Maine exhibits now and upcoming

Posted in Maine on April 11, 2014 by voxphotographs
Watermark©Jeffery Becton. Maine Museum of Photographic Arts at University of Southern Maine, Glickman Family Library  Gallery.

Watermark©Jeffery Becton. Maine Museum of Photographic Arts at University of Southern Maine, Glickman Family Library Gallery.

 

Maine Museum of Photographic Arts – Jeffery Becton: A Singularity of Place. Through May 29.

PhoPa Gallery - Beneath the Surface – Avy Claire, Anne-Claude Cotty, Nancy Manter. Through May 31.

Maine Media Workshops – Stuart Zaro, MFA Thesis Exhibition. April 16 – May 24

University of Maine Museum of Art – Looking Back Six Years, Part I – New Acquisitions. April 4 – June 7

Maine Photography Show, 2014 – Boothbay Region Arts Foundation Gallery – April 12-May 2

George Marshall Store Gallery – Momentum XII: Justin Kirchoff  – Half-Life. April 26 – June 1.

February Shore #3©Jane Yudelman. Maine Photography Show 2014 through May 2.

February Shore #3©Jane Yudelman. Maine Photography Show 2014 through May 2.

 

Beyond the Dooryard: Photography exhibits outside of Maine

Posted in EXHIBITS/SHOWS, New England, NYC, Other on April 3, 2014 by voxphotographs
Somewhere in the West 30's©Marc Yankus. At ClampArt/NYC April 3 - May 17

Somewhere in the West 30′s©Marc Yankus. At ClampArt/NYC April 3 – May 17

 

MASSACHUSETTS:

Danforth Art MuseumLisa Kessler: In the Pink - April 6 through June 15

Griffin Museum of Photography – various, through June

 

WISCONSIN:

Haggerty Museum of ArtBrian Ulrich: Copia – Retail, Thrift and Dark Stores – through May 18

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GEORGIA

Jackson Fine ArtAbelardo Morell: Tent Camera Obscura – through May 3

High Museum of ArtAbelardo Morell: The Universe Next Door – through May 18

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LOUISIANA:

New Orleans Museum of Art - Photography and the American Civil War – opens January 31 through May 4

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Father Duffy Square, December 9, 2001©Rose Marasco. See Rose Marasco: New York City Pinhole Photographs at Meredith Ward Fine Art through May 3.

Father Duffy Square, December 9, 2001©Rose Marasco. See Rose Marasco: New York City Pinhole Photographs at Meredith Ward Fine Art through May 3.

NEW YORK CITY:

Meredith Ward Fine Art  – Rose Marasco: New York City Pinhole Photographs – through May 3

Bruce Silverstein Gallery – Todd Hido: Excerpts from Silver Meadows, through April 26

Howard Greenberg GalleryAbbott and Marville: The City in Transition – through April 12

The Morgan Library and MuseumA Collective Invention: Photographs at Play – through May 18

ClampArtMarc Yankus – The Space Between – Opens April 3 – through May 17

MOMAA World of Its Own: Photographic Practices in the Studio – through October 5

Guggenheim MuseumCarrie Mae Weems -  through May 14

Metropolitan MuseumCharles Marville: Photographer of Paris/Paris as Muse: Photography, 1840′s-1930′s – through May 4

International Center of PhotographyWhat Is a Photograph? -through May 4

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Queen Victoria Diamond Jubilee (detail), July 1893, W. D. Downey. Royal Collection Trust©Her Majesty Queen Elizabeth II 2013. At The J. Paul Getty Museum through June 8.

Queen Victoria Diamond Jubilee (detail), July 1893, W. D. Downey. Royal Collection Trust©Her Majesty Queen Elizabeth II 2013. At The J. Paul Getty Museum through June 8.

NEW YORK STATE:

George Eastman HouseAnother America: A Testimonial to the Amish by Robert Weingarten – through May 25

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MISSOURI

The Nelson-Atkins Museum of ArtIn the Looking Glass - through July 20

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CALIFORNIA:

Fraenkel GalleryKaty Grannan: The 99 – through April 26.

The J. Paul Getty MuseumA Royal Passion: Queen Victoria and Photography – through June 8

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The Nutcrackers©Lisa Kessler. All Rights Reserved. Through June 15 at Danforth Art Museum.

The Nutcrackers©Lisa Kessler. All Rights Reserved. Through June 15 at Danforth Art Museum.

UMMA – recent photograph acquisitions on view!

Posted in EXHIBITS/SHOWS, Maine on April 1, 2014 by voxphotographs

The recently received brochure from the University of Maine Museum of Art includes “Looking Back Six Years – Part One” – an exhibit opening April 4 (through June 7) that highlights photograph additions (through purchase and artist gifts) to the Museum’s permanent collection since 2008.

There are approximately 40 images on view and it is very much worth a trip to enjoy this strong presentation. Most of the images celebrate people, but there are a few vintage and contemporary NYC images to round it out.

The Night Before, 2009 Gelatin silver print Museum Collection: Stebbins and Schildknecht Fund

The Night Before, 2009
Gelatin silver print©Ilya Askinazi
Museum Collection: Stebbins and Schildknecht Fund

 

We also LOVED the creations of Jay Kelly, represented by Jim Kempner Fine Art, NYC. They are truly original and highly entertaining to spend time with!

Enjoy these creations by Jay Kelly - Works from 2007-2014 - while at the University of Maine Museum of Art, Bangor. Through June 7.

Enjoy these creations by Jay Kelly – Works from 2007-2014 – while at the University of Maine Museum of Art, Bangor. Through June 7.

 

It’s surreal! Get thee to Bowdoin College Museum of Art!

Posted in EXHIBITS/SHOWS, Maine on February 28, 2014 by voxphotographs

Under the Surface: Surrealist Photography just opened this week at Bowdoin College Museum of Art and runs through June 1, 2014.

Space Writing (Self Portrait), 1935©2014 Man Ray Trust. All Rights Reserved

Space Writing (Self Portrait), 1935© 2014 Man Ray Trust/Artists Rights Society (ARS), NY/ADAGP, Paris. All Rights Reserved

This is no “what do we show next?” kind of filler exhibit. With over 60 images on view, from Man Ray to Berenice Abbott, as well as many publications of the surrealists’ works, the viewer taking his/her time here can really learn something. I learned about courage.

The surrealists were basically coming off of the horrific experience of World War I. Frankly, they could be justified in becoming unglued. But instead they fearlessly explored a world outside of reality, and beyond the human everyday experience, and they realized that new world through art.

While Man Ray is perhaps the best known artist represented in this show (including the maker of one of the two films on view), I was surprised to see works by Henri Cartier-Bresson and Manuel Alvarez Bravo, not to mention Eugene Atget. The point this makes is that even if some of the artists whose works are on view were not specifically surrealists, they were very much influenced by their surrealist colleagues, and I think we all know that influence continues to impact artists today.

It’s one thing to realize a work of art that represents what everyone can see. But to take on the challenge of losing yourself in the dark recesses of the mind and trying to realize THAT visually? – that takes courage. And thick skin. These artists went where no artist had gone before, and as you work your way through this exhibit constantly remind yourself of the era in which these risky, daring and very, very edgy works were conceived and presented. Think Salvador Dali and his melting timepieces, etc. I suspect many of these artists were considered quite mad.

Female Nude #24©Andre Kertesz Estate. All Rights Reserved

Distortion #24©Andre Kertesz Estate. All Rights Reserved

Photographs and publications have been loaned to this exhibit from museums all over the country and it was quite a thrill to see so many vintage prints by some of the masters. That opportunity alone is worth a trip for committed practitioners of today. The prints are all small, another reminder of the era they represent, and, you might think, quite a handicap for realizing the abstract depths of the surreal compared to what would be available technologically to those artists today.

The prints included here by artists who were deeply influenced by the surrealists, but who most likely did not consider themselves surrealists at all, show that influence in “straight” photographs that reach to the edge in content and composition. These works imply there is more here than meets the eye, a definite nod to the surrealists’ agenda.

The exhibit will be up for several months allowing us all to visit it more than once. I hope Maine’s fine art photographers will be inspired to break new ground and really push the limits of their visions after spending time with these passionate artists from the past who traveled to new worlds without fear, and in so doing, left a lasting mark on us all.

©Greta Stern Estate. All Rights Reserved

Dream #28©Greta Stern Estate. All Rights Reserved

the best reading so far this winter!

Posted in MAINE RESOURCES I LOVE... on February 4, 2014 by voxphotographs

has been the Maine Media Workshops catalog I just received in the mail! I kid you not – the fresh, new “magazine-style” format had me reading every page and I’m not even planning on taking a course there!

I gain nothing by sending out this note, but wow – something is happening in Rockport. MMW is focusing huge amounts of new energy on film-making and book arts, as well as all of their classic workshop offerings. I know all this info. is online (below) but request a catalog to be mailed to you as well if you didn’t already get one (just out). If you are a photographer, an aspiring photographer, a young photographer, a bored photographer, or a curious photographer, I’ve got to think that this year MMW could have a profound effect on your life, even if you take one course.

Very impressive and for Maine, a major leap forward for us all. The place is smokin’.

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COLOR: American Photography Transformed

Posted in Photography Books, READ THIS!, REVIEWS on January 23, 2014 by voxphotographs

51jhHRSDmoL._SX258_BO1,204,203,200_My favorite subject is the history of photography and I’m coming off of a high after spending two weeks over the holidays studying my way through COLOR: American Photography Transformed. It’s the “catalog” supporting the exhibit that just closed at the Amon Carter Museum of American Art in Fort Worth, TX. It’s a big hardcover wonder as far as I’m concerned, so “catalog” is a little bit of an understatement.

The inter-library loan system in Maine has one copy available – from Colby College’s library – and I’m grateful as always to the library system’s far-reaching use of my tax dollars. COLOR is a very, very thorough history of color photography and even though the exhibit itself had only 75 images on view, the book must have at least twice that. The exhibit received rave reviews, with one reviewer stating “the only downside to this exhibit is that there aren’t more photographs!” Well, the book/catalog fixes that.

The history of color photography is far from just facts and figures and processes. It’s more cultural than anything, and one of the most fascinating things to read about in this book is how photographers and curators and reviewers s-l-o-w-l-y, oh so slowly, came to accept that color photographs have value. That sentence kind of simplifies the whole topic a tad, but I was struck with the endless pushing and pulling it took to get there, and the battles that persisted in the 1970-1990 decades are something we need to be reminded of. As one reviewer said of the book, “There is even a degree of suspense as the history unfolds.”

The book is divided into four chapters, each representing a different era.  The essays, written by John Rohrbach, Senior Curator of Photographs at the Amon Carter Museum of American Art, are terrific, making the whole story accessible and lively, and the pages are loaded with images.

I decided to read the last essay first – it’s titled “From Potatoes to Pixels: A Short Technical History of Color Photography” by Sylvie Pénichon, and I’m glad I started there. It got me used to terms and process names I might not be familiar with, and gave me a head start for what the rest of the book refers to.

Quite simply, this book and exhibit are a great gift to all of us involved in the fine art photographs community, and to those of us who love the story of how we all got here, COLOR: American Photography Transformed, is a vital and extraordinary experience. And you know what? It’s the gift that keeps on giving: the bibliography is 14 pages long and I feel like I’ve struck gold. See you in a decade or so!

John Goodman at PhoPa

Posted in EXHIBITS/SHOWS, Maine on January 13, 2014 by voxphotographs

I’m glad John Goodman is a teacher. His work on view at PhoPa through February 22 will tell you why. He’s very good.

Dominos, Havana, 2000©John Goodman. All Rights Reserved

Dominos, Havana, 2000©John Goodman. All Rights Reserved

What I mean by “good” is that his work is genuine and without gimmickry. His vision, realized through photography, is real and engaging. His eye for the decisive moment is impeccable. He creates images that matter to the viewer. It’s good all this talent and insight is being passed on to many others year after year.

A.S. Fales & Son, Cushing, Maine, July 1995©John Goodman. All Rights Reserved

A.S. Fales & Son, Cushing, Maine, July 1995©John Goodman. All Rights Reserved

Goodman has had a strong presence on the exhibit circuit in Maine in the last couple of years, starting in Bangor at the University of Maine Museum of Art with a 40 image exhibit curated by Director George Kinghorn. Last summer a smaller exhibit of work was on view at the Caldbeck Gallery in Rockland and that show has now traveled to Portland to PhoPa. So, there’s no excuse: if you haven’t seen these images yet, you have a third opportunity to do so. It’s the kind of work that deserves such a continuing presence on our walls in Maine.

There are 5-6 powerful color images included in the exhibit, some of which are decades old and found archived by the artist during a studio move. I’m glad he moved that studio. I’d like to see a room full of his color work but you can get started here. These classic 70′s and 80′s images are an instant stepping back in time to when color photographs really started to take hold with fine art photographers.

General Cinema, Framingham, Mass, 1985©John Goodman. All Rights Reserved

General Cinema, Framingham, Mass, 1985©John Goodman. All Rights Reserved

So thanks to Maine’s curators and gallerists for focusing on Goodman’s work recently. It’s most definitely satisfying and inspiring stuff.

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