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The 2012 Aipad Photography Show–New York, New York

by Gabriella Radujko on April 2nd, 2012

Film Noir #1405 Bill Armstrong

All photographs courtesy Sam Matamoros

The Aipad Photography Show in New York, held March 29-April 1, 2012, continues to unite the past with the future of fine art photography under one glorious roof at the historic Park Avenue Armory. Here, the past’s usefulness is on display as prescribed and thoughtfully described by Israel Zangwell–namely, the past is for inspiration (not imitation) and continuation (not repetition). Continue Reading More »

Interviews with Ryan Zoghlin, Marc Fichou, and Odette England–Photo Review 2011 Competition Winners

by Gabriella Radujko on March 23rd, 2012

Aerotone #7 © Ryan Zoghlin; all photos courtesy Photo Review

The complete portfolio of competition winner images can be viewed at: http://www.photoreview.org/competition/portfolio.php/38/1

Ryan Zoghlin is the First Prize winner of the 27th annual Photo Review International Photography Competition juried by Robert Mann.

Gabriella Radujko: Thematically, your portfolios explore being “on an edge” or “on the edge” (as opposed being edgy). These include:

  • Surf-o-glyphs: where surfers are on the edges of water
  • NIMBY (Not in My Back Yard) where industrial power encroaches on the periphery of modest single family homes
  • Aerotones and Airshow which capture airplanes performing aerobatic maneuvers at the Chicago Air and Water Show

Why does this theme appeal to you?

Ryan Zoghlin: I am glad you ran a thread through these works. Maybe it’s just that things are more interesting where worlds intersect. Whether this is where the water’s edge meets the land or when the circus rolls into a small town. On the edge is where relationships and juxtaposition can be complicated and hopefully more visually interesting. Continue Reading More »

John Bennette Introduces Vivian Maier @ Steven Kasher Gallery

by Gabriella Radujko on March 15th, 2012

Photo:  Sam Matamoros, © 2012

Lately, the fine art photography community has been experiencing a tsunami of discoveries which include the resurfaced photographs of Robert Frank, negatives by Lillian Bassman, and more intriguingly, actual photographers themselves.  The new, posthumous content, while incredibly exciting, is no match for the discovery of the unknown (until 2007), self-possessed, prolific photographer named Vivian Maier. Continue Reading More »

Soho Photo 2012 Small Works National Competition Winners

by Gabriella Radujko on February 17th, 2012

Photo: Trois © Pat Beary

The Soho Photo Members’ second annual Small Works Exhibition, which opened on February 9th at the Soho Photo Gallery in Tribeca, captured the power of “small” as part of a creative competition showcasing photographic images no larger than six by six inches.  Baby boomers will remember how Volkswagen capitalized on the concept with their 1959 “Think Small” ad campaign, the highest ranked in the 20th century. Small is as disarming, sexy, and fun in cars as it is in photographs as demonstrated in this beguiling show which provides a fashionable reprieve from the ubiquity of supersized images. Veteran Karen Marks, Exhibitions Director of the Howard Greenberg Gallery in New York, acted as juror.

Papier, the series by first place winner Pat Beary, was prominently featured at the entrance of the non-profit cooperative gallery.  Un, Deux, Trois, Quatre, and Cinq form studies of hand-made paper found by the photographer in a Parisian boutique.  Exemplified by the topography shown in Trois, Beary captures paper’s organic, birch and coral-like properties, and most important, the imagination of anyone who writes or draws. Continue Reading More »

Perspectives 2012 at ICP

by Carissa Pelleteri on January 18th, 2012

Anna Shteynshleyger, Masha, 2002. © Anna Shteynshleyger, Courtesy the artist.

Perspectives 2012, opening on January 20 at the International Center of Photography (NY), is the second installment of an exhibition series that focuses on innovative artists working in photography and video. These small group exhibitions highlight the individual ideas and achievements of an engaging and eclectic group of talented artists. The aim of the series is to stimulate conversations about contemporary art and to showcase outstanding artworks that might not otherwise come to wide attention.

Chang The Jiang Family. Left: Fuzhou, China, 2004; Right: New York City, 2008. © Chien-Chi Chang/Magnum Photos, Courtesy of Chien-Chi Chang/Magnum Photos and Chi-Wen Gallery, Taipei

Perspectives 2012 includes works by three artists—Chien-Chi Chang, Greg Girard, and Anna Shteynshleyger —who explore what happens when tight-knit cultural communities are transplanted to unfamiliar geographic locales. Each artist is represented by a group of prints selected from a much larger body of work. Continue Reading More »

Brad Farwell’s Die Transfer Process @ LMCC Governors Island

by Gabriella Radujko on January 4th, 2012

Whereas Man Ray and László Moholy-Nagy famously eliminated the camera altogether to make photograms by capturing light directly, Brad Farwell retains the camera, but not the lens for his ongoing series Die Transfer Process. The artist was one of twenty artists-in-residence showing at the Lower Manhattan Cultural Council’s Final Open Studios in Building 110 on Governors Island on December 9, 2011. The wall installation features about a dozen unique, 35mm transparencies shown with Polaroid slide mounts, atop custom light boxes staggered on a white wall covering approximately 6’ x 8’. White extension cords were in plain sight. Farwell gives viewers the physical object, but the images are not much more than the color field. Irresolvable in their lack of focus and reminiscent of the painterly effects associated with Helen Frankenthaler, the artist offers, “what is being photographed is not the subject of photography”. Continue Reading More »

Scopophilia @ Matthew Marks Gallery

by Gabriella Radujko on December 3rd, 2011

Sisters© Nan Goldin, Courtesy Matthew Marks Gallery

Single-handedly, Scopophilia, the 25-minute slideshow and centerpiece of Nan Goldin’s show at the Matthew Marks Gallery show generates empathy for Goldin’s subjects, those demi-monde friends appearing in alternating states of intimacy and quiet dysfunction. For about half an hour, the transgressive vulgarisms associated with her work are forgotten. Instead, viewers experience a pastiche accompanied by a liberating soundtrack and the juxtaposition of images typical of her aesthetic with ethereal masterpieces depicting eternal devotion, love and tenderness.

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