Bruno Cals (Brazilian, b. 1967) Avenida Paulista 01 2009
I love these photographs – the perspective, framing and lighting of a subject matter seen in a utterly unique way.
Marcus
Many thankx to Andrew Klug and 1500 Gallery for allowing me publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Bruno Cals (Brazilian, b. 1967) Avenida Paulista 02 2009
Bruno Cals (Brazilian, b. 1967) Avenida Paulista 03 2009
Bruno Cals (Brazilian, b. 1967) Prada 2009
Bruno Cals (Brazilian, b. 1967) Hermès 2009
Horizons, a series of architectural photographs by Brazilian photographer Bruno Cals, will be on view at 1500 Gallery from May 6 – July 31, 2010. The photographs in the exhibition are part of a personal artistic project that Cals, a well-known fashion / advertising photographer based in Sao Paulo, Brazil, has been working on since 2008. There will be an opening reception at the gallery on May 13 from 6-8 pm.
The photographs in the Horizons series are suggestive of something beyond the record presented. The images of the buildings in São Paulo, Tokyo and Buenos Aires explore the limits of two-dimensionality, and articulate a radically different perspective on a commonplace visual scenario. In expressing this fresh point of view, Bruno Cals has invoked contrasting themes of possibility versus impossibility, presence versus emptiness, and search versus satisfaction.
About Bruno Cals
Bruno Cals was born in Rio de Janeiro in 1967. At age 19, Cals moved to Paris and began a successful career as a fashion model. At age 26, he decided that he wanted to be a photographer and returned to Brazil where he began shooting professionally. Initially a fashion photographer, Cals worked for Vogue and Elle and Visionaire. Since then, he has become a successful advertising photographer, working for the largest advertising agencies in Brazil. He has won several awards, including three at the Cannes Lions International Advertising Festival.
About 1500 Gallery
Alexandre Bueno de Moraes and Andrew S. Klug founded 1500 Gallery in 2010. The gallery specialises in Brazilian photography and is the first gallery in the world with this explicit focus. 1500 interprets the notion of “Brazilian photography” to comprise photography made by Brazilian photographers, as well as images bearing a conceptual or thematic relationship to Brazil. 1500 represents the work of 17 artists, both emerging and established: 6 of 1500’s photographers are represented in the Sao Paulo Museum of Art’s Collection of Photography. 1500’s collection of images includes both contemporary and vintage photography.
Text from the 1500 Gallery website [Online] 05/10/2010 no longer available online
Bruno Cals (Brazilian, b. 1967) Palermo 01 2009
Bruno Cals (Brazilian, b. 1967) Palermo 02 2009
Bruno Cals (Brazilian, b. 1967) Quartier 2009
Bruno Cals (Brazilian, b. 1967) Safra 2009
Bruno Cals (Brazilian, b. 1967) Tokyo Midtown 2009
Many thankx to the Metropolitan Museum of Art for allowing me to publish the images in this posting. Please click on the photographs for more information about the images from the Metropolitan Museum of Art.
Dr Marcus Bunyan
Kate Edith Gough (English, 1856-1948) Untitled page from the Gough Album Late 1870s Collage of watercolour and albumen silver prints 14 5/8 x 11 5/8 in. (37 x 29.5cm) V&A Images / Victoria and Albert Museum, London
Kate Gough was one of fourteen children born to the wealthy businessman Thomas Rolls Hoare and his wife, Emma. Although the Hoares possessed neither title nor land, their vast accumulated fortune allowed them to emulate the aristocratic lifestyle, renting a Sussex estate and dividing their time between the country and the city, where they enjoyed a variety of cultural amusements. Kate read widely, from Charles Dickens to Punch magazine, while also learning such feminine accomplishments as sketching and china painting. In 1878 she met Hugh Gough, a lieutenant in the Royal Navy. The couple married in January 1879 and lived the peripatetic life that Lieutenant Gough’s service and their lack of children enabled. Gough probably assembled her album during her courtship and early years of marriage.
A remarkable number of images found in photocollage albums combine humans and animals in fantastical ways; the temptation to cut out a photographed head and place it atop a painted animal seems to have been irresistible. This composition of ducks bearing ladies’ faces – one of them Kate herself, or her identical twin sister, Grace – may have been inspired by Charles Darwin’s new theories of evolution or by political cartoons from magazines such as Punch. On other pages of the Gough Album as well, an irreverent humor, disorienting scale shifts, mischievous visual puns, and whimsical fantasies reveal a sophisticated mind and very accomplished hand.
Text from The Metropolitan Museum of Art website
Frances Elizabeth, Viscountess Jocelyn (English, 1820-1880) Diamond Shape with Nine Studio Portraits of the Palmerston Family and a Painted Cherry Blossom Surround from the Jocelyn Album 1860s Collage of watercolour and albumen silver prints 11 x 9 1/8 in. (28 x 23.2cm) National Gallery of Australia, Canberra
The daughter of the exceedingly wealthy Peter Clovering-Cowper, Earl Cowper, and the legendary society hostess Emily Lamb, Countess Cowper, Viscountess Jocelyn was born into a life of privilege and social connections. When her mother remarried after her father died, Frances (known as Fanny) became the stepdaughter of Henry Temple, Viscount Palmerston, who would become the prime minister in 1855. Fanny also garnered the favor of Queen Victoria, serving as a bridesmaid at her wedding to Prince Albert and later as a Lady of the Bedchamber. In 1841 she wed Robert, Viscount Jocelyn, and bore six children over the next decade. Her husband died in 1854, and she lost each of her children to illness before her own death in 1880.
Unlike the other album makers in this exhibition, Jocelyn practiced amateur photography, using the wet-collodion process, a cumbersome technique that required time, money, education, and skill. A separate section of this album, entitled The Bygone Hours of the Viscountess Jocelyn, features nine photographs that she made of herself and her children in the garden of their estate. Most of the pages in the album, however, are photocollages employing amateur photographs and commercial cartes de visite in highly skilled watercolour designs that honour her aristocratic lifestyle, depicting family and friends, the estates they owned or visited, the jewellery and finery they wore, and the various pastimes they enjoyed.
Text from The Metropolitan Museum of Art website
The Johnstone Album represents the appropriation by the commercial printing press of an activity that was originally aristocratic and handmade. Here the grids are commercially printed and the collage maker need only paste within the shapes, offering the opportunity for those with less leisure time to create similar family albums.
Maria Harriet Elizabeth Cator (English, d. 1881) Untitled page from the Cator Album Late 1860s/1870s Collage of watercolour and albumen silver prints 10 7/8 x 8 1/2 in. (27.7 x 21.7cm) Hans P. Kraus, Jr., New York
Maria Harriet Elizabeth Cator, the likely maker of this album, filled its pages in the 1860s and 1870s with scenes of her childhood home, portraits of family members, and commemorative collages memorializing her father, who died in 1864, and a young niece who died as a child in 1866. Family mottoes and photographs of country seats belonging to relatives appear throughout the album, suggesting that it was intended more for family than for society. Set among all this seriousness, this image of a playful jester carelessly strewing photographs on the ground is surprising. Instead of serving as mementos of a loved one or records of an ancestral home, the jester’s photographs are stripped of symbolic meaning and used in the service of a lighthearted composition.
Text from The Metropolitan Museum of Art website
Viscount Jocelyn (Great Britain, 1820-1880) attributed to Circular design containing five male studio portraits and two ships c. 1860 Leaf 3 from an Untitled Album Collage (albumen silver photographs, water colour, pencil) Printed image 28.0 h x 23.2 w cm Purchased 1985 National Gallery of Canberra
Eva Macdonald (English, 1846/1850-?) “What Are Trumps?,” from the Westmorland Album 1869 Collage of watercolour and albumen prints The J. Paul Getty Museum, Los Angeles
A common leisure pastime in Victorian high society, card playing provided opportunities for socializing and flirting. Compositions involving cards are commonly found in photocollage albums, as if to emphasise the playfulness of the process of making such images. In many of these collages, photographic portraits replace the heads of kings and queens, elevating the subjects in rank and giving new meaning to the term “face cards.”
Text from The Metropolitan Museum of Art website
Elizabeth Pleydell-Bouverie (English, d. 1889) and Jane Pleydell-Bouverie (English, d. 1903) or Ellen Pleydell-Bouverie (English, 1849-?) and Janet Pleydell-Bouverie (English, 1850-1906) Untitledpage from the Bouverie Album 1872/1877 Collage of watercolour and albumen prints Courtesy of George Eastman House, International Museum of Photography and Film
Popular children’s tales by the Brothers Grimm, Hans Christian Anderson, and Lewis Carroll became fertile material for photocollages, including this one, which appears to relate the story of Thumbelina. Although the identity of the maker of this collection remains a mystery, the initials E.P.B. and J.P.B and the name Bouverie on various pieces suggest that it belonged to the Pleydell-Bouverie family.
Text from The Metropolitan Museum of Art website
In the 1860s and 1870s, long before the embrace of collage techniques by avant-garde artists of the early 20th century, aristocratic Victorian women were experimenting with photocollage. Playing with Pictures: The Art of Victorian Photocollage, on view at The Metropolitan Museum of Art February 2 – May 9, 2010, is the first exhibition to comprehensively examine this little-known phenomenon. Whimsical and fantastical Victorian photocollages, created using a combination of watercolour drawings and cut-and-pasted photographs, reveal the educated minds as well as accomplished hands of their makers. With subjects as varied as new theories of evolution, the changing role of photography, and the strict conventions of aristocratic society, the photocollages frequently debunked stuffy Victorian clichés with surreal, subversive, and funny images. Featuring 48 works from public and private collections – including many that have rarely or never been exhibited before – Playing with Pictures will provide a fascinating window into the creative possibilities of photography in the 19th century.
“In other recent exhibitions at the Metropolitan, we’ve shown masterpieces of 19th-century British photography by the period’s most prominent professionals and serious amateurs (almost always men), whose works were often displayed at the annual salons of the photographic societies and sold by printsellers throughout England and Europe,” commented Malcolm Daniel, Curator in Charge of the Department of Photographs. “What is so exciting about this exhibition is that we see a different type of artist – almost exclusively aristocratic women – using photography in highly imaginative ways, and creating pictures meant for private pleasure rather than public consumption. It is an aspect of photography’s history that has rarely been seen or written about.”
In England in the 1850s and 1860s, photography became remarkably popular and accessible as people posed for studio portraits and exchanged these pictures on a vast scale. The craze for cartes de visite – photographic portraits the size of a visiting card – led to the widespread hobby of collecting small photographs of family, friends, acquaintances, and celebrities in scrapbooks. Rather than simply gathering such portraits in the standard albums manufactured to hold cartes de visite, the amateur women artists who made the photocollages displayed in Playing with Pictures cut up these photographic portraits and placed them in elaborate watercolour designs in their personal albums.
With sharp wit and dramatic shifts of scale akin to those Alice experienced in Wonderland, Victorian photocollages stand the rather serious conventions of early photography on their heads. Often, the combination of photographs with painted settings inspired dreamlike and even bizarre results: placing human heads on animal bodies; situating people in imaginary landscapes; and morphing faces into common household objects and fashionable accessories. Such albums advertised the artistic accomplishments of the aristocratic women who made them, while also serving as a form of parlour entertainment and an opportunity for conversation and flirtation with the opposite sex.
Playing with Pictures showcases the best Victorian photocollage albums and loose pages of the 1860s and 1870s, on loan from collections across the United States, Europe, and Australia, including the Princess Alexandra Album lent by Her Majesty Queen Elizabeth II. Thirty-four photocollage album pages will be shown in frames on the wall and 11 separate albums will be displayed in cases, open to a single page. These works will be accompanied by “virtual albums” on computer monitors that allow visitors to see the full contents of the albums displayed nearby. As an introduction, the exhibition also includes two carte-de-visite albums of the period and a rare uncut sheet of carte-de-visite portraits from 1859.
Playing with Pictures: The Art of Victorian Photocollage is curated by Elizabeth Siegel, Associate Curator of Photography at The Art Institute of Chicago. The exhibition is organised at the Metropolitan Museum by Malcolm Daniel.
Ann Bermingham, professor, Department of the History of Art and Architecture, University of California, Santa Barbara
Sixty years before the embrace of collage techniques by avant-garde artists of the early twentieth century, aristocratic Victorian women were already experimenting with photocollage. The compositions they made with photographs and watercolours are whimsical and fantastical, combining human heads and animal bodies, placing people into imaginary landscapes, and morphing faces into common household objects. Such images, often made for albums, reveal the educated minds as well as the accomplished hands of their makers. With sharp wit and dramatic shifts of scale akin to those Alice experienced in Wonderland, these images stand the rather serious conventions of early photography on their heads. The exhibition features forty-eight works from the 1860s and 1870s, from public and private collections.
Text from the YouTube website
Society Cut-ups: Victorians and the Art of Photocollage
Elizabeth Siegel, Associate Curator of Photography, The Art Institute of Chicago
Sixty years before the embrace of collage techniques by avant-garde artists of the early twentieth century, aristocratic Victorian women were already experimenting with photocollage. The compositions they made with photographs and watercolors are whimsical and fantastical, combining human heads and animal bodies, placing people into imaginary landscapes, and morphing faces into common household objects. Such images, often made for albums, reveal the educated minds as well as the accomplished hands of their makers. With sharp wit and dramatic shifts of scale akin to those Alice experienced in Wonderland, these images stand the rather serious conventions of early photography on their heads. The exhibition features forty-eight works from the 1860s and 1870s, from public and private collections.
Text from the YouTube website
Marie-Blanche-Hennelle Fournier (French, 1831-1906) Untitled page from the Madame B Album 1870s Collage of watercolour, ink, and albumen silver prints 11 1/2 x 16 1/2 in. (29.2 x 41.9cm) The Art Institute of Chicago, Mary and Leigh Block Endowment
Marie-Blanche-Hennelle Fournier probably made the album from which this page was taken. Known as Blanche, she was the second wife of the career diplomat Hugues-Marie-Henri Fournier, who was posted in Stockholm and then in Rome during the years the album was made. Among the clues to the maker’s identity are the large painted B that graces the opening page, the many diplomats and Swedish figures and sites that fill the album, and the frequent depictions of the Fourniers and their daughter, Pauline (born 1855).
Because photocollage albums were almost exclusively made by upper-class English women, this album, with its French maker, is a rare exception. Fournier, however, likely was exposed to English diplomats in the international circles in which she traveled, and she may have been inspired to create her own album after seeing other examples or learning of the practice from her English acquaintances. As the second wife of a diplomat, Fournier may have used her album to help establish herself and her family within a specific social set or to demonstrate her role as a new wife. The album may also have functioned as a sort of travelogue, depicting places she visited or was stationed with her husband. The painted elements reveal that the maker of the album was knowledgeable about the artistic styles of various cultures and skilled in botanical and zoological drawing. Together, the photographs and watercolors often combine to create daring and fantastic compositions, transcending the simple recording of friends, family, and sites.
In the accomplished depiction of a peacock butterfly seen here, the “eye” spots on the wings have been replaced with portraits. Such a composition allowed Fournier to exhibit her artistic talents and her knowledge of natural history.
Text from The Metropolitan Museum of Art website
Georgina Berkeley (English, 1831-1919) Untitled page from the Berkeley Album 1867/71 Collage of watercolour and albumen silver prints 10 x 12 5/8 in. (25.5 x 32cm) Musée d’Orsay, Paris Photo credit: Réunion des Musées Nationaux / Art Resource, NY
Despite her lack of title or inheritance, Georgina Berkeley maintained the sophisticated lifestyle that her ancestry provided. Her collages reveal her fascination with London’s urban pastimes as well as her cutting social commentary.
Text from The Metropolitan Museum of Art website
Georgina Berkeley (English, 1831-1919) Untitled page from the Berkeley Album 1867/71 Collage of watercolour and albumen silver prints 10 x 12 5/8 in. (25.5 x 32cm) Musée d’Orsay, Paris Photo credit: Réunion des Musées Nationaux / Art Resource, NY
As the great-granddaughter of the 4th Earl of Berkeley, Georgina Louisa Berkeley occupied the lower echelon of aristocratic society. Despite her lack of title or inheritance, she maintained the sophisticated lifestyle that her ancestry provided. Georgina and her older sister, Alice, participated in the country-house party circuit, enjoying the hospitality of their many landed and titled relatives. Their home in London’s prestigious Belgravia district also offered them access to the city’s cultural amenities. At age forty-six, Berkeley married a man seven years her junior, Sydney Kerr Buller Atherley, the grandson of the 5th Marquess of Lothian. Sadly, Atherley died just ten months after the wedding. Rather than move back to the home of her father and sister, Georgina upheld her independence, keeping her own household and traveling with or visiting her relatives until her death in 1919.
Berkeley began to assemble the album from which this page is drawn about a decade before her marriage, when she was in her mid-thirties. In her designs, Berkeley constructed a vision of modern life far removed from the secluded domesticity of women that was idealised by middle-class Victorian culture. Many of the pages convey a fascination with London’s cosmopolitan pastimes, depicting bustling streets, theatrical entertainments, and various modes of travel. Berkeley’s photocollages reveal how this particularly modern medium enabled upper-class album makers to represent themselves as independent, urban women.
Text from The Metropolitan Museum of Art website
Mary Georgiana Caroline, Lady Filmer (English, 1838-1903) Untitled loose page from the Filmer Album mid-1860s Collage of watercolour and albumen silver prints 8 3/4 x 11 1/4 in. (22.2 x 28.6cm) Paul F. Walter
Constance Sackville-West (English, 1846-1929) or Amy Augusta Frederica Annabella Cochrane Baillie (English, 1853-1913) Untitled page from the Sackville-West Album 1867/73 Collage of watercolour and albumen silver prints 9 5/8 x 11 13/16 in. (24.5 x 30cm) Courtesy of George Eastman House, International Museum of Photography and Film
This album’s scenes of country-house life and London cosmopolitanism provide tongue-in-cheek commentary regarding the aristocratic society in which the Cochrane-Baille sisters grew up. The album contains a variety of styles suggesting more than one artist. Constance Sackville-West or Amy Augusta Frederica Annabella Cochrane-Baillie.
Text from The Metropolitan Museum of Art website
Metropolitan Museum of Art 1000 Fifth Avenue at 82nd Street New York, New York 10028-0198 Information: 212-535-7710
Opening hours: Sunday – Tuesday and Thursday: 10am – 5pm Friday and Saturday: 10am – 9pm Closed Wednesday
Exhibition dates: 11th February – 24th April, 2010
Alexey Titarenko (American born Soviet Union, b. 1962) #1 Untitled (Boy) 1993 Gelatin silver print
Many thankx to the Nailya Alexander Gallery for allowing me to reproduce the images in the posting. Please click on the photographs for a larger version of the image.
Dr Marcus Bunyan
Alexey Titarenko (American born Soviet Union, b. 1962) #3 Untitled (Crowd 1) 1992 Gelatin silver print
Alexey Titarenko (American born Soviet Union, b. 1962) #7 Untitled (Three Women Selling Cigarettes) 1992 Gelatin silver print
Alexey Titarenko (American born Soviet Union, b. 1962) #11 Untitled (Begging Woman) 1999 Gelatin silver print
Nailya Alexander Gallery is pleased to announce Alexey Titarenko: Saint Petersburg in Four Movements opening on February 11th, in her new space at the Fuller Building, 41 E 57th Street, Suite 704. The reception for the artist will be from 6-8pm. Gallery hours are Tuesday through Saturday, 10am-6pm and by appointment.
This will be Alexey Titarenko’s first major exhibition in New York that features his entire St. Petersburg series (1991-2009). The four underlying sequences, or movements – to borrow a term from the vocabulary of music, which features prominently in the artist’s mind, are The City of Shadows, The Anonymous, The Light of Saint Petersburg and Unfinished time. Like music, the expression of time is a presence in Titarenko’s art, associated with literature and in particular, the works of Marcel Proust.
This majestic and history-laden city, where Titarenko was born in 1962, is the central subject of his photography, or to be more accurate it is the soul of the city and therefore that of Russia. As the artist himself explains:
“It would be en error to consider my photographs within the context of the values now fashionable in the arts in general and photography in particular. To align them with such and such a trend, without taking into account that their very purpose in existing is defined by the past. Even the most factual of them are not reportage, but a novel. The principal motivation for their creation is, in fact, always the same: Russia’s history throughout the 20th century, which is an unending series of tragedies of ever more baffling dimensions, whether you consider the wars, the famines or the so-called times of peace. The history of Russia … but in the form of rather contemporary images, made in a single location, a single city – St. Petersburg. Rather than the city (which is mostly only vaguely visible), these images represent emotion – the range of emotions forming the deep inner character of the people who lived in this country and endured all these disasters, people who were usually only represented from outside. And it is therefore these emotions which, in themselves, are quite general and have remained unchanged in the course of the century, like the emotions aroused by the music of Shostakovich, for example, or by the novels of Solzhenitsyn, which are the true subject of my photographs, and my goal would be to convey them to the viewer, to make him or her feel them … understand, to feel compassion and love.”
Titarenko was able to develop a form of expression reminiscent of Dostoyevsky’s stories, inspired by the moods and rhythms of the music of Shostakovich. Often, the city, veiled in winter’s shadows or bright with summer’s dazzle, is inhabited by nearly transparent phantoms. They dwell in its streets, cross its courtyards: crowds on the move, spreading over a vast square like a wave, their individual identities blurred and indistinct. Nevertheless, sometimes a few isolated, improbable figures emerge from the crowd. This photographic technique, involving relatively slow shutter speeds, confirms a taste for randomness and makes each image a unique adventure, a potential source of surprise. The approach also bespeaks Titarenko’s long-standing interest in 19th-century landscape photographers, especially those who operated in cities. In addition to this style of representation, which eschews any temptation to be objective and is finally quite impressionistic, the darkroom technique Titarenko uses transforms the black-and-white print into a composition endowed with subtle, suggestive hues and ever-differing nuances of gray. Titarenko never reproduces exactly the same rendering of light and shadow from one print to the next.
Georgia O’Keeffe (American, 1887-1986) Grey Blue & Black – Pink Circle 1929 Oil on canvas 36 x 48 in. (91.4 x 121.9cm) Dallas Museum of Art Gift of The Georgia O’Keeffe Foundation
Many thankx to Shira Pinsker and The Phillips Collection for allowing me to reproduce the images in the posting. Please click on the photographs for a larger version of the image.
“It is surprising to me to see how many people separate the objective from the abstract. Objective painting is not good painting unless it is good in the abstract sense. A hill or tree cannot make a good painting just because it is a hill or a tree. It is lines and colours put together so that they say something. For me that is the very basis of painting. The abstraction is often the most definite form for the intangible thing in myself that I can only clarify in paint.”
“I long ago came to the conclusion that even if I could put down accurately the thing that I saw and enjoyed, it would not give the observer the kind of feeling it gave me. I had to create an equivalent for what I felt about what I was looking at – not copy it.”
Georgia O’Keeffe (American, 1887-1986) Jack-in-the-Pulpit No. IV 1930 Oil on canvas 40 x 30 in. National Gallery of Art, Washington, D.C. Alfred Stieglitz Collection, Bequest of Georgia O’Keeffe Image courtesy of the Board of Trustees, National Gallery of Art, Washington
Georgia O’Keeffe (1887-1986) is fixed in the public imagination as a painter of places and things. She has long been recognised for her still lifes of flowers, leaves, animal bones and shells, her images of Manhattan skyscrapers, and her Lake George and New Mexico landscapes. Yet it was with abstraction that O’Keeffe entered the art world and first became celebrated as an artist. In the spring of 1916, she burst onto the New York art scene with a group of abstract charcoal drawings that were among the most radical works produced in the United States in the early twentieth century. As she expanded her repertoire in the years that followed to include watercolour and oil, she retained the fluid space and dynamic, organic motifs of these early charcoals.
Abstraction dominated O’Keeffe’s output in the early part of her career and remained a fundamental language for her thereafter. Some of her abstractions have no recognisable source in the natural world; others distill visible reality into elemental, simplified forms. For O’Keeffe, abstraction offered a way to portray what she called the “unknown” – intense thoughts and feelings she could not express in words and did not rationally understand. Her abstractions recorded an array of emotions and responses to people and places. At the heart of her practice was an affinity for the flux and sinuous rhythms of nature. Through swelling forms and sumptuous colour, O’Keeffe depicted the experience of being in nature – so enveloped by its sublime mystery and beauty that awareness of all else is suspended.
The artistic achievement of Georgia O’Keeffe is examined from a fresh perspective in Georgia O’Keeffe: Abstraction, a landmark exhibition debuting this winter at The Phillips Collection. While O’Keeffe (1887-1986) has long been recognised as one of the central figures in 20th-century art, the radical abstract work she created throughout her long career has remained less well-known than her representational art. By surveying her abstractions, Georgia O’Keeffe: Abstraction repositions O’Keeffe as one of America’s first and most daring abstract artists. The exhibition, one of the largest of O’Keeffe’s work ever assembled, goes on view February 6 – May 9, 2010.
Including more than 125 paintings, drawings, watercolours, and sculptures by O’Keeffe as well as selected examples of Alfred Stieglitz’s famous photographic portrait series of O’Keeffe, the exhibition has been many years in the making.
While it is true that O’Keeffe has entered the public imagination as a painter of sensual, feminine subjects, she is nevertheless viewed first and foremost as a painter of places and things. When one thinks of her work it is usually of her magnified images of open flowers and her iconic depictions of animal bones, her Lake George landscapes, her images of stark New Mexican cliffs, and her still lifes of fruit, leaves, shells, rocks, and bones. Even O’Keeffe’s canvasses of architecture, from the skyscrapers of Manhattan to the adobe structures of Abiquiu, come to mind more readily than the numerous works – made throughout her career – that she termed abstract.
This exhibition is the first to examine O’Keeffe’s achievement as an abstract artist. In 1915, O’Keeffe leaped into the forefront of American modernism with a group of abstract charcoal drawings that were among the most radical creations produced in the United States at that time. A year later, she added colour to her repertoire; by 1918, she was expressing the union of abstract form and colour in paint. First exhibited in 1923, O’Keeffe’s psychologically charged, brilliantly coloured abstract oils garnered immediate critical and public acclaim. For the next decade, abstraction would dominate her attention. Even after 1930, when O’Keeffe’s focus turned increasingly to representational subjects, she never abandoned abstraction, which remained the guiding principle of her art. She returned to abstraction in the mid 1940s with a new, planar vocabulary that provided a precedent for a younger generation of abstractionists.
Abstraction and representation for O’Keeffe were neither binary nor oppositional. She moved freely from one to the other, cognisant that all art is rooted in an underlying abstract formal invention. For O’Keeffe, abstraction offered a way to communicate ineffable thoughts and sensations. As she said in 1976, “The abstraction is often the most definite form for the intangible thing in myself that I can only clarify in paint.” Through her personal language of abstraction, she sought to give visual form (as she confided in a 1916 letter to Alfred Stieglitz) to “things I feel and want to say – [but] havent [sic] words for.” Abstraction allowed her to express intangible experience – be it a quality of light, colour, sound, or response to a person or place. As O’Keeffe defined it in 1923, her goal as a painter was to “make the unknown – known. By unknown I mean the thing that means so much to the person that he wants to put it down – clarify something he feels but does not clearly understand.”
This exhibition and catalogue chronicle the trajectory of O’Keeffe’s career as an abstract artist and examine the forces impacting the changes in her subject matter and style. From the beginning of her career, she was, as critic Henry McBride remarked, “a newspaper personality.” Interpretations of her art were shaped almost exclusively by Alfred Stieglitz, artist, charismatic impresario, dealer, editor, and O’Keeffe’s eventual husband, who presented her work from 1916 to 1946 at the groundbreaking galleries “291”, the Anderson Galleries, the Intimate Gallery, and An American Place. Stieglitz’s public and private statements about O’Keeffe’s early abstractions and the photographs he took of her, partially clothed or nude, led critics to interpret her work – to her great dismay – as Freudian-tinged, psychological expressions of her sexuality.
Cognisant of the public’s lack of sympathy for abstraction and seeking to direct the critics away from sexualised readings of her work, O’Keeffe self-consciously began to introduce more recognisable images into her repertoire in the mid-1920s. As she wrote to the writer Sherwood Anderson in 1924, “I suppose the reason I got down to an effort to be objective is that I didn’t like the interpretations of my other things [abstractions].” O’Keeffe’s increasing shift to representational subjects, coupled with Stieglitz’s penchant for favouring the exhibition of new, previously unseen work, meant that O’Keeffe’s abstractions rarely figured in the exhibitions Stieglitz mounted of her work after 1930, with the result that her first forays into abstraction virtually disappeared from public view.”
Georgia O’Keeffe (American, 1887-1986) Series I, No. 4 1918 Oil on canvas 20 x 16 in. (50.8 x 40.6cm) Städtische Galerie im Lenbachhaus, Munich Gift of The Georgia O’Keeffe Foundation
Daido Moriyama (Japanese, b. 1938) Quilt 1977 Gelatin silver print
Daido Moriyama (Japanese, b. 1938) Hokkaido 1978 Gelatin silver print
Daido Moriyama (Japanese, b. 1938) Tono 1974 Gelatin silver print
Luhring Augustine is pleased to present its first exhibition featuring the work of Daido Moriyama, one of Japan’s leading figures in photography. Witness to the spectacular changes that transformed postwar Japan, his photographs express a fascination with the cultural contradictions of age-old traditions that persist within modern society. Providing a harsh, crude vision of city life and the chaos of everyday existence, strange worlds, and unusual characters, his work occupies the space between the objective and the subjective, the illusory and the real.
Moriyama takes pictures with a small hand-held camera that enables him to shoot freely while walking or running or through the windows of moving cars. Taken from vertiginous angles or overwhelmed by closeups, his blurred images are charged with a palpable and frenetic energy that reveal a unique proximity to his subject matter. Snapshots of stray dogs, posters, mannequins in shop windows, and shadows cast into alleys present the beauty and sometimes-terrifying reality of a marginalised landscape. His anonymous and detached approach enables him to capture the “visible present” made up of accidental and uncanny discoveries as he experiences them.
Moriyama emerged as a photographer in the 1960’s at the tail end of the VIVO collective, a revolutionary and highly influential group of Japanese artists who reexamined the conventions of photography during the tumultuous postwar period. William Klein’s loose, Beat style images of New York City in the 1960s also served as a major turning point for Moriyama, who found inspiration in Klein’s free-form photographic style. Taken by these innovative approaches at home and abroad, Moriyama ultimately went on to forge his own radical style.
Hawaii, Moriyama’s most recent body of work, was produced over a period of three years and presents his distinct perspective on the daily lives of the people living on the islands of Hawaii and Oahu. Returning to the island five times before feeling prepared to shoot these surroundings, Moriyama’s overall approach is purposeful and considered despite his loose and informal style. The series was recently exhibited at the Tokyo Metropolitan Museum of Photography and published in a volume by the institution.
Daido Moriyama was born in Osaka in 1938. He has had museum shows around the world including the San Francisco Museum of Modern Art, the Fotomuseum Winterthur, Switzerland, the Fondation Cartier pour l’Art Contemporain, Paris and the Tokyo Metropolitan Museum of Photography. His work is part of many major public collections such as the Museum of Modern Art, New York, the Centre Pompidou, Paris, the Metropolitan Museum of Art, New York, the Los Angeles County Museum, the San Francisco Museum of Modern Art, the Museum of Fine Arts, Boston and the Getty in Los Angeles.
Press release from the Luhring Augustine website [Online] Cited 24/02/2010 no longer available online
Installation views of the exhibition Hawaii by Daido Moriyama at Luhring Augustine, New York, February – March, 2010
A total of 52 black and white photographs, hung in the entry, main gallery, and one of the back rooms. 29 of the images are from the recent Hawaii series, taken / printed between 2007 and 2010…
What if Sander had taken portraits in India or China? (Another recent example of this phenomenon would be Eggleston’s images of Paris, here.) The effect is somewhat like musicians making covers, taking someone else’s songs and making them their own; sometimes the mashup creates something wholly original and unexpected, and sometimes the combination doesn’t quite work.
This exhibit extends this line of thinking, with the Japanese photographer Daido Moriyama making pictures of Hawaii, using a group of the artist’s vintage images of Japan as a counterweight for comparison. The older works provide a reminder of Moriyama’s powerful visual vocabulary: dark shadowy images, with skewed off-kilter angles, harsh contrasts, and a rawness that often mixes the gloomy and the menacing. His best images uncover the dark underbelly of the streets, capturing the cultural nuances of Japan in gritty, grainy blackness.
The island life of Hawaii, with its shakas and mellow aloha spirit, presents a surprising challenge for Moriyama: where can a visitor find the brooding or sinister in this paradise? Moriyama does his best to apply his trademark darkness to palm trees and ferns, beaches and hotels, jungles and clouded hills, tourist shops and conch shells, but the overall effect lacks the malignant edginess that haunts his images of Tokyo; he has found some unexpected surface oddities, but the subjects feel a bit too obvious and superficial. Visually, the big prints (roughly 3 by 5 feet) and their shadowy palette make for a jarring view of the easy going, sunny destination, but the subject matter just doesn’t lend itself all that well to deep psychological probing. The real culture of Hawaii is hidden somewhere else, far from the welcoming hula girls, tiki fabrics, and flowers offered to visitors.
Many thankx to Monica Cullinane and the Irish Museum of Modern Art for allowing me the reproduce photographs from the exhibition. Please click on the photographs for a larger version of the image.
Marcus
Times Wide World Photos (American, active 1919-1941) Mr. and Mrs. Joe Louis Out for a Stroll September 25, 1935 Gelatin silver print 8 3/4 x 6 5/8″ (22.2 x 16.8cm) The Museum of Modern Art, New York. The New York Times Collection
Cindy Sherman (American, b. 1954) Untitled Film Still #21 1978 Gelatin silver print 7 1/2 x 9 1/2″ (19.1 x 24.1cm) The Museum of Modern Art, New York Horace W. Goldsmith Fund through Robert B. Menschel
Each of Sherman’s sixty-nine Untitled Film Stills (1977-1980), presents a female heroine from a movie we feel we must have seen. Here, she is the pert young career girl in a trim new suit on her first day in the big city. Among the others are the luscious librarian (#13), the chic starlet at her seaside hideaway (#7), the ingenue setting out on life’s journey (#48), and the tough but vulnerable film noir idol (#54). To make the pictures, Sherman herself played all of the roles or, more precisely, played all of the actresses playing all of the roles. In other words, the series is a fiction about a fiction, a deft encapsulation of the image of femininity that, through the movies, took hold of the collective imagination in postwar America – the period of Sherman’s youth, and the crucible of our contemporary culture.
In fact, only a handful of the Untitled Film Stills are modelled directly on particular roles in actual movies, let alone on individual stills of the sort that the studios distribute to publicise their films. All the others are inventive allusions to generic types, and so our sure sense of recognition is all the more telling. It tells us that, knowingly or not, we have absorbed the movie culture that Sherman invites us to examine as a powerful force in our lives.
Publication excerpt from The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 295.
Diane Arbus (American, 1923-1971) Woman with Veil on Fifth Avenue, N.Y.C. 1968 Gelatin silver print The Museum of Modern Art, New York
An exhibition of 145 masterworks from the photographic collection of The Museum of Modern Art (MoMA) in New York , celebrating the architecture and life of that unique city from the 1880s to the present day, opens to the public at the Irish Museum of Modern Art on Wednesday, November 25, 2009. “Picturing New York” draws on one of the most important collections of modern and contemporary photography in the world to celebrate the long tradition of photographing New York, a tradition that continues to frame and influence our perception of the city to this day. Presenting the work of some 40 photographers including such influential figures as Berenice Abbott, Diane Arbus, Garry Winogrand, Lisette Model, Alfred Stieglitz and Cindy Sherman, the exhibition features both the city and its inhabitants, from its vast, overwhelming architecture to the extraordinary diversity of its people.
The exhibition reflects photographers’ ongoing fascination with New York, a city whose vitality, energy, dynamism and sheer beauty have also inspired innumerable artists, writers, filmmakers and composers. New York’s unique architecture is explored, from elegant skyscrapers to small shop fronts; likewise the life of its citizens, from anonymous pedestrians to celebrities and politicians. The city’s characteristic optimism is caught time and again in these images, even in those taken in difficult times. Together, they present a fascinating history of the city over more than a century, from Jacob Riis’s 1888 view of bandits on the Lower East Side to Michael Wesely’s images taken during the recent expansion at MoMA.
The photographs reveal New York as a city of contrasts and extremes through images of towering buildings and tenements, party-goers and street-dwellers, hurried groups and solitary individuals. “Picturing New York” suggests the symbiosis between the city’s progression from past to present and the evolution of photography as a medium and as an art form. Additionally, these photographs of New York contribute significantly to the notion that the photograph, as a work of art, is capable of constructing a sense of place and a sense of self.
“I am thrilled that ‘Picturing New York’ will be presented in Dublin – a city whose vitality, grit, and vibrant artistic community resonates with that of New York ,” said Sarah Meister, Curator in MoMA’s Department of Photography, who organised the exhibition. “In addition, the layout and scale of the galleries at IMMA will allow this story – of New York and photography becoming modern together throughout the twentieth century – to unfold as if chapter by chapter.”
Press release from the Irish Museum of Modern Art website [Online] Cited 26/01/2010. No longer available online
Jacob Riis (Danish-American, 1849-1914) Bandit’s Roost at 59½ Mulberry Street 1888 Gelatin silver print, printed 1958 19 3/16 x 15 1/2″ (48.7 x 39.4cm) The Museum of Modern Art, New York Gift of the Museum of the City of New York
Late 19th-century New York City was a magnet for the world’s immigrants, and the vast majority of them found not streets paved with gold but nearly subhuman squalor. While polite society turned a blind eye, brave reporters like the Danish-born Jacob Riis documented this shame of the Gilded Age. Riis did this by venturing into the city’s most ominous neighbourhoods with his blinding magnesium flash powder lights, capturing the casual crime, grinding poverty and frightful overcrowding. Most famous of these was Riis’ image of a Lower East Side street gang, which conveys the danger that lurked around every bend. Such work became the basis of his revelatory book How the Other Half Lives, which forced Americans to confront what they had long ignored and galvanised reformers like the young New York politician Theodore Roosevelt, who wrote to the photographer, “I have read your book, and I have come to help.” Riis’ work was instrumental in bringing about New York State’s landmark Tenement House Act of 1901, which improved conditions for the poor.
Anonymous. “Bandit’s Roost, 59½ Mulberry Street,” on the Time 100 Photos website [Online] Cited 09/06/2019 no longer available online
Paul Strand (American, 1890-1976) Wall Street 1915 Gelatin silver print The Museum of Modern Art, New York
Lewis W. Hine (American, 1874-1940) Welders on the Empire State Building c. 1930 Gelatin silver print 10 5/8 x 13 5/8″ (27 x 34.6cm) The Museum of Modern Art, New York. Committee on Photography Fund
Weegee (Arthur Fellig) (American born Austria, 1899-1968) Coney Island c. 1939 Gelatin silver print 10 5/16 x 13 11/16″ (26.2 x 34.8cm) The Museum of Modern Art, New York. Anonymous gift
Unknown photographer (American) Brooklyn Bridge c. 1914 Gelatin silver print 7 5/8 x 9 9/16″ (19.4 x 24.3cm) The Museum of Modern Art, New York, The New York Times Collection
Ted Croner (American, 1922-2005) Central Park South 1947-1948 Gelatin silver print The Museum of Modern Art, New York
Screenshot
Walker Evans (American, 1903-1975) Girl in Fulton Street, New York 1929 Gelatin silver print 7 5/16 × 4 5/8″ (18.6 × 11.7cm) Museum of Modern Art Gift of the artist
Bernice Abbott (American, 1898-1991) Night View, New York City 1932 Gelatin silver print The Museum of Modern Art, New York
Lee Friedlander (American, b. 1934) New York City 1980 Gelatin silver print The Museum of Modern Art, New York
Irish Museum of Modern Art/Áras Nua-Ealaíne na hÉireann Royal Hospital Military Road Kilmainham Dublin 8 Ireland Phone: +353-1-612 9900
Opening hours: Tuesday, Thursday – Saturday: 10.00am – 5.30pm Wednesday: 11.30am – 5.30pm Sundays and Bank Holidays: 12pm – 5.30pm
Many thankx to the Stellan Holm Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Marcus
David Levinthal (American, b. 1949) Untitled from the series IED 2008 Archival Pigment Print on Polyester Film
David Levinthal (American, b. 1949) Untitled from the series IED 2008 Archival Pigment Print on Polyester Film
Stellan Holm Gallery is presenting I.E.D.: War in Afghanistan and Iraq, an exhibition of photographs by David Levinthal. The exhibition runs through February 13, 2010. This is the first solo exhibition of works by David Levinthal on view at Stellan Holm Gallery.
I.E.D.: War in Afghanistan and Iraq features eighteen colour photographs by renowned photographer, David Levinthal, which seek to examine the way in which our society looks at war. The idea for this series was conceived when Levinthal recognised a flood of figurines and models available to the American consumer, depicting the ongoing conflicts in Iraq and Afghanistan. Through the use of these miniature soldiers, civilians and armoured vehicles, Levinthal constructs extremely realistic dioramas that recreate the horrors of contemporary warfare. However, these photographs do not simply recreate scenes from a foreign war. Instead they bring a new perspective to the discourse about war, how it is broadcast in real time and how it relates to American society as a whole. Without interjecting his own prejudgments, David Levinthal asks the viewer to reconsider their own perceptions of reality.
Released by powerHouse Books, the publication, I.E.D.: War in Afghanistan and Iraq, compiles the entirety of Mr. Levinthal’s series of photographs. The book features seventy colour photographs along with an introduction by the artist. It is accompanied by a series of writings culled by David Stanford, editor of The Sandbox, an online military blog that posts writings from troops deployed in Iraq and Afghanistan. This ‘boots-on-the-ground’ testimony adds a powerful voice to the compelling and harrowing photographs constructed by Levinthal.
Born in 1949 in San Francisco, CA, David Levinthal has been exploring and confronting various social issues through the playful use of toy figurines since 1972. He has released numerous publications including, Hitler Moves East: A Graphic Chronicle, 1941-43, Bad Barbie, and Blackface. He was the recipient of the John Simon Guggenheim Foundation Fellowship in 1995 and the National Endowment for the Arts, Visual Artists Fellowship in 1990-1991. His works are featured in numerous, notable public collections including the Whitney Museum of American Art, the Metropolitan Museum of Art, and the Museum of Modern Art.
Text from the Stellan Holm Gallery website [Online] Cited 16/01/2010 no longer available online
David Levinthal (American, b. 1949) Untitled from the series IED 2008 Archival Pigment Print on Polyester Film
David Levinthal (American, b. 1949) Untitled from the series IED 2008 Archival Pigment Print on Polyester Film
David Levinthal (American, b. 1949) Untitled from the series IED 2008 Archival Pigment Print on Polyester Film
An interesting discussion of the life and work of Lisette Model (and her influence on Diane Arbus and vice versa) can be found on the AMERICANSUBURB X: THEORY website in an article by Elsa Dorfman titled “Ann Thomas on Lisette Model”. More photographs by Lisette Model can be found on the Masters of Photography website including some fabulous “Running Legs” images.
Dr Marcus Bunyan
Many thankx to Fundacion MAPFRE for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
“New images surround us everywhere. They are invisible only because of sterile routine convention and fear.”
“Photography starts with the projection of the photographer, his understanding of life and himself into the picture.”
“New images surround us everywhere. They are invisible only because of sterile routine convention and fear. To find these images is to dare to see, to be aware of what there is and how it is. The photographer not only gets information, he gives information about life.”
If Lisette Model took up photography as a way of earning a living, it is also true that she always fought for her own subjects, rather than simply carry out the assignments given by editors. She believed that for a photograph to be successful its subject had to be something that “hits you in the stomach.” This could be something familiar or something unfamiliar. For Model, the camera was an instrument for probing the world, a way of capturing aspects of a permanently changing reality that otherwise we would fail to see.
Model always said that she looked but did not judge. Yes, her photographs of the Promenade des Anglais in Nice were published by the left-wing journal Regards, in 1935, but she was not interested exclusively either in the rich or in the poor, and her images are much more about human relations. Her work evinces empathy, curiosity, compassion and admiration, and reflects the photographer’s attraction to voluminous forms, energy and liveliness, to emphatic gesture and expression: the world as stage. The critic Elizabeth McCausland has described Model’s camerawork as expressing “a subconscious revolt against the rules.”
This exhibition of some 120 of Lisette Model’s most representative photographs illustrates the very bold and direct approach to reality that made her one of the most singular proponents of street photography, the particular form of documentary photography that developed in New York during the 1940s, through the camerawork of such as Helen Levitt, Roy de Carava and Weegee.
Alongside the photographs, archive film and sound recordings of Lisette Model will evoke the photographer’s life, and there will be copies of magazines to which she contributed (Regards, Harper’s Bazaar, etc.).
Exhibition organised by Jeu de Paume and Fundación MAPFRE, Madrid.
Text from the Jeu de Paume website [Online] Cited 01/01/2010 no longer available online
Ray K. Metzker (American, 1931-2014) Philadelphia, 1963 1963 Gelatin silver print
The early photographs from the 1960’s are stupendous!
The pre-visualisation of the final photograph shows rare talent. The use of deep chiaroscuro is handled so adeptly, so confidently. The photographer is in full control of the modelling of the spaces and contours of the objects within the photographic frame. Metzker’s drawing with light surely comes from an enlightened mind. Magical. Wonderful.
Dr Marcus Bunyan
Many thankx to Laurence Miller Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Ray K. Metzker (American, 1931-2014) Philadelphia, 1963 1963 Gelatin silver print
Ray K. Metzker (American, 1931-2014) Philadelphia 1963 Gelatin silver print
Ray K. Metzker (American, 1931-2014) Philadelphia, 1964 1964 Gelatin silver print
Ray K. Metzker (American, 1931-2014) Chicago, 1958 1958 Gelatin silver print
From November 24 through January 9 Laurence Miller Gallery celebrates Ray K. Metzker: AutoMagic. This exhibition features over fifty black-and-white photographs taken by this 78-year old master photographer over the past fifty years in which the automobile plays a pivotal role in the contest between light and shadow. Forty of the photographs have never been exhibited before.
From his earliest street pictures taken under the El in Chicago’s Loop in the mid-Fifties, to his most recent highly abstract views of reflections on Philadelphia car windows, Ray K. Metzker brings an exuberance of vision rarely found among today’s photographers. In total control of his camera and craft, Metzker transforms the mundane in daily urban life into intense images that sizzle, and delight the eye.
In the darkest recesses of a parking garage, we discover a single shimmering tail fin of a late 50’s Cadillac. In a scene more Orson Wells than Woody Allen, we witness a menacing shadow figure approaching a parked car, intent unknown. In a blizzard, we join the photographer and a single figure as they look at one another wondering why each other is standing there in the cascading snow.
The show also reveals a more tender side of Metzker, as we peer into car windows to see folks uninhibited within their mobile shelters, including a sleeping man with a medallion, head resting on the door; a man reading at the wheel of his damaged white coupe; and a man at the end of long day, hand upon his head.
Metzker’s work of the last few years, fondly nicknamed Autowackies, are a brilliant extension of his earlier forays into abstraction, and are only made possible by the contours of our newest cars and SUV’s, which wildly warp the architecture and cloud formations reflected on their glossy surfaces.
Exhibition dates: 12th November – 6th December 2009
Alex Lukas (American, b. 1981) Untitled 2009 Acrylic and silk screen on two book pages
These are terrific – I want one!
A big thank you to Alex for allowing me to reproduce the images.
Dr Marcus Bunyan
Please click on the photographs for a larger version of the image.
Alex Lukas (American, b. 1981) Untitled 2009 Acrylic and silk screen on two book pages
Glowlab is pleased to present The Eventuality of Daybreak, a solo exhibition by Alex Lukas featuring a new series of post-apocalyptic urban landscapes that blur the visual boundaries of fiction and reality.
Lukas’ work explores the existence of disaster, be it realised or fictitious, in contemporary society. Hyper-realistic motion pictures and unforgiving news footage depict seemingly identical – and equally riveting – facades of tragedy. The artist recognises that relentless visual bombardment has resulted in society’s desensitisation to the aesthetics of destruction.
For The Eventuality of Daybreak, Lukas has selected photographic spreads of well-known metropolises from vintage publications and uses them dually as canvas and unlikely subject. Through a deft handling of paint and carefully placed screen-printed passages, the artist pushes these ageing illustrations in futuristic contexts. Submerging these cities conceptually and physically, Lukas inundates images of American cities with layers of media representing cataclysmic floods and crippling overgrowth.
Also included in the exhibition are works on paper depicting near-future scenes of devastated landscapes – crumbling infrastructure, overturned trucks and telling signs of human despair. As a counterpoint to the underwater cities, these darkly atmospheric and barren vistas signal devastation through an unsettling sense of absence.
Lukas’ intentional use of dated imagery presented in tandem with contemporary situations forces the viewer to reconcile two differing ideologies of urban space. The artist’s work calls into question society’s collective acceptance of the urban environment as an arena of destruction, once thought unthinkable and now seemingly inevitable.
The Eventuality of Daybreak is Lukas’ first solo exhibition with Glowlab. Lukas’ work has also been exhibited in New York, Boston, Philadelphia, Los Angeles, San Francisco, London, Stockholm and Copenhagen as well as in the pages of Swindle Quarterly, Proximity Magazine, The San Francisco Chronicle, The Village Voice, The Drama and The New York Times Book Review. Lukas is a graduate of the Rhode Island School of Design and currently lives and works in Philadelphia, where he is a member of the artist collective Space 1026.
Press release on the Glowlab website [Online] Cited 20/11/2009 no longer available online
Alex Lukas (American, b. 1981) Untitled 2009 Acrylic and silk screen on two book pages
Alex Lukas (American, b. 1981) Untitled 2009 Acrylic and silk screen on two book pages
Alex Lukas (American, b. 1981) Untitled 2009 Acrylic and silk screen on two book pages
Alex Lukas (American, b. 1981) Untitled 2009 Acrylic and silk screen on two book pages
![Lisette Model (American born Austria, 1901-1983) 'Coney Island Bather, New York' [Baigneuse, Coney Island] c. 1939-1941](https://artblart.com/wp-content/uploads/2010/01/model-coney-island-bather-web.jpg "Lisette Model (American born Austria, 1901-1983) 'Coney Island Bather, New York' [Baigneuse, Coney Island] c. 1939-1941")
![Lisette Model (American born Austria, 1901-1983) 'Reflections' [Reflets] c. 1939-1945](https://artblart.com/wp-content/uploads/2010/01/model-reflections-new-york-web.jpg "Lisette Model (American born Austria, 1901-1983) 'Reflections' [Reflets] c. 1939-1945")
![Lisette Model (American born Austria, 1901-1983) 'Reflection' [Reflet] c. 1939-1945](https://artblart.com/wp-content/uploads/2010/01/model-reflection-web.jpg "Lisette Model (American born Austria, 1901-1983) 'Reflection' [Reflet] c. 1939-1945")
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