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'Crow’s Field' - verblasste Kindheitsträume von Fotografin Siri Kaur zu sehen in der Kopeikin Gallery, Los Angeles

Die Kopeikin Gallery freut sich 'Crow’s Field' von Siri Kaur zeigen zu dürfen, es handelt sich dabei um die erste Solo-Ausstellung der Fotografin bei der Kopeikin Gallery, Los Angeles. Crow’s Field - so nannten Siri und ihre Freunde ein Stück herrenloses Farmland im ländlichen New England, in dessen Nähe sie und ihre Freunde aufwuchsen. Dieses Niemandsland, bestehend aus nicht viel mehr als Wald und Strasse bekam ein magischer Ort für die Kinder an dem Realität und Fantasie verschwammen.

Die Galerie führt aus : "Since it now exists only in memory, Crow’s Field is impossible to document, yet Kaur accesses it by subverting the traditional photographic genres of still life, landscape, and portraiture. Through the process Crow’s Field serves as a metaphor for creating a new type of photograph, one that partially embodies both the real and the surreal. As they subtly dislocate time and space, these ephemeral images de-center classical narrative structures. The results are a group of atmospheric pictures that invite the viewer to participate in finishing each story.

Permeated by everyday natural elements, almost too strange to believe, Kaur creates an otherworldly stream-of-consciousness meditation on memory through the uncanny nature of photographs. A freshly caught octopus on a fishing boat becomes a still life; a girl and her dog morph into a chimera at rest; a sunflower transforms into a baroque abstraction. Underneath these familiar and lush exteriors a sense of uneasiness gnaws away at Kaur’s most cherished attachments. It’s not that she can’t go home again; it’s that home was never exactly what she thought it was."

About - Siri Kaur received her MFA in Photography from California Institute of the Arts in 2007, and an MA in Italian Studies (2001) and BA in Comparative Literature (1998) from Smith College. Kaur was the recipient of the Portland Museum of Art’s Biennial Purchase Prize in 2011. She has participated in numerous exhibitions, including solo shows at Blythe Projects and USC’s 3001 galleries in Los Angeles, and group shows at the Torrance Museum of Art, California Institute of Technology, and UCLA’s Wight Biennial. Her work has been reviewed in Artforum, art ltd., The L.A. Times, and The Washington Post, and is housed in the permanent collections of the National Gallery in Washington, D.C. and the University of Maine. She lives and works in Los Angeles, where she also serves as Assistant Professor at Otis College of Art and Design.

Siri Kaur "Crow's Field" . March 11 - April 22, 2017 . 2766 S La Cienega Blvd, Los Angeles, CA 90034,
28.03.2017 // show complete article

GoSee Last Call : 'Ryan McGinley - Early' in der New Yorker Team Gallery bis 1sten April

Die New Yorker Team Gallery freut sich Euch noch bis zum 1sten April die frühen Arbeiten von Ryan McGinley zeigen zu dürfen. Die Fotos entstanden in den Jahren von 1999 bis 2003 in New York, einer Zeit der Hoffnungslosigkeit für viele Amerikaner - gleichbedeutend mit dem Beginn der Bush-Ära, 9/11 und seinen Auswirkungen.

Die Galerie in ihrem Pressetext zur Ausstellung: "These vérité images, which pre-date his famed “road trip” series, capture the exploits of the artist’s social circle, members of an outlaw creative community based in New York’s Lower East Side. This body of work – a significant addition to the legacy of American subculture photography forged by the likes of Peter Hujar, David Wojnarwicz, Philip-Lorca diCorcia and Nan Goldin – is characterized by McGinley’s idiosyncratic admixture of hopefulness and self-awareness, as well as his unembarrassed disclosure of the melodrama of youth, its inextricably intertwined joy and heartbreak: the artist shows us his debauched, frequently naked friends, laughing and weeping, taking drugs and having sex, tagging walls and pissing off roofs.

Most of McGinley’s subjects are themselves artists, many of them highly recognizable: his childhood friend, the painter Dan Colen; Kunle Martins, better known by his graffiti moniker Earsnot; the late photographer and multi-media collagist Dash Snow, a close compatriot and frequent subject. The photographs vibrate with the synergistic charge of creative community, occupying the interstices between artists and their output; Early illuminates the multi-discursive genesis of much art-making.

Photos from this period of McGinley’s career appeared in his now-iconic handmade book The Kids Are Alright, as well as the 2003 Whitney show of the same title. That exhibition propelled the 25-year-old McGinley – at the time the youngest artist to have a solo show at the museum – to international notoriety. His fame roughly coincided with the advent of image-oriented social media platforms, the Internet quickly serving as the primary means of dispersal and consumption of his pictures. Editions of the book were sold at premiums on eBay, their authenticity dissected and debated on message boards. Blogs arose dedicated to McGinley, both as an artist and person. The artist’s project at this stage in his career was the obsessive documentation of his own life, its most intimate and debased moments, to the degree that the distinction between the image and its referent reality is blurred, the photos and experiences extensions of one another. While the photos themselves were made with a Yashica T4 point-and-shoot camera, hardly novel technology at the time, the particular confluence of their content and context was unprecedented: the widely shared images anticipated our modern moment, in which private and public life are merged, posted online for all to see."

Der Großteil der in New York gezeigten Bilder vor zuvor nicht als Druck bzw. iin Galerien zu sehen. Wer aktuell nicht in New York ist kann die Ryan McGinley-Ausstellung 'The Kids Were All Right' in Denver bewundern, diese läuft bis zum 20ten August 2017 im MCA Denver. Hierzu gibt es einen Katalog co-publiziert mit Skira Rizzoli.

Ryan McGinley - Early . Mar 02 - Apr 01, 2017 . 83 Grand Street, New York .
28.03.2017 // show complete article

GoSee loves ... ANJA NIEMI 'THE WOMAN WHO NEVER EXISTED' - eine fotografische Hommage an die italienische Schauspielerin Eleonora Duse als Ausstellung in Paris, Oslo und London

Anja Niemi arbeitet auch in ihrer neuen Serie mit Selbst-Portraits und Selbst-Identität. Nachdem 'The Woman Who Never Existed' bereits im Januar auf der Photo San Francisco zu sehen war, folgen nun Galerie Ausstellungen in Paris, Oslo und London (Shoot Gallery Oslo, 9 March - 30 April, Galerie Photo 12 Paris, 16 March - 22 April, The Little Black Gallery London, 4 - 27 May).

Inspirieren liess sich die Fotografin von der italienischen Theater Schauspielerin Eleonora Duse, die oft als Vorläuferin des Method Acting bezeichnet wird. Viele US-amerikanische Schauspielschulen berufen sich auf 'die Duse' als Protagonistin des puristischen Stilmittels, sich nur mit Körpereinsatz und unter Verzicht unnötiger Requisiten auszudrücken. DIe Schauspielerin war sehr introvertiert und gab kaum Interviews. Einem New Yorker Journalist sagte sie ‘away from the stage I do not exist.’

'The Woman Who Never Existed' erzählt die Geschichte einer Schauspielerin, die nur vor ihrem Publikum existiert, schaut niemand hin, dann verschwindet sie.

Norwegian photographer Anja Niemi is considered ‘one of the most compelling modern artists working today’. (British Journal of Photography). Niemi always works alone. Photographing, staging and acting out the characters in all of her photographs. She has published two books: Photographing In Costume (The Little Black Gallery, 2015) and Short Stories (Jane & Jeremy, 2016). Her third The Woman Who Never Existed will be published by Jane & Jeremy in February 2017. Niemi (b 1976) studied at the London College of Printing and Parsons School of Design in Paris and New York, lives in Norway.
23.03.2017 // show complete article