November 24 – December 22, 2011
Alison Jaques Gallery, 16-18 Berners Street, London W1T 3LN
In the Wandering Comma exhibition, Ryan McGinley’s explores his most impressive styles; Black and white portraits, and the radiance of spontaneity in nature.
“My photographs are about removal: bringing people to nondescript locations, to places that aren’t recognizable, removing their clothes, capturing them with a very limited style palette. I try to think about how timelessness, isolation, and style interact.” Ryan McGinley, Artforum, September 2010
For his first London exhibition since his celebrated ‘Moonmilk’ series, Ryan McGinley has assembled seven new photographs, all in the largest format the American artist has yet worked in. Scale is one of the central variables in McGinley’s practice, as each photograph taken is initially printed in an array of sizes in order to fix the exact dimensions that allow the image to speak most effectively to the viewer. All prints in other sizes are then discarded. McGinley rarely produces his artworks at this 280 x 180 cm format, the maximum size, and only does so when the photograph truly calls for a vast canvas – an expanse that demands a heightened scrutiny from the viewer, as it does more attention on the part of the artist. (more…)
September 21 – h.19.00
s.t. foto libreria galleria - via degli ombrellari, 25 - Rome
Incubi et Succubi is the first solo book by the photographer Lele Saveri. Shot between Europe and America, it is a collection of images that draws a path through religion, folklore, obsessions and phobias.
This visual tale combines ancient religious festivals in Sicily, haunted houses in Staten Island, different species of snakes in New Jersey, and the hidden catacombs in the Roman underworld.
The title refers to the Succubus figure that guides the viewer throughout the journey, like in the mythological belief that the demons Incubus and Succubus appear in men and women’s dreams to seduce them—and then to take their souls.
Incubi et Succubi by Lele Saveri is published by Seems Books and edited by Serena Pezzato. The book cover is by Alessandro Maida. 86 pages, hardcover, matte text, B&W plus 8 full color spreads, limited edition 500 copies.
To present the book, Lele Saveri, together with the video-maker Giulia Maria Venturini, have produced a short film titled TO LIE UNDER, a homage to the avant-garde cinema of the 1930s, with original soundtrack by No Age. The short film will be projected during the book signing.
Printed Matter presents a collection of work from proto-punk artist and photographer Jimmy De Sana who was also featured on NERO n.24. Featuring his rarely exhibited “101 Nudes” portfolio alongside original Polaroids, a hand-collaged scrapbook, and out-of-print publications carrying his images, the exhibition represents the first New York showing of his work in five years. The artwork will be on view at Printed Matter
When De Sana (1950-1990) shot and self-published the 56 halftone images that would make up the “101 Nudes” series, he was just 20 years old and still a college student in Atlanta. Using his friends as models, he constructed each photograph as an insight into the possibilities of form, capturing with his flash-camera something both artful and sincere. His subjects (nearly all of them naked) were “without eroticism” as De Sana has said, the series as much about isolation as it is sexuality. The careful, strange postures of his figures, collapsed across a couch or balanced on a dining-room table, often had a touch of the surreal.
His later work, in particular the S&M series that came to comprise his 1980 book Submission (also on display), explored sexuality and digression front-on in the spirit of William Burroughs, whose writing was a significant influence on the artist from a young age. De Sana created these images–which pre-dated Mapplethorpe’s fetish work–with an even stronger sense for composition, all the while seeking the boundaries of comfort through the bizarrely positioned, leather-bound figures.
“These two kids here [having sex in a photograph], their fathers found out they were gay and threw them out of the house…at one point the piers were full of kids who had been thrown out.” … “This guy [pointing to another model in a photograph] was a banker and this one worked in soap operas. This guy was a part-time minister. This guy was a security man. I knew these people,” he said. “They’d see me everyday. Some people took of their clothes and demanded to be photographed.” – Alvin Baltrop
At the age of 26, Alvin Baltrop began photographing what was going on at Manhattan’s West Side piers. The area, full of abandoned warehouses and dilapidated industrial piers, became a temporary home for queer teenage runaways and a cruising spot for gay men. It was a place that was under the radar. People went there to do drugs, muggings were common and so, unfortunately, were rape, murder and suicide. Baltrop’s camera captured gay public sex, the public art of muralist Tava, various unknown graffiti artists, as well as pieces by David Wojnarowicz, who also visited the piers. Baltrop documented homelessness, death and the stark decay of run-down warehouses with depth and grace.
October 31, 2010 – January 16, 2011
Wallis Annenberg Photography Department
Los Angeles County Museum of Art (LACMA)
William Eggleston is widely recognized as a master of color photography, a poet of the mundane, and proponent of the democratic treatment of his subjects. His inventive use of color and spontaneous compositions profoundly influenced the generation of photographers that followed him, as well as critics, curators, and writers concerned with photographs.
This exhibition includes more than two hundred photographs, the artist’s little-known video work Stranded in Canton, his early black-and-white photographs of the sixties (click archive in www.eggelstontrust.com), and the vivid dye-transfer work of the early seventies, as seen in the Museum of Modern Art’s landmark catalogue of 1976, William Eggleston’s Guide. Highlights from the last twenty years includes selections from the Graceland series and The Democratic Forest, Eggleston’s great, dense anthology of the quotidian. The exhibition includes a special selection of recent work taken in Los Angeles. LACMA’s curator of the exhibition is Edward Robinson, Wallis Annenberg Photography department.
William Eggleston: Democratic Camera was organized by the Whitney Museum of American Art, New York, in association with Haus der Kunst, Munich. The Los Angeles presentation was made possible by LACMA’s Wallis Annenberg Director’s Endowment Fund, The Jonathan Sobel & Marcia Dunn Foundation, the Eggleston Artistic Trust and Cheim & Read.
Exhibition-related programs are supported in part by a generous gift from the Photographic Arts Council and by the Ralph M. Parsons Fund.
Raving ’89: Brunch exhibition talk with Gavin and Neville Watson in association with DJhistory.com
Exploring the high and lows of the subterranean acid house culture that emerged in Britain at the end of the 80s, Raving ‘89 is a captivating photographic chronicle of a grass roots social and cultural movement.
Join Gavin Watson and Neville Watson plus guests for brunch and an informal talk exploring the story behind the original book “Raving ‘89”, while also taking the opportunity to catch the last day of the exhibition of images from the book currently on at SPACE.
Complimentary food and refreshments served.
Here you can download a pdf sampler of the book.
For more info: firstname.lastname@example.org