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| PHOTOGRAPHY INTERNATIONAL | | 27 Sept — 4 Oct 2017 | |
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| | | | | The festival includes a wide variety of exhibitions and multiple events around Atlanta and throughout the surrounding communities. The festival's diverse offerings bring together professional and amateur photographers, general art enthusiasts, gallery owners, critics, and collectors. |
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| | | | | In September 2017, the Fine-Art Photography Association (FAPA) will hold the fourth Daikanyama Photo Fair. Galleries, bookstores, and publishers that have supported the fair since its inception are joined by other leading figures in fine art photography, including many from outside Japan. This year, the fair returns to the fundamental issue of “What is photography?” and looks closely at many different aspects of photography in conjunction with experts in a variety of areas, adopting “Photography × X” themes. |
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| | | | | A unique weekend to discover a comprehensive programme in the most prominent city galleries, artistic interventions in special venues, exhibitions, guided routes and special activities. |
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| | | Poética de la desaparición IV, 2006, 110 x 150 cm, Impresión digital cromogénica Edición de 3 + AP | | | | | | | | 28 September – October 2017 | | | | Barcelona Gallery Weekend: September 28 to October 1 | | | | | | | | | | | | | Taking as a starting point the title of the series “This is not my body” by Ixone Sádaba, we would like to initiate the departure to a journey that takes us through different facets of this artist´s research. Sádaba uses photography, installation and performance to explore the notions of representation and perceptions of identity. In this proposal we are captivated and incited to focus on one of its main referents: the female body as a battleground, exposed to violence and fragmentation, yet at the same time a body that has infinite possibilities, extending beyond imposed frameworks and coercive forces.
Another key area of Sádaba´s research explored in this exhibition is the concept of photography as technology. The artist refers to how for many years the formal and documentary aspects of photography have been used to support normative knowledge. Against this she suggests an approach to the medium as environment for deploying materiality and tools, a place to expand and contract in the “space-time” axis, to alert and to doubt.
We have selected works from three different series: Poetics of disappearance, Gulala and This is not my body. All three have formal and ideological links, and also demonstrate the plurality and skill of the artist´s production. | | |
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| | Mrs Albert (Christina) Broom: Women's Police Officers, led by Inspector Mary Allen, a former women's rights activist,
receive instructions for the Womens War Work Exhibition, Knightsbridge, London, May 1916
© Imperial War Museum | | | Wartime and Adventure | | | | Women Photojournalists in Europe 1914 – 1945 | | | | | | | 28 September 2017 – 11 February 2018 | | | | Opening: Wednesday, 27 September, 7 pm | | | | | | | | | | | | | Das Verborgene Museum shows about 70 spectacular photographs, graphics, magazines and documents of European women photographers on the war scenarios of 1914-1945 at the front and home front. Between 1914 and 1945, during the two international wars of aggression and the Spanish Civil War, women took part as war correspondents, whether as professional photographers and journalists, or as amateur photographers or nurses with cameras. They witnessed the care of the wounded in field hospitals, troop entertainments at base and military conflict along the lines, just as they recorded life at home on the domestic front. They opposed the Kaiser, fascists and Nazis, but being female does not automatically mean being a pacifist. For example the Austrian Alice Schalek was fascinated by war. Schalek, the first woman to be accredited as a war photographer, enthusiastically accompanied soldiers as far as the Isonzo mountains in 1914-16, and her verbal skirmishes in the press with the Viennese pacifist Karl Kraus caused quite a stir. In Germany, women were not allowed onto the battlefields, but most middle-class women proudly volunteered for any task to support the home front. The amateur photographer Käthe Buchler portrayed them in such roles as tram conductor, postwoman or night watchwoman, mobilising their efforts with slide lectures. In Britain, it was the suffragettes who fought for women’s right to vote and then, when war broke out, their right to serve in the war. The exhibition shows works by a professional studio portrait photographer from London and snapshots by nurses who, in Belgium and in Russia, documented the care of the wounded and everyday war in camp. Little attention has so far been paid to the women who chronicled the Spanish Civil Wa… | | |
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| | | René Groebli: London, 1947 / Courtesy Johanna Breede PHOTOKUNST | | | | | | | | 30 September - 24 November, 2017 | | | | Exhibition opening: Friday, 29 September, 5–8pm | | | | | | | | | | | | | They say that love never ends. It hopes for everything and seeks the truth; it does not bear grudges; it sustains. Perhaps one only needs to learn to see properly – with eyes willing to believe and to tolerate everything. Eyes anticipating a stretched back to suggest the grace of Nike with broken wings and a fleeting pose to suggest a poetic "film noir". The Swiss photographer René Groebli has such eyes - they transform the world. His eyes create a sensual landscape from an elongated neck and the white flag of Eros from a negligee draped on a hanger. René Groebli is said to have eyes of love. The photographer, born 1927 in Zurich, published his most important photo book to date in 1954, choosing the romantic title: "The Eye of Love". At that time not many people understood this. At least in the "old" Europe the compilation of 25 black and white images turned out to be a shelf-warmer. The much too prude 1950s still had to get used to this type of subjective and simultaneously radical sensual imagery. Whereas Edward Steichen soon purchased prints from the book for the MoMA, New York, Swiss critics considered the images, created by Groebli two years earlier in a rundown hotel room in the Paris district of Montparnasse, as suggestive and too frivolous. Today, the thin, then self-published small book is a classic. The often blurry portraits and body studies, taken by the 26 year old photographer of his wife Rita Groebli in Paris, not only show the talent for composition and cinematographic eye he possessed – the small photo book is above all a fragile ode to love per se. For the magical tenderness, which Groebli was able to capture in front of tattered wallpaper and worn furniture, transcended the situation … | | |
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| | | Josef Hoflehner : Super Sport, Los Angeles, California, 2014 – 110 x 150 cm – Edition 1/9 | | | | | | | | 29 September – 25 November 2017 | | | | Opening reception: Thursday 28 September 19:00 | | | | | | | | | | | | | ABOUT WAITING FOR THE SUN
For as long as I can remember, it has been my dream to live in America in the 1970s. However, I was born in 1987, making this dream an impossible reality.
But I have always been drawn to that decade; the music, the way people dressed, the cars. When my classmates listened to The Backstreet Boys, I enjoyed the rock tunes of Led Zeppelin. And when they were excited about the then-new Volkswagen, I couldn't stop thinking about a classic Dodge.
The 1960s and 70s arguably saw some of the best-designed cars to ever leave a manufacturing plant. Once seen bumper-to-bumper throughout the country, these automobiles are a rare sight on U.S. roads today. The ones that didn't end up in a scrapyard, spend most of their time in garages, often being cared for and maintained by enthuasiasts and collectors. For "Waiting for the Sun," I have teamed up with one of the most influential contemporary photographic artists to create a series of photographs that give the impression of being captured in the 70s.
Over the past five years, we have driven across America, from coast to coast, along miles of highway and through countless neighborhoods, searching for vintage automobiles.
Whether covered in snow during a winter Nebraska night, or shining in the sun of the Nevada desert, to us, these cars perfectly fit the American landscape, and describe an era and a culture. Although we didn't stage any of the photographs, we were very selective and made great efforts to avoid most modern amenities and surroundings in these works.
by Jakob Hoflehner | | |
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| | | | | | | | Barbara Probst: Exposure #56, NYC, 428 Broome Street, 06.05.08, 1:42 p.m., 2008, 10-teiliges Werk (Detail) |
| | | | Vom Umgang mit der Wirklichkeit | | | | | | 29 Sep 2017 – 6 Jan 2018 | | | | | |
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| | | | | | | | Jan Windszus: Griechenland, Poseidon Tempel |
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| | | Lucas Foglia, Esme Swimming, Parkroyal on Pickering, Singapore, 2017 © Lucas Foglia, courtesy Michael Hoppen Gallery | | | | | | | | until 21 October 2017 | | | | | | | | | | | | | Michael Hoppen Gallery is delighted to present Human Nature, our third exhibition by American photographer Lucas Foglia. This new series made over a three year period, Foglia explores the issues of the incessant human activity that has impacted on our natural environment so much so, that it is altering the worlds climate. In this new series, Foglia leads us through his journey in chapters of images. Moving from city to city through forests to farms and deserts to ice fields and oceans. Scientists are pictured quantifying and studying our relationship with the natural world, measuring how we as human beings alter nature and, importantly, how spending time in wild spaces and nature can fundamentally changes us. Both factual and lyrical, Human Nature is a celebration of the curious. At times funny, at others, sad and sensual, the images illuminate the human need to connect with nature and to the wildness in ourselves. Continuing in the vein of his previous projects A Natural Order and Frontcountry, Foglia creates intelligent and challenging questions in his photographs through his total immersion in his subject. Foglia has always been interested in the complex relationship between man and nature in all its varying guises, often with an environmental emphasis. His continued focus in this very topical and much discussed subject , underscores how we as individuals need to re-examine our own behavior, to see how we can individually play our own part in modifying the way human beings treat our most precious resource – our natural environment. | | |
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| | | | | | | Elise, 2014
Print size: 38 x 50 cm / framed ca. 48 x 60 cm
Edition of 5
Fine art print on Hahnemuhle Photo Rag Baryta paper
© Robin de Puy, Courtesy The Ravestijn Gallery, Amsterdam |
| | | | | | | | | | | Fri 29 Sep 20:00
29 Sep – 28 Oct 2017 | | | | | |
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| | | | | | | | Raqs Media Collective, Re-run, 2013 |
| | | | | | | | | | | 30 Sep 2017 – 25 Feb 2018 | | | | | |
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| | | Sophie Calle, still from Voir la mer, 2011, 14 digital films with color and sound, dimensions variable. ©2017 Sophie Calle / Artists Rights Society (ARS), New York / ADAGP, Paris. Courtesy of Sophie Calle and Paula Cooper Gallery, New York. | | | | | | | | 1 – 31 October 2017 | | | | | | | | | | | | | In partnership with French Institute Alliance Française (FIAF) as part of Crossing the Line Festival 2017, Times Square Arts presents artist Sophie Calle’s Voir la mer on Times Square’s electronic billboards from 11:57 p.m. to midnight every night in October. This project is a part of Midnight Moment, a monthly presentation by The Times Square Advertising Coalition (TSAC) and Times Square Arts. In Istanbul, a city surrounded by the sea, Sophie Calle met people who had never seen the water. Voir la mer silently reveals their emotional response to the experience of visiting the seashore for the first time, as they stared at the edge of the Black Sea before turning around. Magnified on Times Square’s electronic billboards, five of these intimate video portraits evoke the universal power and poetry of watching the infinite. | | |
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| | | Confine #257 © Vittoria Gerardi & Confine #256 © Vittoria Gerardi | | | | | | | | until 4 November 2017 | | | | | | | | | | | | | Following the remarkable success that Vittoria Gerardi’s works had during its preview in May, the Galerie Thierry Bigaignon has decided to offer Vittoria Gerardi her first solo show. In "Confine", Italian photographer Vittoria Gerardi presents her perception of the landscape, a visual and mental experience through Death Valley. Located in the eastern Californian desert, Death Valley is the lowest, driest and hottest area in North America. 139 miles long, the valley varies from massive mountain formations to expanses of ground covered with salt, revealing a martial scenery where no human being deserves to live. The dazzling light, therefore the incapability of seeing is portrayed by the photographer by selecting portions of the negative, distilling fragments of the landscape and making them become symbolic lines between inconsistency and matter, almost as scars of light and time.
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| | | | | | | | | | | | | Destination: Communism! To the 100th anniversary of the Russian Revolution: original photographs and artworks created between the 1920s and the 1980s | | 29 Sep – 19 Nov 2017 | | | | | | | |
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| | | | | | | Sputnik Photos / Lost Territories Archives
Shopping centre in Dushanbe, Tajikistan |
| | | | | | | | | | | Thu 28 Sep 19:00
29 Sep – 11 Nov 2017 | | | | | |
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| | | | | | | | Katharina Mayer: Alex & his friends, Düsseldorf, 2006 |
| | | | | | | | | | | Thu 28 Sep 19:00
29 Sep – 5 Nov 2017 | | | | | |
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| | | Christ Loved Men Only, 1969, Vintage gelatin silver print | | | | | | | | 29 September – 21 October 2017 | | | | Opening reception: Thursday 28 September 18:00 | | | | | | | | | | | | | | The Fabian & Claude Walter Galerie is pleased to present a selection of works by the internationally renowned street and documentary photographer Jill Freedman in a cabinet exhibition. Vintage photo- graphs from various phases of the New Yorker's creative life are shown. | | |
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| | | Untitled, © Dane Shitagi | | | Ballet | | | | A special section of 15 ballet photographs (one released each day) starting today | | | | 27 September – 12 October 2017 | | | | | | | | | | | | | YourDailyPhotograph.com offers a special section of 15 ballet photographs (one released each day) starting today. Emerging and established photographers from over ten countries created and contributed these photographs, which were juried by the YourDailyPhotograph.com curatorial staff. The "ballet" themed section is one of many sections YourDailyPhotograph.com produces in its succinct daily email offerings to collectors. Subscriptions are free. Well-known collectors from 74 countries currently enjoy this special service. If you are collecting, or considering beginning a collection of photographs, the "Daily" is one email you’ll appreciate each day. Subscribe at YourDailyPhotograph.com | | |
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| | | © Mary Frey, Chikara Umihara, Michael Dalton II, Morgan Ashcom, Tsar Fedorsky, Robert Lyons | | | | | | | Book Release Party & Panel Discussion | | | Saturday, September 30th, 2017 5pm
Panel Discussion: 5:30pm | Book signing: 7pm-9pm | | | | | | | | | | | | | All participating artists will engage in a lively panel discussion about the book making process moderated by Michael Vahrenwald, faculty/advisor HAS MFA. A book signing of recently published works will follow the discussion from 7-9pm.
The following artists (publishers) will participate in the event:
Faculty members:
Robert Lyons – Pictures From The Next Day (Zatara Press)
Mary Frey – Reading Raymond Carver (Pepperoni Books)
Alumnae:
Tsar Fedorsky – The Light Under The Door (Pepperoni Books)
Michael Dalton II – The Great Falls (Pepperoni Books)
Chikara Umihara – Whispering Hope (Self Published)
Morgan Ashcom – What The Living Carry (MACK) | | |
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| | | Mickalene Thomas, "La leçon d'amour," 2008. © Mickalene Thomas; courtesy the artist, Lehmann Maupin, New York and Hong Kong and Artists Rights Society (ARS), New York | | | | | | | | | | | 1 – 31 October 2017 | | | | | | | | | | | | | The festival includes a wide variety of exhibitions and multiple events around Atlanta and throughout the surrounding communities. The festival's diverse offerings bring together professional and amateur photographers, general art enthusiasts, gallery owners, critics, and collectors. | | |
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| | | | | | man-made landscapes | | | | | | – 21 Oct 2017 | | | | | |
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| | | Pétrel I Roumagnac (duo), d’astérion, Installationsansicht, 2017, Pièce photo-scénique n°2 Direktdruck auf Holz, Plexiglas und diverse Materialien, 12m³ (fragmentierbar) © Pétrel I Roumagnac (duo) | | | | | | | Farewell Photography | | | | | | | – 5 November, 2017 | | | | In 2017 the internationally renowned Fotofestival Mannheim-Ludwigshafen-Heidelberg will be renamed as the Biennale für aktuelle Fotografie | | | | | | | | | | | | | | The first Biennale für aktuelle Fotografie, which will be on show from 9 September 2017 in Mannheim, Ludwigshafen and Heidelberg, takes its leave from photography as it has been known hitherto. Under the title “Farewell Photography”, a six-member curator team will shed light on radical ways of handling images in the digital age and present an alternative look at photography’s history. The Biennale will be showing works by more than 60 international photographers and artists in seven chapters in seven museums of the region. | | |
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| | | | | | | Menschen Tiere Sensationen
We don't kill our darlings
Café Cohrs, Mannheim
(3.09. – 14.10.2017)
© Andi Thurm |
| | | | More than 70 photography exhibitions metropolitan region Rhein-Neckar | | | | | | – 5 Nov 2017 | | | | | |
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| | liquid time (2017) © Michael Najjar
Format 1: 132 x 202 cm / 52 x 79.5 in, edition of 6 + 2 AP
Format 2: 67 x 102 cm / 26.3 in x 40.2, edition of 6 + 2 AP
Hybrid photography, archival pigment print, aludibond, diasec, custom-made aluminium frame | | | Clouds ⇄ Forests | | | | 7th Moscow International Biennale of Contemporary Art | | | | | | | 19 September 2017 – 18 January 2018 | | | | | | | | | | | | | The 7th Moscow International Biennale of Contemporary Art takes place in the New Tretyakov Gallery (The State Tretyakov Gallery, 10, Krymsky Val, Moscow) from 19 September 2017 to 18 January 2018. The Main Project Clouds⇄Forests is curated by Yuko Hasegawa - one of the leading curators in the international art world - and includes 52 artists from 25 countries. The concept of Clouds⇄Forests focuses on a new eco-system formed through the circulation of "Cloud Tribes" born on the Internet cloud space, and "Forest Tribes" born in an analogue world. Works of the artists in the Main Project are displayed in dialogue with works from the permanent exhibition of The State Tretyakov Gallery. Michael Najjar » has been invited to participate in the Biennale with several large-scale artworks from his celebrated "outer space" series. On view for the first time will be his "liquid time" triptych, created especially for the Biennale. This work highlights the fragility of our ecological balance and the significance of the change of state from ice to water because glaciers are storehouses of time - layer on layer they capture the air, water and oxygen of countless thousands of years. The picture was taken in early 2017 in an ice cave under the Breiðamerkurjökull glacier in Iceland.
Also on view, in the All-Russian State Library, will be Michael Najjar´s striking new video artwork "terraforming". The work focuses on transformation of a natural environment through energy input and combines footage taken on various locations in Iceland in early 2017 with Martian landscapes shot by NASA´s Curiosity Mars rover. | | |
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| | Candice Breitz, Extra #8, 2011, Chromogenic Print, 56 x 84cm
Courtesy: Goodman Gallery, Kaufmann Repetto + KOW Berlin | | | | | | | | | | | | – 26 November 2017 | | | | | | | | | | | | | The 57th International Art Exhibition, titled VIVA ARTE VIVA and curated by Christine Macel, is organized by La Biennale di Venezia chaired by Paolo Baratta. The Exhibition will be open to the public from Saturday May 13th to Sunday November 26th 2017, at the Giardini and the Arsenale venues. The preview will take place on May 10th, 11th and 12th, the awards ceremony and inauguration will be held on Saturday May 13th 2017. The Exhibition will also include 85 National Participations in the historic Pavilions at the Giardini, at the Arsenale and in the historic city centre of Venice. Also for this edition, selected Collateral Events by non-profit national and international institutions, present exhibitions and initiatives. Detailed information can be found on www.labiennale.org/en/art/ | | |
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© 20 September 2017 photography-now.com
Ziegelstr. 29 . D–10117 DE . Berlin . Editor: Claudia Stein + Michael Steinke . contact@photography-now.com . T +49.30.24 34 27 80 |
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