Posts Tagged ‘ exhibition ’

The Jewish Museum – The Arcades: Contemporary Art and Walter Benjamin

This exhibition of contemporary artworks presents photography, video, sculpture, and painting seen through the lens of influential philosopher Walter Benjamin’s magnum opus The Arcades Project.

Source: The Jewish Museum – The Arcades: Contemporary Art and Walter Benjamin

VIK MUNIZ EPISTEMES Exhibition FEBRUARY 23 – APRIL 1, 2017 @ SikkemaJenkins&Company

Tears (2SS), Handmade, 2016
Mixed media
41 x 61 inches (104.1 x 154.9 cm), framed

” . . . What you expect to be a photo isn’t, and what you expect to be an object is a photographic image.” Extending this idea more broadly, Muniz adds, “In a time when everything’s reproducible, the difference between the artwork and its image is all but nonexistent.”

VIK MUNIZ EPISTEMES @ SikkemaJenkins&Company

Marie-Noëlle de La Poype: Haiku | Yoshii Gallery


Marie-Noëlle de La Poype
Sculpture #13, 2015

Marie-Noëlle de La Poype: Haiku

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.


“Paper Movies” contemporary photobooks exhibition | Joseloff Gallery of the Hartford Art School

if departing

Source: On View





It was daunting to walk into an oceanic gallery space streaming with over a hundred photography art books facing up, until I pulled up a stool and opened Black Threads from Meng Chiao (TIS Books, Brooklyn, NY, 2015), a collaboration by the photographer, Justine Kurland, and the poet, John Yau, then one other, Cuny Janssen: Yoshino  (snoeck, Cologne, GR), right up to being told the gallery was about to close for the evening. I am bound to return at least once before the exhibition closes on February 17, 2016. – Donna Fleischer



Black Threads from Meng Chiao

Size 5.75 in x 8 in
Softbound French Fold
Silk Screen Dust Jacket
54 pages
20 tritone plates

Black Threads from Meng Chiao



Cuny Janssen: Yoshino

The widest pages, or leaves*, of the staggered, multi-wide book, Yoshino, are those of full-color photographs bleeding off all four sides. These approximate 18 inches of an arm’s length from gutter to foredge, and so may be turned only slowly. Other narrower ones are almost see-through, frosted overlays of various widths with one-sided, dense, generously leaded, black texts of prose and haibun by Bashō (Travel Record of Weatherbeaten Skeleton), Saigyō, and others:

This simple abode

where I don’t even use

all of the clear, clean water

trickling down

between the rocks.

– Saigyō

All in all inspired this poem:

trees’ leaves flap

i turn slowly as if

departing, when

only just arrived

with so sudden a wind.

– Donna Fleischer

*The MAN’YŌSHŪ (万葉集),  or Collection of Ten Thousand Leaves



Shunga sex and pleasure in Japanese art | The British Museum


Kitagawa Utamaro, Utamakura (Poem of the Pillow), 1788

Shunga sex and pleasure in Japanese art