While Trends may be a new name to those not fully immersed in the scene, his two tracks ‘In The Jungle’ & ‘Iron Fist’ come with as much fire and ferociousness as anything doing the rounds back in 2002.
TweetCONTACT is a group exhibition of iconic images and their corresponding contact sheets.
Although contact sheets serve a very practical purpose— a tool for editing and archiving a photographer’s negatives—they also provide insights into the working methods of photographers. The relatively straightforward dark room process reveals a great deal about the photographer, his or her approach, and the context in which they were shooting.
Herb Ritts’ contact sheets reveal the precision and exacting detail with which the photographer approached his subjects. The contact sheet of “Versace Dress, Back View” is a record of artistic construction and creation. A statuesque Christy Turlington poses beneath a billowing cloud of black silk amidst a surreal desert landscape. The consistency of Ritts’ stunning vision remains clear and persistent throughout. Each frame varies only slightly, capturing the subtle play between light and shadow so innate to Ritts’ aesthetic and style.
Norman Seeff’s contact sheet of Carly Simon show the dynamic energy of his legendary, collaborative studio sessions. An image from this session would later grace the cover of Carly Simon’s 1975 album “Playing Possum” and is considered one of the greatest album covers of all time.
Lawrence Schiller’s unique vintage contact sheet records a series of sessions when the photographer was on set with Marilyn Monroe while the actress was filming the 1960 film, “Let’s Make Love”. Notoriously controlling of her own likeness, Monroe sat with Schiller and crossed out with a red marker every image on the contact sheet that she did not approve of. The vintage contact sheet in the exhibition contains Marilyn’s own markings.
Stephen Somerstein’s remarkable contact sheet is a true record of a time and place. Along with the heroic image of Dr. Martin Luther King giving a speech to 25,000 civil rights marchers in Montgomery, Alabama, just a few frames later reveal exhausted students asleep on a bus, and Joan Baez, in front of State Troopers at the Montgomery Alabama State House.
Opposite – Dr. Martin Luther King, Jr. Looks out at crowd in Montgomery 1965, Stephen Somerstein
Exhibition runs through to February 11th, 2017
Fahey/Klein Gallery
148 North La Brea
Los Angeles
California
CA 90036
Featuring work by more than thirty eight independent photojournalists, this exhibit captures ordinary New Yorkers as they rallied, rioted, marched, and demonstrated. These stunning images document historic moments of violent confrontation such as the Tompkins Square Park and Crown Heights Riots and as well as organized protests involving non-violent civil disobedience and creative street theater. Collectively, these photographs, which have never before been exhibited together, chronicle New York’s history from 1980-2000.
Opposite – Mark Peterson, 1991
Exhibition runs through to March 5th, 2017
Bronx Documentary Center
614 Courtlandt Avenue
Bronx
New York
NY 10451
Over the past 50 years, artists have increasingly turned to newspapers, magazines, and televised news programs as rich sources of inspiration. This exhibition explores how artists have looked at and commented on news images, from the Vietnam War in the 1960s to the so-called “War on Terror” in the 2000s. Much of the work is political; all of it is personal. Through photographs and videos, these artists have juxtaposed, mimicked, and appropriated media elements to transform ephemeral news into lasting works of art.
Opposite – Untitled, 1984, Robert Heinecken
Exhibition runs through to April 30th, 2017
J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles
CA 90049
Absolut introduces its latest limited edition bottle, Absolut Facet, a blue bottle featuring an asymmetrical design. The round edges of the Facet bottle have been cut into like a gem, creating a number of faces that catch the light in unique ways.
Available from Selfridges and Harvey Nichols.
For his first solo exhibition in Chicago, Brendan Fernandes will continue his ongoing exploration into the physical act of falling through new works in glass sculpture, installation, photography and performance, offering an extended metaphor for contemporary queer politics. Beginning with an opening night performance, Fernandes will take over the entire gallery, including a timely new installation piece as part of the gallery’s on the wall exhibition space: forty-nine handmade crystal coat hangers, symbolizing the forty-nine victims of the Orlando massacre. This project will continue inside the gallery, along with new blown glass sculptures evoking ghostly bodies, created during his recent residency at the Museum of Glass, Tacoma, WA. Unique photographic compositions comprising dancers’ limbs and African artifacts printed using the chine-collé method will accompany the sculptures. Presented together, these bodies of work will illuminate Fernandes’ ongoing occupation with the falling form, suggesting contemporary notions of desire and loss through bodily movement.
Opposite – They, 2014
Exhibition runs through to January 28th, 2017
Monique Meloche Gallery
2154 W. Division
Chicago, IL
60622
