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Archive for the ‘Photography’ Category

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Over the past generation Detroit has suffered economically worse than any other of the major American cities and its rampant urban decay is now glaringly apparent during this current recession. Yves Marchand and Romain Meffre documented this disintegration, showcasing structures that were formerly a source of civic pride, and which now stand as monuments to the city’s fall from grace.

“Ruins are the visible symbols and landmarks of our societies and their changes, small pieces of history in suspension. The state of ruin is temporary by nature, the volatile result of the end of an era and the fall of empires. This fragility, the time elapsed but even so running fast, lead us to watch them one very last time: being dismayed, or admiring, wondering about the permanence of things. Photography appeared to us as a modest way to keep a little bit of this ephemeral state.”

Look for Marchand and Meffre’s book, published by Steidl, to be released in December, 2010.

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Glen E. Friedman, photograph by Darren Wellhoefer

Glen E, Friedman, the legendary photographer and cultural influencer of all things music, skate, and underground aesthetics, is bringing his work to San Francisco’s 941 Geary space this Saturday for a major showing titled, in perfect punk, “Fuck You All.”

The new exhibition will be marked by some of Friedman’s iconic works, the touring exhibition portion that contains the shots of Black Flag, the Beastie Boys, and a far younger Tony Hawk. But the 941 Geary show will be highlighted by the Shepard Fairey collaborations together with the original photographs for the first time.

Henry Rollins, collaboration between Glen E. Friedman and Shepard Fairey

The collaboration comes on the heels of Friedman’s exhibition at Fairey’s Subliminal Projects last year, and a special interview Fairey did for Juxtapoz with Friedman in our 100th issue last Spring. As 941 Geary tells us, “Friedman’s 941Geary exhibition of Fuck You All will feature several never before seen collaborations with Shepard Fairey, which will be displayed along with the original photographs for the first time. These works are true artistic collaborations, executed symbiotically and inspired from a history of mutual respect between Friedman and Fairey.”

The opening reception will be held from 6-9pm on Saturday, November 6th at 941Geary in San Francisco. The artists will be in attendance.

Read the full Juxtapoz interview here.

 

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SOCAR Oil Fields #1ab, Baku, Azerbaijan, 2006

Edward Burtynsky is, in my opinion, one of the most important photographers of our generation. Stark, beautiful, and poignant, Burtynsky’s images capture man’s impact on his environment. Unaltered, Burtynsky’s photographs do not reply on tricks of the eye and digital enhancements to make some overt commentary. Instead, Burtynsky captures beauty in the difficult subject matter he documents, subtly probing the viewer to engage in an ethical deliberation over the implications of what they are seeing.

Now, there is a new Steidl book release and touring exhibition organized by the Corcoran Gallery of Art, Washington DC. that surveys a decade of Burtynsky’s photographic work exploring the subject of oil. Edward Burtynsky has traveled internationally to chronicle the production, distribution, and use of the most critical fuel of our time.

In addition to revealing the rarely-seen mechanics of its manufacture, Burtynsky captures the effects of oil on our lives, depicting landscapes altered by its extraction from the earth, and by the cities and suburban sprawl generated around its use. He also addresses the coming “end of oil,” as we confront its rising cost and dwindling availability.

“Edward Burtynsky: Oil is the definitive photographic documentation of this hotly debated subject.”
– Paul Roth, Senior Curator of Photography, Corcoran Gallery of Art, Washington DC.

View the whole exhibition here.

VW Lot, Houston, TX 2004

Breezewood, Pennsylvania 2008

Oxford Tire Pile 9ab, Westley, California 1999

Shipbreaking #13, Chittagong, Bangladesh 2000

Shipbreaking #11, Chittagong, Bangladesh 2000

SOCAR Oil Fields #3, Baku, Azerbaijan 2006

 

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Congratulations to our friend, Ala Ebtekar on the success of his exhibition Indelible Whispers of the Sun at Charlie James Gallery in Los Angeles.  The show is recognized in  L.A. Weekly’s Critic Choices: Highlights of the Fall Season. Not bad for the artist’s Los Angeles debut solo show. Indelible Whispers of the Sun closes tomorrow, so make sure to take a look before it comes down.

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Harry Callahan, Atlanta,1984; dye transfer print

SFMOMA will present the U.S. debut of a major survey that examines photography’s role in invasive looking.   Exposed: Voyeurism, Surveillance and the Camera Since 1870 is co-organized by SFMOMA and Tate Modern, and gathers more than 200 pictures that together form a timely inquiry into the ways in which artists and everyday people alike have probed the camera’s powerful voyeuristic capacity. How can the virtuous resist the 5 “forbidden themes” of this show? These theme are Voyeurism and Desire (Helmut Newton!, Blow Job!, Nan Goldin!), Celebrity and the Public Gaze (Ron Galella– the godfather of paparazzi), Witnessing Violence and Surveillance. The exhibition is on view from October 30, 2010, through April 17, 2011, make sure to have a peep at this show.

Georges Dudognon, Greta Garbo in the Club St. Germain ca. 1950

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These images appeared in my inbox the other day and I had to post them. At first I was unsure of what I thought of the work. I’m not a major fan of photo collage that isn’t hand-rendered in some way. Of course, the artist didn’t send me a description of the process, and I wasn’t able to find one online, so I’m going off of what I perceive via my computer interface – not the best way to observe art. While these look to me to be mostly digital illustration, I didn’t dismiss them right away. Perhaps I’m warming up to the technological age of art after all! What I love about Jorge’s work is his visual depiction of a free-flowing creative process that manages to be both orderly and planned as well as spontaneous and random. The digital medium provides this “clean room” creation – sterile subject matter placed almost mathematically against a white background. But then, the objects that comprise the subject are so random – a pile of chairs, bits of antenna, an array of bottles. These works make me want to know more, which is the whole point of art in my opinion.

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