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Der weltberühmte amerikanische Fotograf William Eggleston ist bekannt für seine lebendigen, poetischen und teils mysteriösen Bilder. Die Ausstellung seiner 100 Arbeiten ermöglicht dem Besucher der Londoner National Portrait Gallery einen Rundumblick über seine gesamte, bildgewaltige Karriere, angefangen von den 60iern bis in unsere Selfie-Zeit.
Eggleston is celebrated for his experimental use of colour and his solo show at the Museum of Modern Art, New York, in 1976 is considered a pivotal moment in the recognition of colour photography as a contemporary art form. Highlights of the exhibition will include monumental prints of two legendary photographs first seen forty years ago: the artist’s uncle Adyn Schuyler Senior with his assistant Jasper Staples in Cassidy Bayou, Mississippi, and Devoe Money in Jackson, Mississippi. Also on display will be a selection of never-before seen vintage black and white prints from the 1960s. Featuring people in diners, petrol stations and markets in and around the artist’s home in Memphis, Tennessee, they help illustrate Eggleston’s unique view of the world. The exhibition organised by the National Portrait Gallery, London with support from the artist and the Eggleston Artistic Trust.
EVENT! 4 August 2016 - To celebrate William Eggleston Portraits, for one night only the National Portrait Gallery is collaborating with Pop Boutique to transform the Bookshop into a 70s shop selling authentic vintage clothes, homeware, furniture and accessories. Make up brands Eyeko and Lipstick Queen will be joining us to give free makeovers and tutorials on achieving an essential retro look. William Eggleston Portraits: 70s Vintage Pop Up Shop . A part of Late Shift . 4 August 2016, 18:00-21:00 . Admission Free
About - William Eggleston (born July 27, 1939), is an American photographer. He is widely credited with increasing recognition for color photography as a legitimate artistic medium to display in art galleries. Eggleston's early photographic efforts were inspired by the work of Swiss-born photographer Robert Frank, and by French photographer Henri Cartier-Bresson's book, The Decisive Moment. Eggleston taught at Harvard in 1973 and 1974, and it was during these years that he discovered dye-transfer printing; he was examining the price list of a photographic lab in Chicago when he read about the process. At Harvard, Eggleston prepared his first portfolio, entitled 14 Pictures (1974). Eggleston's work was exhibited at MoMA in 1976. Although this was well over a decade after MoMA had exhibited color photographs by Ernst Haas, the tale that the Eggleston exhibition was MoMA's first exhibition of color photography is frequently repeated,[n 1] and the 1976 show is regarded as a watershed moment in the history of photography, by marking "the acceptance of colour photography by the highest validating institution". wiki/William_Eggleston
William Eggleston - Portraits . bis 23 Oktober . national Portrait Gallery, London . npg.org.uk/whatson/eggleston
28.07.2016 // show complete article
Das Pariser Centre Georges Pompidou widmet dem Zeitzeugen Louis Stettner im Sommer 2016 eine grosse Reetrospektive. Gezeigt werden Hunderte seiner Arbeiten aus sage und schreibe Acht Jahrzehnten Fotografenleben, die der Fotograf dem Museum im Rahmen einer Schenkung übereignete. Außerdem werden Vintage-Abzüge und ein Testdruck seines nie veröffentlichten Foto-Bildbandes gezeigt, an dem Louis Stettner in den 1950ern gearbeitet hatte. Zur Ausstellung erscheint ein umfangreicher Katalog, co-publiziert vom Centre Pompidou/Éditions Xavier Barral. Hier für Euch daraus und in Auszügen das Interview mit Louis Stettner, Clément Chéroux und Julie Jones auf GoSee :
You have said that when you were young, you used to go to the Metropolitan Museum reading room to look at photographs. When was that, exactly, and which photographers were you interested in? People like Alfred Stieglitz, Paul Strand, Ansel Adams, and Clarence H. White. The entire history of American photography. Europeans as well, like Puyo and Demachy. At the time, you could ring up and make an appointment to look at prints. I was very young – I must have been about 15. You know, when Stieglitz donated his photographs to the Met, he specifically stipulated that they should remain in their frames. Everything was so formal in those days : I wore a jacket with copper buttons and a tie, and they would bring these framed prints and put them in front of me. I think I was the only one at that time ! Nobody was interested in that sort of thing ! I used to go there a lot."
What kind of potential did you see in photography? Creative, literary or documentary? Creative potential. The documentary side didn’t interest me. I believed that I could do something important with photography : something that had meaning for others, as fundamental as poetry and on an equal footing with it. Stieglitz fought for that. He spent his life obtaining recognition for photography and demonstrating that it was worth as much as the other arts. Personally, I was really convinced of that.
Is the Louis Stettner who takes photographs in America the same as the one in France? Exactly the same ! When I came to France, people weren’t paranoid, and were quite happy to be photographed in the street. In America, people were very suspicious. One day, someone even called the police because I had been standing motionless with my camera for over five minutes ! The French didn’t complain, and they didn’t interfere in your work, even if being photographed sometimes annoyed them. In France, people still have the same respectful attitude, and it’s much easier.
Louis, you are not only a photographer but also a sculptor and painter, and you also draw a lot. What do you find unique about photography? Painting, sculpting and drawing help me to see photography more effectively. I can’t do everything at once. I take photographs when it’s impossible to paint or draw. And I paint or draw when it’s impossible to take photographs. But basically, I think that photography is rooted in realism. That’s what interests me : its nature. And that pushes you to produce something expressive. When people look at a photograph, they react immediately, because they can appreciate its poetic aspect far more quickly than with a painting. What I do is essentially poetry. I refine it to give it meaning. I’ve always thought that if you give yourself rules, like those for the sonnet in poetry, or if you adopt a certain rhythm, it makes photography more powerful. Having to stay within the boundaries of realism has provided a restriction that I feel increases the power of my images. The very nature of photography forces you to produce something much more expressive than painting or sculpture are capable of. You have to tune into real life. Take Promenade, Brooklyn : no painter could ever have imagined this relationship with the skyscrapers and the lines…. The image is rooted in reality ! No other medium makes that possible.
About - Louis Stettner ( born in 1922 ) is a celebrated American photographer whose work includes iconic images of Paris and New York. He was born and raised in Brooklyn, New York but moved to Paris in the 1950s, where he now lives permanently with his family. Louis has photographed Paris and New York for over 60 years, capturing the changes in the people, culture, and architecture of both cities. Using both black and white and color images, his work documents fleeting moments in the life of the cities, moments that often cannot be recaptured. Stettner has documented the architectural and cultural evolution of Paris and New York, making his archive of thousands of images an important resource. Few photographers have such an extensive archive of both cities, one that includes historic images of each city's most celebrated landmarks and the daily lives of its citizens.
His work has an unforced naturalistic quality to it, as he sought to capture the ordinary, every day lives of his subjects. He was particularly interested in documenting the lives of the working class in each city and he demonstrates much sensitivity in this endeavor, photographing them with great dignity. A limited amount of his work is devoted to still life and landscape images. Additionally, his paintings and sculptures tend to be abstract and in sharp contrast to his clear, vivid photographic images. As a teenager and young man, Stettner was a regular visitor to the Metropolitan Museum of Art to explore its photographic prints collection. His first camera was a wooden view camera and today he still shoots with film rather than moving to digital images. Stettner studied and taught at the Photo League until he went to Paris after the Second World War. He received his Bachelor of Arts, Photography & Cinema I.D.H.E.C. at Paris University. Throughout his life, he has gotten to know and work with many great photographers. Stettner visited Stieglitz's gallery - An American Place - but was too scared to speak to him. After sending Stieglitz photographs, Stieglitz sent him a handwritten letter of thanks which Stettner cherished. A little later, Stettner visited Paul Strand, who supported his artistic endeavors and encouraged him to continue photography. Later in Paris the two men became friends.
Now in his 80s, he continues to photograph with great energy. Stettner also spends significant time sculpting and painting, as well as mixing his work and “painting” on some of his photographic images.
LOUIS STETTNER - HERE THERE . bis 12 September 2016 . Galerie de Photographies, Forum-1, Centre Georges Pompidou. Paris
27.07.2016 // show complete article
Die australische Stills Galerie steht für ein außergewöhnliches Programm wenn es um neue fotografische Positionen und aufstrebende Künstler geht. Aktuell präsentiert die Galerie die Werkgruppen der thailändischen Performance-Künstlerin und Fotografin Kawita Vatanajyankur. Zudem gehörte sie zu den 23 ausgewählten thaländischen Künstlern, deren Arbeiten im Rahmen der großen 'Thailand-Eye' Ausstellung in der Londoner Saatchi Galerie Anfang des Jahres zu sehen war.
In ihrer neuen Fotoserie 'Machinized', fungiert Kawita Vatanajyankur selber als Werkzeug, als beweglicher Teil einer Maschine. Hier die Erklärungen der Galerie: "She transforms herself into food production equipment in performance videos that restage processes such as boxing eggs and weighing leafy greens. Like her previously celebrated works, this new series is graphic and glorious, sharing the same eye-catching allure that enamors us to ads. The confronting nature of her endurance performances, however, interrupts this seductive surface.
The repetitive and arduous tasks that Vatanajyankur performs parody a pervasive slippage between human and machine, and foreground the forgotten body within a technologically accelerating world. Beyond this literal translation, these gestures also make visible the invisible mechanisms that govern women’s everyday labour in her birthplace of Thailand. In both contexts, paring seduction and confrontation proves a powerful device in Vatanajyankur’s hands—a Trojan horse for tackling entrenched attitudes toward gender, equality and work.
In The Scale of Justice (2016), for instance, the artist becomes a traditional ‘beam scale’, balancing hanging baskets from her arms and feet. Against the jewel-coloured backdrop of sapphire pink, the baskets fill up and overflow with luscious green veg while we watch as her balance and composure are increasingly tested, her corporeal and psychological limits measured. Vatanajyankur’s self-deprecating humour is also seductive. In Egg Holder (2016) she even invites her face to be egged. Aiming to catch them in her mouth in this ill-fated feat, her yoke-covered face is displayed over half a dozen screens.
Vatanajyankur’s deliberate self-objectification suggests that our bodies are a medium for submission but also for resistance. This brave, beautiful and playful work frees her from a culture of compliance but also from her mind. As she explains, it turns her body into sculpture.
Kawita Vatanajyankur graduated in Fine Art from RMIT University in 2011. Receiving critical acclaim early in her career, her work has featured in national and international exhibitions including, Thailand Eye, Saatchi Gallery, London & Bangkok Art & Cultural Centre (2015-2016); Video oediV, Campbelltown Arts Centre (2016); Cornucopia, Shepparton Art Museum (2016); Finalist, Jaguar Asia Tech Art Prize, Art Taipei, Taiwan; PROXIMITY, National Museum, Poland (2014); The Encyclopedic Palace: Melbourne Offsite for the 55th Venice Biennale (2013); BorderBody, MECA, Spain & Gallery MD_S, Poland (2013); Ikono On Air Festival, Germany (2013);and Channels Festival, Melbourne (2013). Australian Art Collector featured her work on the cover.
STILLS is a leading Australian gallery with a focus on contemporary photography and multimedia art. The gallery, established in 1991, is housed in a converted warehouse with a large exhibition and printroom space in Paddington, Sydney’s main gallery precinct. STILLS represents both emerging and established artists, and has a long history of fostering artists who work at the forefront of contemporary photo media practice.
13.07.2016 // show complete article