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27 November, 2006 | Photography, November-December 2006 |
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 DCKT
Contemporary, New York Zoe Crosher Out the Window (LAX) DCKT Contemporary is pleased to announce Out the Window (LAX), a one-person exhibition of photographs by ZOE CROSHER. The exhibition marks the release of a monograph published by the Los Angeles Forum for Architecture and Urban Design and featuring essays by Norman Klein, Pico Iyer and Julian Myers. The question of how to photograph Los Angeles - a place that moves in shifts and perpetual motion with no real center - is central to CROSHER’s recent work. This project investigates LAX and its surrounding infrastructure as a place of non-center and transience, a metaphor for Los Angeles, a city where movement is “not a walking-motion; it breathes in anonymous transit, spread and wide, seen through passing cars or from airplane windows.” Thirty-one photographs taken between 2001 and 2005 will be on view; each photograph was shot from inside a different hotel or motel surrounding Los Angeles International Airport (LAX). Within each photograph CROSHER records the descent of an airplane into LAX capturing the tension between peripheral details of interiors and focused images outside the window, animating potential narratives about the room or the world beyond. CROSHER was recently featured in The New York Times Style Magazine, LA Weekly and Modern Painters and was interviewed for public radio’s studio 360. CROSHER received a Penny McCall Foundation Publishing Grant in 2006. Her work is included in the collection of the San Francisco Museum of Modern Art.. Gallery website Read on... DCKT Contemporary, New York |
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 Kapinos Galerie,
Berlin Nadja Verena Marcin - Lend me Your Doberman Kapinos Gallery is pleased to announce the first solo exhibition with the artist Nadja Verena Marcin. In curatorial collaboration with the art historian Greta Gesenberg and on the occasion of the European Month of Photography, the artist, will exhibit her large-scale photography, light-boxes and video works for the first time in a gallery exhibition. The photographic scenes, in the vein of self- portraiture, are detail-rich, still portraits of a person with subtle, even existential desires that are embodied in the form of seemingly naive beauty. In the series of images displayed here - that thematically converge toward landscape - the artist, in portraying herself, appears deep in the recesses of the fairy-tale landscape, dreamily lost beyond the vanishing point, beyond the center of focus. When taking the costumed self-portraits in the inner-rooms, like “B¸rogirl” or “Turnstunde” into consideration, it becomes evident that these images are not only about self-portraiture but also role-playing. The light-boxes - with their open display of sexuality and hard contrasts in glaring pink, black and perhaps allergic white skin - maintain their cool in spite of these basic conditions. And despite exposing her own body, the integrity of the subject and her ability to maintain intellectual authority over the situation is never called into question by the viewer. This accounts for the intrinsic peaceful quality of these photographic works. In her dynamic video-works and performances, Marcin discusses and broaches themes concerning different states of being - linked to the role-playing in the photographs - by acting out various choices and decisions, mostly playing the person opposite herself. Whether this self-referentiality is understood as philosophical statement, social-critique or as a necessary personal escape is not revealed. Marcin doesn’t use the fundamentally larger narrative potential of video in a strict linear way. Her photo works, on the other hand, must make due with the triggering of associations - or have the advantage of unleashing this imaginative space - in the mind of the viewer. Repeating and returning themes, such as the search for balance or intense relational bonds, offer the viewer a chance to enter into the realm of the artist’s personality. Gallery website Read on...Kapinos Galerie, Berlin |
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 Robert Mann
Gallery, New York Gail Albert Halaban This Stage of Motherhood Gail Albert Halaban photographs communities of mothers. Like an anthropologist, she portrays the private lives of these women as they journey from single life through motherhood. At first glance, they seem to have everything - education, elegance, wealth, and family. Yet for these women, such advantages are not without conflict. They must weigh having children with the desire to maintain an identity as it was prior to entering this stage of motherhood. Gail Albert Halaban's satiric yet compassionate images illuminate their struggle to balance their children's need for an emotionally available mother with their own inclination to hold onto the independence of youth. Although the photographs in This Stage of Motherhood seem to be spontaneously captured, they are in fact intricate tableaux created by the artist within the homes of the women she photographs. This theatricality grants Gail Albert Halaban intimate access to the emotional lives of her subjects. Gail Albert Halaban was born in 1970 in Washington, DC. She attended the Rhode Island School of Design, Brown University, and Yale University, from which she received a Master of Fine Arts in Photography. She has been published in The New Yorker, The New York Times Magazine, and W. Gail Albert Halaban's work will also be featured simultaneously in the Winter 2006 issue of Aperture magazine. Gallery website Read on...Robert Mann Gallery, New York |
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 Bernhard Knaus
Fine Art, Mannheim Marco Breuer The problem with Photography (z.Zt.) In “THE PROBLEM WITH PHOTOGRAPHY (z.Zt)” Marco Breuer continues his systematic investigation of the conditions of the photographic medium. In a series of cameraless photographs, Breuer marks the surface of photographic color material with a razor blade, building the image line by line. Through this process of subtraction, layers of the material are physically removed and color is forced out of the material (in photographic color material black contains all other colors). Many of the images in the exhibition are created through a cycle of imaging and re-imaging: shifts in scale and color, moving from positive to negative, going in and out of focus – with every image possibly being the result of a previous one. The works of Marco Breuer are photographic revelations about what happens between forces: light, chemistry, and physical processes clashing on photographic material. Every resulting piece is unique – and truly surprising in range of colour, rhythm and depth. Marco Breuer born in Germany in 1966, lives and works in New York. Marco Breuer has exhibited widely throughout the United States. His work is in numerous collections, including the Museum of Modern Art; the New York Public Library; the San Francisco Museum of Modern Art; and the Staatsgalerie in Stuttgart, Germany. Gallery website Read on...Bernhard Knaus Fine Art, Mannheim |
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 Mario Mauroner
Contemporary Art VIENNA LOIS RENNER HYBRIDE Lois Renner has made the step into the digital. He is known for precisely composed, ironic – narrative images of interior spaces, of his studio that also show the interior of the artist himself. The spaces and the objects are being designed in all dimensions by the painter-sculptor-installation-artistarchitect- photographer to be finally treated with the media of the flat, photography, which leads it to be a unique piece of photography with the size and quality of a traditional panel. Renner is adding a new level to his long-term studies of the relations between photography and painting, not leaving aside the aspects of being a contemporary artist. Like in his early work painting is the role model for photography, literally as well as in the figurative sense. Renner has build up a new relationship between the spaces and the images of his inside. Since technological progress allows producing digital images in all sizes, Renner takes advantage of this new media to achieve new cognition of reality. The digital supports and questions analogue methods like painting, sculptures and traditional photography. Technically spoken hybrids arise – a concept that fits perfectly to characterize and describe the artistic qualities of his work. Actually all of Lois Renners work treats hybridity. While photography seems to take a look at the things from the outside painting shows the inside of this world. Interlacing in- and outside is not only a method but also the topic of Lois Renners art. The artists view at reality, his own perspective, reveals the essence of his artistic point of view. Gallery website Read on...Mario Mauroner Contemporary Art VIENNA |
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 Bellwether, New
York Trevor Paglen: Black World BELLWETHER is pleased to announce Trevor Paglen's first solo show at the gallery. Entitled "Black World," the exhibition features a startling collection of photographs, videos, and images exploring the deepest recesses of the military industrial complex. Over the last five years, Trevor Paglen has been developing unique visual strategies to explore the "black world" of classified military and intelligence activities. To produce his photographs of secret military installations Paglen uses powerful telescopes and employs astronomical techniques to capture his subject from dozens of miles away - a proprietary technique he terms "Limit-Telephotography." The sheer distances, heat, and atmospheric distortions captured in his work result in photographs that often take on the qualities of impressionistic paintings. Paglen is the first and only person to have photographed several of the CIA's "black sites" overseas - a collection of secret prisons whose existence (but not locations) the CIA has only recently acknowledged. These never-before-seen photographs will also be on display. Other works on view include a diverse collection of patches and symbols worn by people working on secret military programs - programs that do not officially "exist" - and forged signatures from the corporate documents of CIA front companies. By confronting us with images of a world that cannot be seen with the naked eye, and that do not "officially" exist, Paglen asks the viewer to meditate on the limits of vision, abstraction and the nature of evidence as he performs a series of stunning interventions into the history of landscape photography. Gallery website Read on...Bellwether, New York |
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 Laurence Miller
Gallery, New York STÉPHANE COUTURIER: MELTING POINT Laurence Miller Gallery presents STÉPHANE COUTURIER: MELTING POINT, a selection of recent large-scale time-exposure color photographs taken in a Japanese high-tech Toyota factory, located in Valenciennes, France. In this series Couturier extends his decades long project of exploring how modern cultures simultaneously construct and destroy. He captures what he has termed the ‘urban archeology’ of cities. Whether through images of demolition or construction, the unique energy and vitality of his photographs accentuate the temporal turbulence of metropolitan areas of the world. Using a large format camera, and working with a lab technician, Couturier creates crisply detailed, prints that expand the viewer’s awareness of how a photograph can look and how urban occurrences can be conceptualized. Each picture is a multiply exposed image, a sandwiching of two moments in time, creating highly abstract yet precisely detailed images as painterly as a de Kooning and as information-filled as a Walker Evans. People, machines, car parts, wires and more all compete for the viewer’s attention— images of industry simultaneously out of control and in perfect harmony. Gallery website Read on...Laurence Miller Gallery, New York |
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 CLAMPART, New
York Dave Anderson Rough Beauty ClampArt is pleased to announce "Rough Beauty," an exhibition of photographs by artist, Dave Anderson, organized in conjunction with the release of his monograph of the same title from Dewi Lewis Publishing. Photographed predominately in the poor rural town of Vidor, Texas, "Rough Beauty" explores the character and burden of a community branded by its past. Vidor is reviled for its history of Ku Klux Klan activities, but behind the harsh stereotypes is a town of bootstrappers struggling to get by against a background of crushing poverty almost reminiscent of the Great Depression. Born in Michigan in 1970, Anderson is a relative newcomer to the world of photography. He first worked on President Clinton's 1992 campaign, and then in the White House press office. Later, he was employed by MTV touring the country registering young voters for the program, "Choose or Lose." After working on Al Gore's presidential campaign, he joined a start-up film production company in New York City before hitting the road with his camera intending to document obscure parts of America that had eluded him while traveling cross-country for MTV. He had only one rule for his road trip--no driving on any road with more than two lanes. The sensitive and atmospheric prints he produced reflect the influence of his teachers Keith Carter and Michael Kenna. Called "One of the shooting stars of the American photo scene" by Germany's fotoMAGAZIN, Anderson was recently named the winner of the 2005 Santa Fe Center for Photography's Project Competition. Gallery website Read on... CLAMPART, New York |
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 layr:wuestenhagen CONTEMPORARY, Vienna Andrea Witzmann I can get no In the exhibition “I Can Get No” Andrea Witzmann tells about a society and its cultural transformations, which open up global integration spaces and desires. However, the time in which it still helped to have aspirations seems over once and for all. What remains are marginal places whose common feature – their metaphorical inaccessibility – are associatively expanded into the viewer’s lifeworld through the poetic meaning of the picture titles. Witzmann thus develops a canon of inclusive and exclusive quotes in her photographs – independent of the breadth of her gaze. The exact framing underscores the questioning of what is known and aspired to by the viewer, of the familiar collective imagery, referring to peripheral axes of fulfilment. At the same time the boundaries between the art world and the world of everyday life become blurred. The installation character of the imagery allows no clear statement to be made on how it evolved. Andrea Witzmann’s photographic works are always found, not-constructed images of human interaction with “space”, described here in relational and action-oriented terms. Gallery website Read on... layr:wuestenhagen CONTEMPORARY, Vienna |
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