United by a mutual interest in movement, colour and energy, celebrated London menswear designer Craig Green and image-maker Nick Knight teamed up to create Green’s first ever ad campaign, featuring his A/W 15 collection. References included shots of football and rugby tackles, and the final images toy with themes of masculinity and strength.
TweetThe installation design is carefully orchestrated so that the individual pieces work off each other. “This is my favorite exhibit even though it takes months to curate and a week to install. It is my curatorial showcase. Visitors always linger longer than any other show; there is something for everyone. I love the moment when the viewer is first drawn to an image,” says Rice. “Sometimes it’s indefinable; a moment when the viewer not only shares but also reconnects to an experience remembered.”
The invitational image, 1952 Vincent Black Shadow by Bill Phelps takes its title from the bike famed for its record-breaking speeds. Within the faded sepia-toned pallet the striking figure of a bikini-wearing woman is stretched horizontally, as if flying, upon this legendary motorcycle. She is juxtaposed against a background of silos shrouded in fog. She appears as if the force of the motorcycle has streamlined her body backwards. Yet in this frozen moment the motorcycle remains stationary upon a tabletop.
From Phelps’ photograph you gain entrŽe into a world of evocative images that invite you to while away the afternoon. At once modern and sentimental, playful and reflective, the exhibition is an expression of the aesthetic cultivated by the gallery for the last 25 years. It is both an opportunity to display the artists Rice has nurtured for decades, as well as a chance to invite newcomers into the gallery space.
Participating Artists:
Ted Adams, Thomas Alleman, Dorothee Brand, Todd Burris, Roger Camp, Lynda Churilla, Lance W Clayton, Paul Dagys, John Dolan, Richie Fahey, Chris Fan, Stewart Ferebee, Mindaugas Gabrenas, Barbara Gentile, Isabella Ginanneschi, Gladys, Victoria Goldman, Ron Hamad, Kristen Hatgi, Patricia Heal, Benjamin Heller, Melissa Incampo, Hatice Nazan Isik, Pete Kelly, Haik Kocharian, Tanya Malott, Everett McCourt, Patricia McDonough, Micheal McLaughlin, Steve Miller, RJ Muna, Rosanne Olson, Brian Pearson, Bill Phelps, Jose Picayo, Lauren Pisano, Amy Postle, Kim Reierson, Robin Rice, Kevin Ryan, Laurence Salzmann, David Saxe, Gesi Schilling, Zack Seckler, Keith Sharp, Mark Sink, Gordon Stettinius, Kathryn Szoka, Lareo Vazquez, Tina West, Harriet Zucker
Opposite – Bill Phelps, 1952 Vincent Black Shadow, 1999
Exhibition runs through to September 6th, 2014
Robin Rice Gallery
325 W 11th Street
New York
NY
10014
Created within the last seven months across various locations, including Portugal, Germany and Ireland, the photographs exhibited are part of an ongoing body of work dedicated to the idea of witnessing. Working with 35mm film, Laurence Cunnane aims to distil moments from the march of everyday life “into a montage rich with some of its complexities and beauty”. His photographs observe passing details with an immense sensitivity to the minute, the overlooked, even the banal.
Though working within a documentarian tradition, Laurence Cunnane makes stylistic decisions that break with convention in their refusal to show all, choosing instead to hone in on precise details, stripped of all context. Concealing as much as they reveal, his photographs shift our gaze towards the minute, getting closer to the unnoticed intricacies that flicker past in our day-to-day experiences. Yet in its bid for closeness, the camera can only create another barrier.
This contradiction, the artist points out, crystallises the inherent melancholic nature of photography, and becomes central to his practice. Photography is on one hand an act of compassion and closeness, and yet what it leaves behind is an empty husk: a constellation of surfaces and reflections. Highlighting the immateriality of objects, the act of photographing is all that remains. The work itself becomes evidence of a longing and a search.
Opposite – Man in apartment, Lisbon, 2014
Exhibition runs through to June 20th, 2015
Kerlin Gallery
Anne’s Lane
South Anne Street
Dublin 2 Dublin
Ireland
The helmut newton foundation has presented newton’s works alongside that of other notable colleagues in the past; with this newest show including frank horvat and szymon brodziak, two photographers are invited who have made a name for themselves in fashion and portraiture.
frank horvat is without doubt among the most important photographers of the 20th century. people have always remained at the center of his interest. he always strived to go beyond traditionally staged fashion shots, adding surprising contrasts or combining female models with everyday people in a public setting. with such photographs he strongly shaped the spirit of the times.
in his first institutional exhibition in germany, szymon brodziak presents large-format black & white photographs. the stages he creates for his photographic orchestrations are both real and unexpected, featuring a predominantly female cast, full of subtle eroticism and feminine elegance.
the two monographic presentations will be complemented by the second part of helmut newton’s permanent loan collection, which has been housed since the establishment of his foundation at the museum for photography. this show will likewise feature original vintage prints of newton’s iconic fashion photographs, nudes, portraits, and self-portraits, many of which have not previously been shown at this location.
Opposite – Italian Vogue, Bordighera, Italy, 1982
HELMUT NEWTON FOUNDATION
Museum of Photography
Jebensstrasse 2
10623 Berlin
Skelevex Spectrum: Series One Episode One.
SE01E01: Grape.
The first release of twelve in the new series of the massively popular mini Skelevex.
With a new colourway released at the end of each month, Spectrum also offers the option of subscribing for the entire series and getting hold of special editions!
Collect or Die!
For those collecting each monthly release, you’ll receive a special Collect or Die edition, only available to collectors of the whole series, in the final month. Free!
Joseph Nechvatal (born in 1951 in Chicago) is a post-conceptual artist working in digital art. He is one of the most important pioneers of ‘new media art,’ but at the same time makes use of ‘old media’ (such as painting and drawing). What is phenomenal, and in our opinion relevant to the 21st century, is that his paintings are created through a use of custom artificial life software and computer robotics.
The exhibition, subtitled Immersion into Noise, is Nechvatal’s first solo show in Berlin and presents recent works to a Berlin audience alongside his eponymous book Immersion into Noise (2011). In that text, Nechvatal provides visual analogies to audio noise within the powerful effects of the act of immersion.
In the bOdy pandemOnium exhibition, and in Nechvatal’s work in general, the term viractualism, meaning the interface between the biological and the technological, plays an essential role: “The basis of the viractual conception is that virtual producing computer technology has become a noteworthy means for making and understanding contemporary art. This brings art to a place where one finds the merging of the computed (the virtual) with the uncomputed corporeal (the actual).”
Parallel to his theoretical research, Nechvatal has created a series of paintings and projections that show a C++ custom virus program (created with the programmer Stephane Sikora) invading, destroying and transforming his painterly art images based on intimate parts of the human body. In the exhibition at Art Laboratory Berlin, two large computer-robotic assisted paintings will be on display: frOnt windOw retinal autOmata (2012) and rear windOw curiOsites (2012).
Opposite – frOnt windOw retinal autOmata, 2012
Exhibition runs through to June 21st, 2015
Art Laboratory Berlin
Prinzenallee 34
13359 Berlin
Germany
