In late April, Marco Grob traveled to Jerusalem to photograph Israeli Prime Minister Benjamin Netanyahu for this week’s cover story by TIME’s managing editor Rick Stengel.
This entry was posted in Contemporary Photography, photojournalism and tagged April, Benjamin Netanyahu, Camera Lens, Career, Contemporary Photography, Countless Celebrities, First Meeting, Good Reason, Israel, Israeli Leader, Israeli Prime Minister, Jerusalem, Managing Editor, Marco Grob, Minister Benjamin Netanyahu, Photo Shoot, Photographer, Photographers, Photographs, Photography., Politicians, Politics, Prime Minister Benjamin, Rick Stengel, Security Guards, Sittings, The Backstory on May 17, 2012 by Feifei Sun.
This entry was posted in Contemporary Photography, L E N S C R A T C H and tagged Aline, April, Barbie Doll, Beanie Baby, Boston, Contemporary Photography, David Levinthal, Dinosaur, Exhibition, Images, Lisette, Matchbox Car, Panopticon Gallery, Photographer, Photographers, Photographs, Photography., Smithson, Star Wars, Toy Truck, Toys, Tuckerman, Weston on April 10, 2012 by Aline - lenscratch.blogspot.com/.
MOPLA + Smashbox Group Show Deadline Today!
With the official launch of Month of Photography LA coming up in a mere week, the Lucie Foundation is thrilled to present an array of programming including our MOPLA + Smashbox group show. new homes for sale . The submission deadline is today so here’s the last chance for photographers to participate in a MOPLA show in April!
For more information and to submit an entry, please visit the MOPLA site here. Please follow file naming and sizing guidelines. Entries need not fit a specific theme– just show us your best work!
This entry was posted in Contemporary Photography and tagged April, Array, Contemporary Photography, Group Show, Last Chance, Launch, Photographer, Photographers, Photographs, Photography., Programming Group, Sizing Guidelines, Submission Deadline, Uncategorized on March 25, 2011 by lucie.
Berlinde De Bruyckere does not hold back when it comes to her art. The human form in her exhibition “Into One-Another To P.P.P.” at Hauser & Wirth is exposed in a series of sculptures expertly rendered in wax. Through experimentation with individuality and mortality, De Bruyckere draws the viewer into her sculptures’ struggle. Also on display are a number of recent works on paper done in watercolor and ink. The exhibition is dedicated to Pier Paolo Pasolini, Italian filmmaker, painter, and poet.
De Bruyckere has drawn on Pasolini’s artistic portrayals, which were often graphic and disturbing, much in the way her fragmented sculptures are. Three sculptures, all named as numbered variations to the exhibition’s title, stand as the centerpiece of the show. De Bruyckere’s figures draw from professional dancers she hired to act as models. The partial bodies are eerily realistic, despite the missing heads and limbs, and the blending incompletion of some features. Interspersed with red marks, the pale tone of the wax gives the sculptures a sickly pallor. Combined with ragged openings and surreal folds in the skin, the color calls to mind corpses. This is particularly true in Into One-Another I To P.P.P., where the shape of a woman’s body on its side looks at rest but for the missing head and the gash running down her side for the entire length of her torso. De Bruyckere often leaves out heads or facial features in her pieces, leaving an unsettling feeling of impersonality.
Despite the deathly composition and the absence of a face, the sculptures have a fierce liveliness to their poses, and a strong individuality to their bodies. In Into One-Another III To P.P.P., two forms intersect each other, their torsos combining with outward signs of struggle. Whether the frozen moment is of union or separation isn’t clear, but that uncertainty only serves to heighten the tension in the piece’s motion. Though many parts of the sculpture’s bodies are blurred and left off, some sections are vividly human. The feet and toes of the woman in Into One-Another I To P.P.P. are crafted to include the smallest wrinkle in the skin. The shoulders rising up in Into One-Another III To P.P.P. strain with a human vitality underneath the wax.
In a step away from the expected human form, Inside Me II splays out across rough fabric slung between sawhorses, a string of wax sculptures rendered to resemble intestines. The display of innards as a sculpture among the other human forms highlights their sense of anonymity, for men are not recognizable only by their guts. Though the other three sculptures give a sense of vulnerability and exposure, none is as opened up as Inside Me II, which serves to highlight the theme of mortality in the exhibition.
De Bruyckere’s paper works give the viewers some insight into how she views the human form before drawing it out of her sculpting materials. These ink and watercolor pieces depict forms with vaguely recognizable human sections, but cast in sections and posed so that enough is left unknown for the images to have an unsettling quality. As in her sculptures, the figures have no face.
This entry was posted in Contemporary Photography and tagged 2011, April, Mortality, Sculptures, through, York on March 23, 2011 by .
Chilean-born artist Ivan Navarro‘s “Heaven or Las Vegas” will be on view at Paul Kasmin Gallery through April 2nd, 2011. The exhibition directly follows Navarro’s recent Armory showcase, where his aptly titled work, “The Armory Fence,” was shown through Paul Kasmin. Navarro is currently based in Brooklyn, and “Heaven or Las Vegas” is his first solo exhibition at Paul Kasmin Gallery.
Navarro selected twelve internationally recognizable skyscrapers to model his florescent light sculptures, thusly alluding to the global manifestation of Western ambition and expansion. Inspirations for the walled light sculptures include the Jumeriah Emirates Towers in Dubai, the Center in Hong Kong, and the Flatiron Building in New York.
Each work additionally incorporates words or phrases to enhance metaphorical and aesthetic dimensions of architectural simulation. In addition to the use of mirroring and lighting techniques, the words substantiate the illusion of an elevation of over 1,000 feet high.
In this exhibition, Navarro incorporates his repeated platform of political discontent, utilizing the tools of an everyday society to allude to underlying danger and violence. At Paul Kasmin, the macabre merits of previously showcased work have literally taken on a new dimension, with the illusion of three-dimensionality suggesting that even ideological structure is illusory.
Navarro has used florescent lights in previous works, which arguably “illuminate” symbolic contradictions. However, his Armory piece prior to the current Kasmin exhibition used structure rather than light to represent entrapment. The fence does not flash or glow, but its confining and linear structure sends a silent message. The work is a chronological precursor to the current exhibition at Paul Kasmin, and also introduces a new element of structural integrity to the traditional themes Ivan Navarro has used in the past.
This entry was posted in Contemporary Photography and tagged 2011, April, Paul, Saatchi Gallery, York on March 21, 2011 by .