Posts Tagged ‘Photography’

Daniel Dallabrida: Building the Noble Ruin at the Anderson Art Ranch

Daniel Dallabrida. Upon Reflection (Life) Fraternitas Misericordia in pace prima del diluvio / At Peace Before the Deluge, 1964–2015; Edition of 15. 100 x 132 in. Courtesy of the Artist and Anderson Art Ranch.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Kristin Carlson reviews Building the Noble Ruin at the Patton-Malott and Gideon Gartner Galleries of Anderson Art Ranch in Snowmass Village, Colorado.  Excavated from iconic gay culture[…..]

From the Archives – Fan Mail: Darren Jones

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In this week’s Fan Mail, we take another look at the work of Darren Jones, a multidisciplinary artist in New York City. Jones’ work takes shape across numerous forms and topics, but it is frequently critical in ways that the contemporary media is often unable to be. In assessments of the hyper-sexual and excessive culture of Fire Island Pines—a historic mecca for gay men—and the overt and aggressive presence[…..]

The Disappeared at Gallery 44 Centre for Contemporary Photography

Zoë Heyn-Jones. Atitlán 1 (Feliz Viaje), 2014; ink-jet print on celluloid; 36 x 150 in. Courtesy of the Artist and Gallery 44 Centre for Contemporary Photography.

In The Disappeared, artists Tatiana Grigorenko and Zoë Heyn-Jones rewrite history through still and moving images. In the current exhibition at Gallery 44 Centre for Contemporary Photography, Grigorenko and Heyn-Jones negotiate their relationships with their ancestors and origins through altered photographs and Super 8 film. With disarming honesty, they interrogate the ways in which their private memories and personal realities overlap and diverge. This fissure between[…..]

Larry Sultan: Here and Home at LACMA

Larry Sultan. Discussion, Kitchen Table, from the series “Pictures from Home,” 1985; chromogenic print; 30 x 40 in. Photo courtesy of the Estate of Larry Sultan.

“Isn’t imagination really the final measure of intelligence?” — Larry Sultan Picture it: golf courses, lawn furniture, sprinklers, empty pools, groceries, plush carpets you can almost feel under your feet, sunglasses, bulky watches, a Dodger’s game droning on TV, frosted glass, floor-to-ceiling curtains, a pink terry-cloth tracksuit, patterned linoleum, and green—the pervasive chartreuse of freshly cut grass or new growth is evident in almost every single[…..]

Fan Mail: Ben Bigelow

Ben Bigelow. Screen Shot 2014-02-23 at 5.12, 2014; Polaroid instant film; 4 x 4 inches. Courtesy of the artist.

Two sets of blinds layered over each other—one horizontal, one vertical, both a brilliant clean white—open and close slowly with nearly imperceptible movement. Like a dancer spinning in an endlessly repeating circle with no clear beginning or end, they move without purpose. When fully open, they form a matrix-like grid of perfect, uniform squares with an infinite series of colors glowing beneath, shifting, chemical, and[…..]

The Self-Portraits of Samuel Fosso

The artist as Angela Davis from African Spirits, 2008
© Samuel Fosso. Courtesy The Walther Collection and Jean Marc Patras / Galerie

From our friends at Guernica, today we bring you a feature on the self-portraits of artist Samuel Fosso. Author Emmanuel Iduma notes, “The self-portraits are intimate for what they allow to be imagined… [T]hese representations of our favorite black heroes ask viewers to think about the use of public images, and how they become objects of worship, and of control.” This article was originally published on November 17,[…..]

Robert Frank in America at Cantor Arts Center

Robert Frank. Detroit, 1955; gelatin silver print, 8 ½ x 13 in. Courtesy of Cantor Arts Center at Stanford University. © Robert Frank.

From our partners at Art Practical, today we bring you a review of a new exhibition of Robert Frank’s photographs at the Cantor Arts Center at Stanford University. Though these photographs are now sixty years old, they are still surprisingly relevant; author Danica Willard Sachs remarks, “Through revealing details, Frank charts the uneasy political geography of a vast country on the verge of change.” This[…..]