Nicolai Howalt and Trine Søndergaard: How to Hunt
Thru Jan 12
535 West 24th Street
Michael Kenna: New York / New Work
Thru Jan 26
Robert Mann Gallery
210 11th Ave
Christopher Rauschenberg: Daily Life
Thru Jan 19
West Chelsea Arts Building
526 West 26th Street
Luis Gisbert: El Mundo Es Tuyo (The World Is Yours)
Jan 12 - Feb 16
Zach Feuer Gallery
530 W 24th St
Tamir Sher: After Mars
Thru Jan 5
Point of View Gallery
638 West 28th Street
O. Winston Link: Constructed Images
Thru Jan 12
521 West 26th Street
Bart Michiels: The Course of History: The Mediterranean Theater
Jan 10 - Feb 16
547 W 27th St, 5th floor
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Movable Type 4 was released a few months ago, and I gave it one last try. At first, I was pretty impressed, but the more I used it, the more aggravated I become. The last straw is that insane "Photos" module you see to the right. I can't figure out how to shut it off and the template structure of MT has gotten so Byzantine I just figure it's simpler to throw the whole thing out and start over with Word Press. So I have.
You can see the new, updated Gallery Hopper for a week or so at http://www.walkernewyork.com/galleryhopper/. If you have any suggestions or questions, leave a comment here. I'll be switching over to the new installation in the first week of 2008.
"I was distressed by the inhumanity and greed I was looking at in terms of what human beings were doing, but I was also swept away by the grandeur of the light sweeping over this landscape. In the main, I've tried to talk about both things at once."Smithsonian features David Maisel's mind bending aerial work.
Maisel also wants to challenge our notions of beauty. He thus describes the usual reaction to his work as "this experience where people are seduced by the seeming surface beauty of an image, and then as they learn more about what it is they may be looking at, they realize that there is, in a way, a betrayal." Bright colors become ugly stains, painterly strokes morph into indelible gouges and marbled veneers turn out to be leached toxins.
Unlike the belongings of artists who fade gradually from view, which are sometimes scattered, pilfered or lost, Arbus's effects were in some ways frozen in time when she committed suicide at 48. Quickly her life began to acquire a cult status paralleling that of her photography.Whenever these "archives" show up, I'm astonished at what packrats people must have been. I'm pretty loathe to throw much away, but every time I move apartments there's an opportunity to purge. When the archives of the luminaries of my generation start showing up I wager they will be mightly thin. Or in the Google cache.
Depending on who you ask, it's because:Also:
1. It's taking money out of the pockets of working photographers;
2. It's putting money into the coffers of large corporations, whose executives like CC-enabled crowdsourcing even better than Third World child labor;
3. It's supposed to make sharing your work easier, but it often just makes it more confusing -- creating the kind of misunderstandings that lead to lawsuits.
- Guardian: Photographer Takes Down Bubble 2.0 Fun
- Larry Lessig: How Creativity is Being Strangled by the Law
Happy to see that today Joe Leiberman has endorsed John McCain for president. "On all the issues, you're never going to do anything about them unless you have a leader who can break through the partisan gridlock," Lieberman said. "The status quo in Washington is not working." Of all the alternate histories that play in my head, none is more powerful than the thought of what a different world we'd live in if it was President McCain on Sept 11 instead of President Bush.
Despite not being affiliated with a party as long as I've lived in NY, I have been a long-time McCain supporter, pushing for him in the 2000 nomination and voting for him as a write-in candidate in 2004. (That was an interesting experience, requiring members of both parties to join me in the booth to explain the procedure to ensure that one or the other didn't give me false instructions!)
It's ironic that discussing this issue means even more people will be driven to look at the feature, titled "Gallerina". I had flipped through that magazine a week or two ago and apparently was able to pass by these images without even stopping (gimmicky fashion spreads aren't my thing). I went back and looked this morning to see what caused the ruckus.
Strangely there was one image I remember catching my attention (at left). This struck me because the montage style is so uncommon. The contrivance must have grabbed my attention. I probably looked at it for about five to ten seconds and moved on. I don't recall any of the others so I must have flicked through those pages spending less than a second on each image, making a snap judgment about whether the picture justified closer examination.
The final judgment in the article comes down to whether the audience for the image chose to view it (in other more "edgy" fashion magazines, the customer has sought it out, in the case of "T", its just come with the Sunday paper.) While I think it's a valid argument, it does completely abandon the question of whether we as a society would be able to tip toe up to the edge of exploiting teenage sexuality. In individual cases, this being a great example, various parties involved will make excuses for their own actions while taken as a collective, the impact on culture and social mores is left unexamined.
I always get the impression from these little investigations that the "public editor" must be the most hated many in the Times organization, based on the frequently condescending responses he gets to his questioning the Times editors.
Wall's (new?) work is also being shown in England at White Cube. There's a longish interview in the Telegraph that starts:
Jeff Wall is arguably the most important photographer on the planet. Phaidon recently published a book showcasing 1,000 masterpieces from more than 30,000 years of art history. It contained only one photographer. Rather than Atget, Brassaï or Cartier-Bresson, the panel of experts chose Wall...Wall is rightfully modest about this assertion. Not to say that Wall's work is or isn't worthy, only that it's ridiculous that only one photo was selected to represent the medium. 'Course, one could say it's a johnny-come-lately art form (if its an artform at all). Still, to be proportionate by time frame, photography would rate at least four more examples. Based on volume, maybe the whole things should be photos.
If you had to pick 5 photographs that would represent the entire medium for a history of art, what would they be?