Posts Tagged ‘ Ellen Carey ’

Ellen Carey in Two Minutes – Hundred Heroines




Dinner party guests, books and her practice

Source: Ellen Carey in Two Minutes – Hundred Heroines

Lights, Camera, Ellen Carey: A Solo Exhibition at The Delamar… | NBMAA

Ellen Carey, Dings & Shadows, 2019, Color photogram/c-print/unique, 34 x 52 in., Courtesy of the Artist and JHB Gallery (NY, NY); Galerie Miranda (Paris, FR); M+B (LA, CA).

As part of the New Britain Museum of American Art’s partnership with the Delamar Hotel in West Hartford, we are thrilled to announce our forthcoming exhibition featuring a solo presentation by acclaimed Hartford-based artist Ellen Carey (b. 1952), who was recently named one of the leading 100 women photographers world-wide by The Royal Photographic Society.

Source: Lights, Camera, Ellen Carey: A Solo Exhibition at The Delamar… | NBMAA

Scholarly Exhibition Explores the Pioneering Role of Women Using Color in Photography — Humble Arts Foundation

© Ellen Carey

Color photography can trace its earliest roots to Anna Atkins’ mid-nineteenth century botanical cyanotypes. While camera-less, her adoption of the process has led many to consider her to be the world’s first female photographer. Curator, historian and artist Ellen Carey’s latest exhibition &

Source: Scholarly Exhibition Explores the Pioneering Role of Women Using Color in Photography — Humble Arts Foundation

Ellen Carey participates in “The Unbearable Lightness” 1980s Photography & Film – Centre Pompidou, Paris > 2.24-5.23.2016 <

Ellen Carey, Self-Portrait, 1984, unique Polaroid 20 x 24

Heterogeneous, elusive, painful, fantastical, still too close, as light-hearted as they were serious, the Eighties were full of contrasts and paradoxes. With films and photographs from its collections, the Centre Pompidou cast a fresh eye on this decade in an exhibition featuring over 20 artists and some 60 works in a completely new circuit.

From Florence Paradeis to Jean-Paul Goude, and from Karen Knorr to Présence Panchounette by way of Martin Parr and Pierre and Gilles, the works selected mostly express criticism of culture and society through various strategies, such as irony, realistic or imaginative staging, pastiche, subverted sets and odes to artifice. The history of Eighties photography somewhat eludes comprehension even today.

While neo-documentary forms (such as “The Düsseldorf School”, the photographic project of DATAR, the Interdepartmental Delegation for Territorial Development and Regional Attractiveness) were positively received by critics overall, the same was not true of “manufactured”, staged or possibly “Baroque” photography, which represented much of the work produced in the Eighties. Beyond the sometimes too all-inclusive concept of post-modernism, the Eighties saw the emergence of new issues that were both poetic and political. Hybridisation, humour, irony, eroticism and nostalgia are all possible keys to interpreting the art of this period, particularly its photography.

Mainly dedicated to the Western and American scene of the 1980s, well-represented in the Centre Pompidou’s collection, this exhibition reflects the geopolitical and economic order of a time when the ideological divisions between North and South, East and West, capitalist democracies and centralised totalitarian regimes were being swept aside by the new global economy. With a mix of famous works and others awaiting rediscovery, the exhibition draws us into the aesthetics and sometimes popular iconography typical of this period and geography.

In France, the Eighties were crucial for photography in terms of art and heritage. Several major photography museums and collections sprang up or developed under a new impulse. At the same time, a new generation of “painter-photographers” appeared, who were keen to do away with the barrier between photography and painting and rebelled against the language of the previous generation. This new photography, often highly “pictorialist” in Western countries, developed forms that were closely connected with technical advances in this area: the availability of good-quality colour photography, the possibilities provided by large formats and the instantaneousness of Polaroid. The meeting between these new production methods and the search for different forms and themes in classic photography created another paradox: works that were openly anti-documentary proved to be such an accurate reflection of the reality they came from that in the end they were its best representation.

The exhibition of the Centre Pompidou brings together for the first time the works of Bazile Bustamante, Agnès Bonnot, David Buckland, Ellen Carey, Clegg & Guttmann, Tom Drahos, Jean-Paul Goude, Hergo, Karen Knorr, Elizabeth Lennard, Joachim Mogarra, Patrick Nagatani, Paul de Nooijer, Alice Odilon, Florence Paradeis, Martin Parr, Pierre et Gilles, Présence Panchounette, Alix Cléo Roubaud, Sandy Skoglund, Unglee, Boyd Webb, Mark Wilcox.

The Unbearable Lightness Centre Pompidou Paris

M+B congratulates Ellen Carey on her participation in the exhibition on 1980s photography at the Centre Pompidou, Paris. For press inquiries, please contact Jeanie Choi at M+B. For all other inquiries, please contact Jonlin Wung or Sonny Ruscha Granade.


Ellen Carey: Polaroid 20 X 24 Self-Portraits | M+B Gallery


ELLEN CAREY Portrait, 1986 signed, dated, titled verso unique 20 x 24 Polaroid 33 x 26 in.

NOVEMBER 6, 2015 – JANUARY 16, 2016

Maxwell Clark INFINITIES Art Reception | New Haven

Every once in a decade and a half or so, probably longer, an original artist, poet, or musician comes along, and in between the timebreaths little else but formulaic copies for profit and / or celebrity move down and off the conveyor belt of our contemporaneous world and memory. There seems to me a link of these originals to the mystical, the soulful, that imo arises from human interconnectivity,  from our instantaneous enfolding of a poet,  a musician, a visual artist, among us and within us. I think of  Bashō and Bhanu Kapil, Bach and Nina Simone, and Goya and Ellen Carey. They are originals for all time.

Today I am adding the name of Maxwell Clark, a young poet, musician, and visual artist from New Haven, CT whom I have had the honor and multi-faceted pleasure of seeing, hearing, and being with, since first meeting him at Infinite Well in New Haven, for a recent poetry reading. Here follow some links of importance:

Donna Fleischer


The Illusion of Light: Exhibition at Palazzo Grassi explores light as a fundamental part of art


Bertrand Lavier’s “Ifafa III” as part of “The Illusion of Light” exhibition at Palazzo Grassi in Venice. The show will run from April 13, 2014 till December 31, 2014. AFP PHOTO / GIUSEPPE CACACE.–Exhibition-at-Palazzo-Grassi-explores-light-as-a-fundamental-part-of-art#.U0wHXCifM20[/url]

Copyright © artdaily.orgThe Illusion of Light: Exhibition at Palazzo Grassi explores light as a fundamental part of art.

Visions Voices and Verses – Poems of Ekphrasis / Book Release Reading at the New Britain Museum of American Art

Geoff Houghton "French Mary Vivandière" Watercolor 2011 (Visions Voices and Verses OFC)

Visions Voices and Verses, published by Exiles Press, is an anthology of poems of ekphrasis written by poets of the Free Poets Collective on the works of artists in the permanent collection of the New Britain Museum of American Art.  The  book release will take place on Sunday, April 29 from 1:00 pm – 4:00 pm at the museum, with a reading of poems from the anthology. I will read “The Red Photogram” on art work by Ellen Carey, noted lens-based artist and photographer. Hope to see you there. ~ DF

Curator, Sherry Buckberrough Examines the Historic Contribution of Women in Modern and Contemporary Art / ARTES MAGAZINE

Ellen Carry, Self Portrait (1986). With permission, the artist

Curator, Sherry Buckberrough Examines the Historic Contribution of Women in Modern and Contemporary Art | ARTES MAGAZINE.

A Reading of “The Red Photogram” by Donna Fleischer on Art Note / UNregular Radio, Boston – July 17, 2011,10:30 am

Ellen Carey's "The Red Photogram" 2001

A podcast of this reading is available at Boston’s UNregular Radio. For further reading about ekphrasis, the Academy of American Poets has a fine essay, entitled, “Ekphrasis: Poetry Confronting Art“. Issa’s Untidy Hut has an introductory essay on the Japanese-derived haibun form, “The American Haibun by Donna Fleischer.