SPEECH

Posted on 2017-04-17

Speech is an ensemble of photographs by Diane Arbus, Richard Avedon, Hal Fischer, Robert Frank, Lee Friedlander, Jim Goldberg, David Goldblatt, Hai Bo, Gregory Halpern, Peter Hujar, Josef Koudelka, Danny Lyon, Duane Michals, Irvin Penn, Lucas Samaras, Larry Sultan, JoAnn Verburg, Garry Winogrand, Zhang Huan, and others. To speak freely is a creative act. Without our bodies or instruments, we have only our voices to express invention. The protection of free speech, written into the DNA of our country, enshrines perhaps the most basic and cherished creative outlet we have. In celebration of a long, proud history of making our voices heard, Speech explores the photographic tradition of documenting our oratory and expressive moments. Just as a whisper may resonate with equal or greater power as words spoken through a megaphone, a photograph taken candidly in passing may capture a higher truth or poetry than a magazine cover. All represent a right too often forgotten and too seldom exercised. Not lost on each of the artists shown here, photographs have a unique ability to convey, both quickly and with replicability, ideas and beauty that might otherwise get lost. Speech reminds us of the beauty of one of civilization’s best ideas.

Opposite – JoAnn Verburg, Terrorized, 2006

Exhibition runs through to April 29th, 2017

Pace/MacGill Gallery
32 East 57th St
New York
NY 10022

www.pacemacgill.com

  

GREER MULDOWNEY – URBAN TURBINES

Posted on 2017-04-17

For the past several years I have been photographing the emergence of wind turbines throughout the New England landscape. The resulting series of photographs, titled Urban Turbines, depict cliché images of the built landscape and architecture of this region with these new, abrupt structures. From public schools integrating turbines into their campuses and their science curriculum to coal-burning energy plants erecting a structure from the most visible point on their property, turbines have become a complex new symbol of a progressive future.

The New England region of the United States is historically progressive, energy-poor and densely populated along its coast. The region has recently experienced a building boom in green energy, specifically turbines placed very close to inhabited areas. The policies that surround this boom are fortified in tax breaks and federal and state grant incentives. This is bolstering public works to upgrade infrastructure and create educational facilities in green energy, but also encouraging developers to capitalize on the financial opportunities. These incentives are taking priority over land use concerns and urban planning. Ultimately, the turbine industry that has popped up in New England is not entirely based on the traditional model of sustainable wind farms found in the West, but instead individual and small clusters of turbines cropping up where opportunity of market, as well as good PR occur – opportunities that may pay off more in tax incentives to developers than useable energy in the grid. Urban Turbines illustrates how these structures have encroached on the landscape of coastal New England.

Exhibition runs through to May 20th, 2017

The Half King Photography Series
505 West 23rd Street
New York
NY 10011

www.halfkingphoto.com

  

VOLUME FOUR, ISSUE FOUR

Posted on 2017-04-10

Photography & Art content Niall O’Brien, William Eggleston, Alice Hawkins, Jeffrey Milstein, Richard Misrach, Ben Rayner.

Photography & Fashion content , Kenneth Cappello, Luc Coiffait, Laura Coulson, Sean Alexander Geraghty, Jesse J Jenkins, Georgia Hilmer, Ben Parks, Agnes Lloyd Plat, Michael Schwartz, Stephen Toner.

Available at exitmagazineshop.bigcartel.com

  

ADIDAS BUSENITZ PRO HORWEEN BISON LEATHER

Posted on 2017-04-10

adidas Skateboarding unveils their newest adidas Busenitz Pro Horween “Bison Leather” edition that comes constructed with premium materials. This is the most luxurious edition of the adidas Busenitz that features a bison leather upper designed by Chicago tannery Horween Leather Company.

www.adidas.co.uk

  

EDDIE MARTINEZ – COWBOY TOWN

Posted on 2017-04-10

Deeply indebted to the histories of painting, yet realised in an immediately contemporary manner, Martinez’s canvases – formed from oil paint, enamel, spray paint, screen printing and studio detritus – are loaded with coloured, quasi-abstract masses in varying densities juxtaposed against shifting lines. The resulting dynamic imagery moves and merges from figuration to abstraction and back again.

Cowboy Town sees Martinez depart from recent bodies of work, as paintings are once again primarily figurative. Although not reminiscent of his early figurative works, they are a next step from the more recent abstract canvases. Each painting in this new body of work not only steps back into figuration, but also into an almost subconscious narrative, playing out in an open way. Gestures are strong but also impulsive. The paintings are full of energy and movement – images linger just out of reach, eluding fixed identity. One of Martinez’s remarkable traits is his ability to intuit the general mood of the world around him and translate the sentiment very clearly to his painting.

Opposite – When We Were In Good Hands, 2016

Exhibition runs through to May 6th, 2017

Timothy Taylor
15 Carlos Place
W1K 2EX London
England

www.timothytaylor.com

  

KAREN KILIMNIK – LÖWENBRÄU AREAL

Posted on 2017-04-10

Starting in the 1990s, Karen Kilimnik has created a large oeuvre of paintings in which she deals with motifs such as romantic mysteries, nature, Baroque, Rococo, fairy tales, and ballett. Artists such as 17th and 18th century painters Henry Raeburn, George Stubbs, Hubert Robert or François Boucher are frequent subjects to her reinterpretation.

Oscillating between magic worlds, unspoiled nature and the intuition that both could be merely a facade, Kilimnik’s motifs feel familiar. And this is for good reason: Her landscapes play with references to precursors. In “The Egerton House Hotel”, for example, she refers to Giorgione’s “Landscape with sunset”. Depicting Giorgione’s composition, Kilimnik removes the figures and instead inserts furniture from “The Egerton House Hotel” in London. In doing so, she changes the landscape from one to only look at into one that seems to invite the viewer to take a seat. “The Egerton House Hotel” is one of the artist’s favourite hotels. For her it represents an ideal, comfortable and luxurious shelter.

Kilimnik’s work has been shown in historic spaces such as palaces. Doing so, she plays with a space in which the viewer would rather expect historical paintings. But Kilimnik questions the temporality of what we see just as much within her paintings: The reference – Giorgione – is known, but belongs to the 16th century, while the painting itself is contemporary. Likewise, the depicted furniture is historic and at the same time located in a contemporary hotel.

Opposite – Scene In The Countryside 1600’s, 1999

Exhibition runs through to May 27th, 2017

Galerie Eva Presenhuber
Löwenbräu-Areal, Limmatstr. 270
CH-8005 Zürich
Switzerland

www.presenhuber.com