Opening Reception at the Port Authority:
Saturday, Oct 26, 6-8pm
Garment District Alliance and CCNY present Phantom City, a new exhibition curated by Jesse Cesario. Featuring mural-sized black and white images, this site-specific installation creates an unlikely looking glass that alters the usual perspectives of the utilitarian Port Authority Bus Terminal. Appropriating the windows of a defunct greeting card store, Cesario has created a virtual portal to other cities, places, and times. Mixing cinematic moments and surrealistic imagery, the large-scale photographs encourage viewers to experience a visual movement as part of their daily commute.
Directions to Phantom City: Enter the Port Authority Bus Terminal on 8th Avenue between 41st & 42nd streets, passing through the two sets of long glass front doors. Immediately bear left and take the escalator to the second floor. The installation is to your left.
Allyson Ross – Thank You For Sharing
November 1st to the 29th
This particular work was developed specifically forWindow in response to our mission statement and relates theories of contemporary philosopher Bernard Stiegler to the influence of self-help seminar guru Werner Erhard. In paraphrasing Stiegler, Ross writes “the power of contemporary capitalism is reliant on the simultaneous control of production and consumption regulating the activities of the masses. Steigler’s theory is impactful when considering contemporary forms of entertainment, such as television shows that mirror our culture’s desires to promote their individuality.” (Ross)
Window (re/production | re/presentation)
hosted by Henco Reprographics, 54 Broadway, Asheville, NC 28801
Paysages Urbains d’Islande (Urban Landscapes of Iceland)
November 5 – November 30 2013
Bibliothèque de la Maladrerie
60 Rue du Général Moulin
14000 Caen, France.
October 30 – November 30, 2013
An exhibition of monochromatic photography. Juried by Blue Mitchell.
The Kiernan Gallery
23B West Washington St.
Lexington, VA 24450
Vivian Maier: Self-Portrait
November 8 – December 14, 2013
An exhibition of self-portraits by recently discovered street photographer Vivian Maier made from 1950 – 1976 will be on view at Howard Greenberg Gallery from November 8 – December 14, 2013. The exhibition coincides with the publication of the book Vivian Maier: Self-Portraits (powerHouse Books, November 2013) that surveys Maier’s self-portraits, many of which are being shown and published for the first time. An opening reception will be held on Thursday, November 7, from 6-8 p.m.
Howard Greenberg Gallery
41 East 57th Street, Suite 1406, New York
Photo Objects & Small Prints
December 6th through January 2014
376-A Garcia St.
Santa Fe, NM 87501
J Bennett Fitts
Industrial Landscape[ing] Redux
November 2 – December 21, 2013
Fitts conceived of this series as a response to or updating of Lewis Baltz’ striking 1970′s series of photographs of Irvine warehouses. Fitts expands on the theme of the strangely manicured, isolated space; manufactured environments that seem to quantify the human experience of literal space and how it is utilized as an oddly dissociative landscape where all trace of human interaction is missing. These buildings seem to have been designed for a “low impact visual experience,” meaning their appearance is deliberately innocuous. The landscape also reflects this same sense of disconnection and manicured precision as lone trees punctuate the otherwise bland surroundings. The trees appear almost as afterthoughts, isolated representations of nature thrown in for good measure.
2766 S La Cienega Blvd (at Washington)
Los Angeles, California 90034