MYTHICAL CREATURES

Posted on 2017-02-27

“Myth must be kept alive. The people who can keep it alive are the artists of one kind or another.” Joseph Campbell

Mythology has provided a means to bond society, a way to transmit history, and as vessels for important lessons, morals, and rules. Myths are prevalent in every civilization worldwide and remain an inspiration for the artist seeking to understand our shared humanity. ‘Mythical Creatures’ is an exhibition of original prints by members of Arizona Print Group. Utilising the vernacular of traditional and experimental printmaking the participating artists have created visual responses to this rich field of research. Developing from this exhibition will be a print exchange project between APG and Seacourt followed by artist exchange opportunities.

Exhibiting artists include: Jo Andersen, Josephine Gibbs-Archer, Donna Atwood, Stu Biscoe, Kimberley Boege, Donna Carver, Ashley B. Cranney, Betsy Dally, Christine Dawdy, Brenda Diller, Norma Galindo, Linda Haas, Jennifer Henry, Karen Hymer, Eric Hodgins, Marlys Kubicek, Maria Lynam, Paulette Olive, Ann Otis, Leslie Parsons, Donn Rawlings, Susan L. Ritter, Marjorie Rogers, Jean L. Rossman, Steve Straussner, Marika Szabo, Glory Tacheenie-Campoy, Joan Thompson, Robert Wilder, Mary Lou Wills and Wendy Willis.

Opposite – Joan Thompson, Janus and the Modern Era

Exhibition runs through to March 30th, 2017

Seacourt The Centre for Contemporary Printmaking
Unit 20 Dunlop Industrial Units
8 Balloo Drive
Bangor
BT19 7QY

www.seacourt-ni.org.uk

  

DJI – THE MATRICE 200 SERIES

Posted on 2017-02-27

Created for enterprise users, the Matrice 200 Series is engineered to unlock the potential of commercial drones. With an innovative design, the M200 Series is both rugged and versatile, making it the perfect tool for inspectors, first responders and more.

www.dji.com

  

MELISSA SHOOK – DAILY SELF-PORTRAITS

Posted on 2017-02-27

In 1972, curious about the problem of identity, Shook began an ambitious project of photographing herself everyday for a year. The sum of this impressive undertaking resulted in a compelling set of intimately scaled black and white photographs that range from the artist performing for the camera, to the camera describing the physicality of her being. These early influential photographs will be complimented with a selection of recent daily photographs from 2014-15 that combine individual text entries with a self-portrait image; both text and image act as a diary, reflecting upon the complexities of the human condition. Along with her daily portraits, the gallery will be exhibiting a collection of her extended portraits of her daughter Krissy in her teen years, and a compilation of her video pieces. The exhibition in its entirety explores notions of change and aging, as well as photography’s ability to form an extended document to reveal these qualities.

Opposite – March 19, 1973

Exhibition runs through to March 31st, 2017

Joseph Bellows Gallery
7661 Girard Avenue
La Jolla
CA 92037

www.josephbellows.com

  

BRITAIN IN FOCUS – A PHOTOGRAPHIC HISTORY

Posted on 2017-02-27

Britain in Focus not only illustrates how a selection of acclaimed photographers documented, reflected and commented on their home country, and in doing so became known around the world, but how countless others have also contributed to the recording of national and social history over nearly 200 years.

Alongside pictures taken by anonymous soldiers in the First World War trenches and press shots of historic moments, the exhibition includes examples from the colourful world of post card producer John Hinde; John Bulmer’s ground breaking images from the North of England, which appeared in the Sunday Times Magazine in the 60s; WHF Talbot’s photographs of Lacock Abbey in the 1840s – some of the earliest ever taken; a selection of Jane Bown’s portraits of cultural figureheads from the 60s and 70s; Martin Parr’s inimitable views of the 1980s; Eamonn McCabe’s reports from the Heysel stadium tragedy; and Fay Godwin’s visual hymns to the British landscape.

Among the pioneers featured are Julia Margaret Cameron, Alvin Langdon Coburn and Cecil Beaton, as well as contemporaries currently living and working in Britain, such as Nadav Kander, Peter Mitchell and Mishka Henner.

Through their images, Britain in Focus also traces the path of an industry: how glass plates gave way to film cartridges, black and white transformed to colour, and photographic paper was replaced by digital pixels. A selection of Cartes de visite – one of the first commercially available methods of sharing photographs – sit with a selection of images from the social media network Instagram, originally posted by a teenager from Huddersfield.

Opposite – Washing line, Halifax, 1965, John Bulmer

Exhibition runs from March 17th through to June 25th, 2017

National Media Museum
Bradford
West Yorkshire
BD1 1NQ

www.nationalmediamuseum.org.uk

  

MONTANA BLACK ARTIST EDITION – BUFF MONSTER

Posted on 2017-02-20

The re-designed Montana BLACK P4000 “Power Pink” cans by BUFF MONSTER are already the eleventh takeover in a series of limited designs by graffiti- and street Artists in the Montana BLACK range. The New York based artist achieved worldwide fame with his one-eyed ice cream characters in a poppy aesthetic. For the newest Montana BLACK ARTIST EDITION, it was not surprising that he chose a bright pink, which can be found in almost all of his pictures. The „Power Pink“ is now decorated by three of his unique characters and his typical drips in a playful design. Parts of the design was left unprinted, whereby the aluminum of the spray can becomes a part of the artwork. Keeping the bar high, we are proud to annouce that this beautiful addition to the Montana BLACK Artists Series is now available while stocks last.

www.montana-cans.com
www.buffmonster.com

  

PIETER HUGO – 1994

Posted on 2017-02-20

Pieter Hugo’s exhibition will feature color photographs taken of children born in Rwanda and South Africa after the year 1994, the year of the Rwandan genocides and of the end of Apartheid in South Africa. Wearing often fanciful clothes and posed in nature, each child symbolizes the budding hope of a life unladen by active oppression, yet is rooted inextricably in the landscape into which they were born.

Describing the project, Hugo states:

I happened to start the work in Rwanda but I’ve been thinking about the year 1994 in relation to both countries over a period of 10 or 20 years. I noticed how the kids, particularly in South Africa, don’t carry the same historical baggage as their parents. I find their engagement with the world to be very refreshing in that they are not burdened by the past, but at the same time you witness them growing up with these liberation narratives that are in some ways fabrications. It’s like you know something they don’t know about the potential failure or shortcomings of these narratives…

Most of the images were taken in villages around Rwanda and South Africa. There’s a thin line between nature being seen as idyllic and as a place where terrible things happen – permeated by genocide, a constantly contested space. Seen as a metaphor, it’s as if the further you leave the city and its systems of control, the more primal things become. At times the children appear conservative, existing in an orderly world; at other times there’s something feral about them, as in Lord of the Flies, a place devoid of rules. This is most noticeable in the Rwanda images where clothes donated from Europe, with particular cultural significations, are transposed into a completely different context.

Opposite – Portrait #16, South Africa, 2016

Exhibition runs through to March 11th, 2017

Yossi Milo Gallery
245 Tenth Avenue (between 24th & 25th St.)
New York
NY 10001

www.yossimilo.com