Izah Gallagher
Ben Eats Breakfast, 2009
Photography
© Izah K. Gallagher

A short documentary of my own. Enjoy!

Rent Collection Courtyard

Rent Collection Courtyard, 1974–1978
(Original 1965)
Photo: Norbert Miguletz, 2009
Courtesy Art Museum of the Sichuan Fine Arts Institute

I was interested in this exhibit which shows, for the first time in the Western world, a collection of more than 100 life-size figures from a 1966 installation which became the model artwork for the Cultural Revolution in China. It is considered one of the most important works in modern Chinese history and can be read as both symbol and icon of Maoist China.

Art for the Millions.
100 Sculptures from the Mao Era
24 September 2009 - 3 January 2010

SCHIRN KUNSTHALLE FRANKFURT
Römerberg
60311 Frankfurt, Germany
phone: (+49) 69 29 98 82-0
fax: (+49) 69 29 98 82-240
welcome@schirn.de

http://www.schirn.de

Denise Colomb in the West Indies

Denise Colomb
Pointe-à-Pitre, Guadeloupe, 1948
© Ministère de la Culture - Médiathèque du Patrimoine, Dist. RMN

The last of my three exhibitions this week, again, focuses on the documentary genre. Here is an example that again follows the conventions. Beautifully.

Denise Colomb in the West Indies
From legend to reality*, 1948-1958
September 29 - December 27, 2009

Hôtel de Sully

62, rue Saint-Antoine
75004
Paris
France



http://www.jeudepaume.org

Cristian Bettini a.k.a. P.ankh: DONKIJOTE.ORG

OTO: Martin Ruano Prieto
Cristian Bettini and Minuto with all the technological equipment

The DONKIJOTE.ORG caught my eye as an interesting take on both documentary an anthropology. It's a project that will gather information while the artist and donkey make their way through the region, Asturias.

Of most interest was the fact that the "donkey will operate as a living interface equipped with digital hardware such as a GPS, a mobile Internet connection, a computer, a camera and a video camera with which it will create a memory of Asturias, producing and collecting information, re-mapping the territory and geo-categorising knowledge."

By having the journey and series of images determined -- in part -- by the donkey, it imbues the project with an objective (or, at least, non-subjective) point-of-view. Intended or not, this convention seems to add a layer of credibility to the project's point of view. Interesting, in light of previous post....



Cristian Bettini a.k.a. P.ankh: DONKIJOTE.ORG
Once upon this time there was a clever donkey with its digital armour and its errant knights...
24.09.2009 - 11.01.2010
CURATORS: Roberta Bosco and Stefano Caldana
VENUE: Platform 1 of LABoral and various locations throughout Asturias and http://www.donkijote.org
PRODUCED BY: LABoral's Projects Office

1180 Raymond, from New Work, 2009
Image courtesy of and © Bongiorno Productions Inc.

I was interested in this photograph in light of our recnt discssuon regarding the primary conventions that mark the genre of documentary photography: a series of gorgeous black and white images which seem to provide an in-depth examination into a subject, with the intention of suggesting emotion or social change. Here, these conventions work well to reinforce the credibility of the photographer with the viewer and the objective presentation of the subject, thus ensuring the viewer's attention is properly focused on the appropriate social issue and correct emotions regarding it.

Here, the subject is Newark's urban landscape. The work is a six minute film loop, which is an homage to Newark (and, as stated onthe website, the "1920 film, Manhatta, by Paul Strand and Charles Sheeler"). It's true. Newark does look gorgeous. And, worthy of homage. Or, am I merely being manipulated? Who knows?


New Work: Newark in 3D, A Centennial Film Commission by Marylou Tibaldo-Bongiorno and Jerome Bongiorno
Sept 23, 2009 - Jan 10, 2010

Newark Museum
49 Washington Street
Newark, NJ 07102
973.596.6550
http://newarkmuseum.org

Riverside

Izah Gallagher
Riverside, 2009
Photography
© Izah K. Gallagher

I chose these three images because they investigate ideas and images of public art and public space, while incorporating non-traditional color and use of blur.

I'm very excited and honored to be participating in "Spirits of Riverside", a show to support The Friends of Historic Riverside Cemetery. It features "artwork inspired by the landscape at Riverside" and will be presented on the second floor of Denver’s oldest brewpub, The Wynkoop Brewing Company, from October 10th through November 15th, 2009.

I'd love it if you all could join us for a reception on October 31st (Halloween) from 5-7pm. The reception is free and open to the public.

http://friendsofriversidecemetery.org/2009/09/18/spirits-of-riverside-at-the-wynkoop-brewing-company/

Nan Goldin
Picnic on the Esplanade,1973


FAMILIAR FEELINGS
ON THE BOSTON GROUP
24 September - 13 December

Curator: Manuel Segade

CGAC
Valle Inclán s/n
15704 Santiago de Compostela
Telephone: 981 546619
Fax: 981 546625
Ground and first floors

http://www.cgac.org

Utopia and Monument I

Dolores Zinny/Juan Maidagan
Curtain Call for Graz, 2009

I'm interested in the ideas raised regarding the role of art, especially in the public sphere. I've always been fascinated in the role of the Public Monument and what it represents.

Now, in the light of the recent announcement by The National Endowment for the Arts ("NEA") to recruit "artists, producers, promoters, organizers, influencers (sic), marketers, taste-makers, leaders or just plain cool people to join together and work together to promote a more civically (sic) engaged America and celebrate how the arts can be used for a positive change!” this discussion seems especially relevant to me.

Note: As you may be aware, the NEA is our nation's largest provider of funds for the arts and is supported wholly by taxpayer dollars.

Interesting times, no?

Utopia and Monument I
On the validity of art between privatisation and the public sphere
Exhibition for the public space
25/09 - 18/10/2009

Opening: 25/09, 6 pm, exhibition pavilion at Platz der Freiwilligen Schützen, Graz
Curated by Sabine Breitwieser



http://www.steirischerherbst.at

BERLINER LISTE 09: Fred Bred Mixed Media

Fred Bred
Speed Racer (2009)
Mixed media on canvas
130x130 cm
© Fred Bred
Courtesy the artist and Zimmermann & Heitmann

Please to enjoy Fred Bred's fresh take on Speed Racer. Who doesn't appreciate a pop of color? A pop of humor? A pop of truth? Bred has re-imagined an icon of animation in a time that exists both in the past (as indicated by the nostalgic look/feel/color/composition/ text) yet completely in the present (as indicated by the sponsorship/use/appropriation of icon for capital gain). Speed Racer may just represent the ultimate productization of a mass media hero, yes?

BERLINER LISTE 09
Fair for contemporary art
and photography
September 24 - 27, 2009

Palais am Tiergarten,
86 Reichpietschufer, Berlin

http://www.berliner-liste.org

Izah Gallagher
Something Whispered, 2009
Digital Photography
© Izah K. Gallagher

I choose to post these three images; they whispered my name.

Cristof Yvoré:New Paintings

Cristof Yvoré
Untitled, 2008
Oil on canvas
42 ¾ X 54 ½ inches, (108.5 X 138 cm)

I was drawn, once again, to the surface texture, the raw physical property of the medium, in this work. I do not consider this unusual as the physical nature of the work will often call my name. Please to visit this exhibit, if you find yourself in the City of Angels, yes?

Cristof Yvoré
New Paintings
September 12 - October 24, 2009

Artist Reception: September 12th, 6-8pm

Michael Kohn Gallery
8071 Beverly Blvd.
Los Angeles, CA 90048

http://www.kohngallery.com

Fernell Franco: Amarrados [Bound]

I have just discovered a new body of black and white work that I am really excited about. For those of you who know my work, I am interested in wrapping and bindings and black and white and historical photography. For those of you don't know me but live in NYC, I hope you'll stop by the gallery and partake.


Fernell Franco: Amarrados [Bound]
September 17 - December 12, 2009

Americas Society
680 Park Avenue, New York, NY

http://www.americas-society.org

Candice Breitz: Same, Same

Candice Breitz
Still from Factum Kang, 2009
Featuring Hanna Kang and Laurie Kang
Courtesy the artist

Given my background in film and interest in the creation of identity via visual language (individually and collectively), I've found Candice Breitz' work to be of special interest. And, as it happens, I had the lucky opportunity to see/hear/feel/almost taste Breitz' Legend (A Portrait of Bob Marley) installation at the Museum of Contemporary Art Denver in late 2007, whilst I was a docent-ing away the hours and hours. Loved it!

Given Brietz' investigation of these issues via recontextualization, I imagined her work would be of general interest to our Foto4 Group, as this is a topic of much discussion.


Candice Breitz: Same Same
19 September - 15 November 2009

The Power Plant
231 Queens Quay West
Toronto ON Canada M5J 2G8

www.thepowerplant.org

Izah Gallagher
End of Summer, 2009
Digital Photography
© Izah K. Gallagher

It's my birthday -- enjoying the Indian summer on the patios at Indulge and Casa Jones with MB, Kat, Jessica, Chris and the Wills, i.e., Big Will and Lil' Will. Enjoy, Izah

Foto4 Group: Since we're discussing lighting, I choose to post these images as they capture the look/feel/light of the last night of summer. Lighting notes: out of doors, late summer; quality/color = soft and cool; direction/source = sun low on the horizon, with some candles and outdoor halogen lights.

Guy Tillim

Guy Tillim
Grande Hotel, Beira, Mozambique, 2008
(Courtesy of Michael Stevenson, Cape Town)

Given my interest in historical, architectural, ethnographic, and anthropological photography, I was curious to explore this collaborative exhibition between Guy Tillim and Extra City. I find myself drawn to stories of colonization and its intended and unintended after effects, perhaps because I spent my most formative years in Africa? Or, perhaps, because members of my family spent formative years 'settling' in the Texas, New Mexico, Colorado?

[An aside: The Cator brothers started ranching on the Palo Duro in 1878. They built a house and started a store they called the Zulu Stockade, because they considered their territory as wild as the Zululand in Africa. Interesting.]

Guy Tillim: Avenue Patrice Lumumba
06/09 - 25/10/2009

Extra City – Kunsthal Antwerpen
Tulpstraat 79 –
2060 Antwerp – Belgium
info@extracity.org



"Extra City presents the project Avenue Patrice Lumumba by Guy Tillim in collaboration with the Flemish-Dutch House deBuren a few months before the 50th anniversary of Congolese independence from Belgium.

Avenue Patrice Lumumba is an examination of modern history in Africa against the backdrop of its colonial and post-colonial architectural heritage. It travels through numerous African countries, including Mozambique, Angola and The Democratic Republic of Congo.

In this project, the South African photographer Guy Tillim (1962, Johannesburg) departs from the late-modernist architectural structures that shaped the colonial landscape of conflicts in recent decades. However, the transitional and hybrid sceneries and spaces he depicts do not merely testify to conflict and an oppressive past, decay and violently contested ideologies. They speak equally of the aspirations for liberation and progress in the post-colonial era."

p.s. p.s. Lighting notes: indoors; quality/color = perhaps, existing natural light plus additional source; source/direction = appears to be front lit, eliminating shadows.

CCTV:The Get Out Clause and Father Guido Sarducci

I thought the famous CCTV music video from The Get Out Clause seemed especially relevant for our Foto4 Group given recent discussions regarding re-contextualization. By way of background, the band set up their music equipment, from microphones to drum kit, in eighty different locations, including buses and what appear to be taxi cabs, and then requested all of the footage using the Data Protection Act. Interesting and scary.


Also, as a Labor Day weekend bonus, please to enjoy Father Guido Sarducci on art school and the the advantages of being an artist. (And, The truth about IKG and the great career change of '07 is revealed.) The short clip was produced by George Manupelli and William Farley in 1982 at San Francisco Art Institute and it won a 198 Clio award.

Source for both clips: www.youtube.com.

http://www.youtube.com/watch?v=W2iuZMEEs_A

http://www.youtube.com/watch?v=MK0ITXBWpHE

p.s. I'd argue that both clips are ongoing, international exhibitions.

p.s. Lighting notes:

CCTV -- various existing internal and external lighting; quality/color = everything from fluorescent indoors to natural out of doors lightening combine to create low quality, low contrast, fuzzy images.

Father Sarducci -- indoors; quality/color = relatively low key lighting creating strong contrast and sharper shadows, i.e., chiaroscuro ; source/direction = appears to be lit with multiple lights, perhaps classic Hollywood three point lighting, i.e., back, fill, key.

Taroop et Glabel

Taroop et Glabel
Les belles images de T & G, 2009
Photography, 47 x 57 cm
Courtesy Semiose galerie

More on recontextualization of photographs.

p.s. Lighting notes: quality/direction/source = copy stand, with multiple lights given no shadow or glare.

p.s. I'm not sure why this image isn't showing up. Please see website below until link is fixed!


Taroop & Glabel
Les belles images de T & G
4 September - 3 October, 2009
Opening 4 september 6 : 00 p.m
Semiose galerie
3 rue des Montibœufs
75020 Paris
France


http://www.semiose.com
http://www.facebook.com/event

Izah Gallagher
Opening, 2009
Digital Photography
© Izah K. Gallagher

I linked these images together in an attempt to create a sense of movement and narrative and time. If these images inspire, please to write a lovely poem or caption, perhaps even in Spanish.

Andreas Bunte

ANDREAS BUNTE
La Fée Electricité, 2007
16mm fi lm, black and white, silent
12’ - Courtesy the artist and Galerie Ben Kaufmann, Berlin
Stills: Hans Moser, Thomas Rosier

I tend to be drawn to images that reference film and history and beauty. Andreas Bunte's image above is featured at Contour 2009 -- in fact it is the campaign image for the Biennial. Contour "takes place every two years, and runs for two months, from August to October.... [It] has presented itself as ‘the first comprehensive exhibition in Flanders entirely dedicated to art made in moving image." Stunning beautiful.