October 19, 2014
Trying to speak about the ultimate reality is like sending a kiss through a messenger.
October 17, 2014
Every year, the photography community comes together to honor those whose life’s work has blazed a path, like a candle lighting the dark, at the annual Lucie Awards, an annual gala ceremony honoring the masters of the medium. The 2014 Lucie Awards will be held on November 2 at Zankel Hall at Carnegie Hall, New York. This years honorees include Carrie Mae Weems (Fine Art), Martin Parr (Documentary), Jane Brown (Lifetime Achievement), Nick Ut (Photojournalism), Nan Goldin (Portraiture), and Pedro Meyer (Visionary Award).
Awards will also be given to individuals and organizations who are nominated and selected by the Photography Advisory Board honoring the best of 2014 for support categories including: Print Advertising Campaign, Magazine Fashion Layout, Exhibition/Curator, Book Publisher, Picture Editor, and Photography Magazine of the Year.
Additionally, the Lucie Awards will present the International Photography Awards (IPA), an annual, juried competition that is open to all photographers, professional and non-professional. Through the competition, top honors are provided, one of which is Discovery of the Year, an award for non-professional emerging talent that is awarded a $5,000 cash prize and a statue. Additional categories awarded at the Lucies include of International Photographer, Deeper Perspective Photographer, and Moving Image Photographer.
Highlights from the International Photography Awards will be featured in the 2014 Best of Show gallery exhibition. Best of Show will premier in New York on November 1. The exhibition opening will be hosted by the Splashlight Studios from 7-10pm and will launch a week of celebrations and photography-filled events preceding the Lucie Awards Gala taking place November 2.
Each year, a distinguished person within the photography community is invited to be a Guest Curator for the annual IPA Best of Show Exhibition. This year, David Clarke, Head of Photography Emeritus of Tate Modern, will be assuming the 2014 honorary position in continuation of this prestigious curatorial legacy.
Following its New York debut, the Best of Show exhibition will then begin its world-wide tour which will include openings in Italy, Bangkok, Paris, North Carolina, and Los Angeles where it will take place as a part of month-long festival of photography celebration, Month of Photography Los Angeles, a program of the Lucie Foundation.
Lucie Awards Founder and Chair Hossein Farmani and Executive Director Cat Jimenez sat down to speak with The Click, sharing with us their commitment to honoring the greatest achievements in photography.
Read the full story at THE CLICK.
October 16, 2014
Stillness reveals the secrets of eternity.
October 15, 2014
Before digital there was analog.
Before inkjet printing there was Anton Perich.
Before reality TV, there was Anton Perich.
No, Wade Guyton did not “invent a new paint brush,” Anton Perich did in 1978, when Guyton was six. Inspired by the image-making processes of video technology in which he’d immersed himself as a pioneering producer of underground television in New York, Perich developed a colossal “electric painting machine,” a painterly precursor to the inkjet printers of today.
Postmasters announces the first large-scale exhibition of Anton Perich’s electric paintings, which includes a full range of early and recent work, both abstract and figurative. The exhibition will also include screenings of a selection of Perich’s art world ur-reality TV series, which aired on Manhattan’s public access cable
Anton Perich arrived on the New York art scene in 1970, as a photographer and pioneering
videographer. “I got a still camera and went shooting every night,” he said, and his images—including those he published in Night, the magazine he founded in 1978–captured the personalities and happenings of this wild moment in the city’s history. Seeking to collapse the gap between this tumultuous, creative reality and the sanitized world presented on the mainstream television of the day, Perich started shooting with a Sony Portapak video recorder. He transformed the craze and excess, the low-res soap operatic dramas of real people, into what we now recognize as reality TV.
Through his immersion in the scene, and his proximity to Andy Warhol, Perich developed an interest in painting and its relationship to his more technological forms of image-making. Video cameras and television tubes encoded and decoded images line by line, like a text. Perich set out to embody this modern transformation of visual information to electronic signal in paint. The result was the electric painting machine, which painted canvases up to 12 feet using airbrushes controlled by a photovoltaic scanning mechanism. The unexpectedly expressive aesthetics of this technological mediation continue to occupy a central place in Perich’s painting practice.
Executing paintings line by line, in a process that would become familiar with the advent of inkjet printers, the electric painting machine enabled Perich to find his “own brushstroke,” even as it ostensibly removed the artist’s hand from production. Warhol recorded in his diary: “They said Anton was home with his painting machine and I was so jealous. My dream. To have a machine that could paint while you are away. But they said he had to be there while it painted because (laughs) it clogs up. Isn’t that funny?”
Perich’s experimentation led him to create large-scale paintings, some that “reproduced” his iconic photographic images and some that were abstractions, electric noise, painting fields of color and lines fed by him into the machine. While his portraits reveal the ghost of an image, his uncropped abstract canvasses shift the focus of attention from the rich finished surfaces to the edges of the painting where the picture-writing process is laid bare. Machines are made to be perfect. In mechanically or electronically created contemporary artworks glitch/mistake/imperfection is often re-introduced into the outcome as if to humanize the tool. Perich calibrates his machine paintings, though, to be just precise and perfect enough to capture the essence of the image and the process.
The early paintings were made on raw canvas with acrylic or oil paint. In some places the paint gently permeates the canvas; in others the layers of paint have built up to a rich, voluptuous, and intense surface.
Recent paintings are often painted on fully or partially gessoed canvas, which keeps the paint on the surface. Sometimes coalescing into low-res images, sometimes dissolving into abstraction, Perich’s surfaces always revel in their own materiality, as layers of paints of differing consistencies variously build up, drip and run. A sophisticated colorist when called for, Perich also references the visual intensity of his photography by narrowing his palette to the greyscale spectrum.
Perich is not afraid of scale, his “Blow Up”-like monumental canvases are in open conversation with the large-scale experiments of his peers. What emerges from his body of work is a consistent, fearless, investigative artist, always true to his time, then and now. An artist parsing out the visual cacophony of his videos, navigating the sirens of mediation, and creating minimalist expression in his evanescent, nearly abstract paintings. The missing link between late Warhol and early digital art.
ANTON PERICH: ELECTRIC PAINTINGS
OCTOBER 18-NOVEMBER 22, 2014
54 Franklin Street in Tribeca
Tuesday through Saturday 11 – 6
with Thursday hours extended to 8pm
October 14, 2014
Closed off in a studio, removed from the world, Pedro Paricio wears a black hat as he channels the spirits of the earth through the tip of his brush. In his studio he paints for twelve hours a day, day after day, taking a day off maybe once a week, but never more. Being away from the studio makes him hunger for it more.
Paricio’s most recent show “Shaman” opened earlier this year at Halcyon Gallery, London, and published in a catalog of the same name. The paintings collected here are portals into another world, distinctly alluring rabbit holes to a starburst wonderland. As tour guide to an altered state, Paricio’s work is at once rich yet stark, the deepest blacks centering our eye on to his path. Complementing this series is “The Spirit of Paining,” a series of 37 works on paper that refer to specific works of art from the Spanish Baroque and Italian Renaissance, remade in Paricio’s vision of the infinite space that the canvas as portal creates.
Born in Tenerife in the Canary Islands, Paricio chose to engage with art because he was in search of life, a life that would take him from the island of his childhood and bring him to Salamanca, Spain. “The Canary Paradise,” his first solo show, was held in 2007 at Ikara Skate Shop & Gallery, in Barcelona. He supported himself as an artist by taking a wide range of jobs, everything from editing magazines to being a clown at children’s parties. He was committed, as only a true believer can, to the understanding that painting is his destiny.
As Paricio recalls, “My first show was called ‘The Canary Paradise.’ The Canary Islands is something to live. It is a place you need to feel in yourself. We live in a worldwide culture, where big cities are close to one another with similar shops, books, fashions, and styles. The Canary Islands has an old soul. Our people follow traditions. We do many things in the same way as our fathers and grandfathers, still a lot of islanders from the countryside areas fishing and growing food in our gardens.
“The light in the Canary Islands is very important. The weather is good all year round. It is a paradise. Tenerife, my island, has the highest mountain in Spain. We have different weather systems. It is a micro-world. The people are very relaxed here. No one is running here. You walk. You don’t run. You stop in a shop and talk to the people. There is no stress on this island. People are happy.”
Read the Full Story THE CHIC.
October 10, 2014
It is the photograph that has introduced the world to art in the age of reproduction, the copy becoming the way in which we understand the original. And so it is that the photograph is the means to literally objectify our world. We gaze upon photographs as a means to travel beyond our limited scope and we take in what lies inside the frame and unconsciously disregard all else. And while we understand intellectually the need to question what we are told, seeing is believing in the sighted world.
It is for this reason that many become photographers; they need to tell their stories without words. Words are creation of the left brain, the way in which we translate experience into a complex coding that creates reality through the abstraction of language. But the photograph operates in the right brain; it speaks all languages simultaneously. Anyone looking at a photograph can read it, although various interpretations of the same photograph are certainly possible and likely. And so it is that in the photographs of Boza Ivanovic collected in Out of the Wild: Zoo Portraits (Glitterati Incorporated) that we are given layers of meaning in each image, each layer to be slowly peeled back and considered on its own merit.
“I did not focus on photographing animals until after I was recuperating from a motorcycle accident. The picture that rekindled my love for animal photography was taken at the San Diego zoo in Southern California when I was there for the sole purpose of taking my then six-year-old son. It was a photograph of a tiger. The beast, as I saw it, was in a perfect, mysterious combination of darkness and light. Since then on, I have focused all my energy to develop the kind of animal photography that would portrait the beauty, traits and characteristics of these caged animals. I have come to know and develop great admiration and respect for all the animals I have photographed since it requires quite a large amount of time and patience to have all the necessary elements to come together to take just one photograph.”
At first glance at Ivanovic’s photographs, we are struck by a high contrast graphics that draw us in, for darkness is never so radiant when light shines through its untenable depths. Set against these vast and impenetrable fields of black are animals, exotic and foreign to our normal lives. These are not the creatures we observe in the course of our day, not our domesticated pets or the livestock that provides us with food, apparel, or accessories. The animals of Ivanovic’s photographs are not creatures of comfort or creatures of use. They are creatures of curiosity, creatures of grandeur, creatures of dreams and nightmares, creatures of a world not our own, for each lives within a confined area, in a zoo.
Read the Full Story at THE CLICK.
October 8, 2014
October 7, 2014
Insectum. Avialae. Fungi. Mammalia. Mister Finch moves across the animal kingdom with the precision of a surgeon, creating creatures of the land and the air out of recycled textiles that are nothing short of delicious with their intricate and intimate details that make them a pleasure to both have and to hold. They recall nothing so much as the dreams of fairytales from a time and a place long ago.
Mister Finch has been crafting a world of pleasure that is to be found in the art of the hand, of the ability for one man to transform reality into fantasy and back again. His creations are devilish delights, works that at once be still our eye while tempt our fingertips. Endlessly delectable, Mister Finch’s menagerie of woodland beasts, birds, insects, and mushrooms returns us to a time when the world was innocent, and anything was possible.
Mister Finch: Living in a Fairy Tale World (Glitterati Incorporated) debuts this Fall, with back-to-back New York events. On Wednesday, October 8, from 6-8pm, Lord & Taylor will host a book signing and reception. On Thursday, October 9, from 6-8pm, Mister Finch heads to Chelsea for a book signing and reception at Kasher | Portwood Gallery, where original works will be on display. Please RSVP to email@example.com with “Mister Finch” in the subject line.
On the cusp of his New York debut, Mister Finch has arranged to speak with The Chic, offering us a rare glimpse into his world where hares find themselves mounted proudly on the wall, while toadstools float like helium balloons and butterflies flutter from day to night, each creature more alluringly inviting us into a magical world where creatures come alive the moment the eyes are put into place.
The artist introduces himself: “My name is Finch—it’s actually my surname…everyone call me it and I like it. I’ve called my business Mister Finch so it’s clear from the start that I’m a man and one that sews. I live in Leeds in Yorkshire, not too far from the beautiful Yorkshire Dales.
“It’s been my home now for almost 18 years and it’s been very good to me. It’s a vibrant place to live and being so close to the city is great…but also not too far from the country. You really have the best of both worlds. I live in a corner house at the end of a quiet street next to a graveyard. From the top window, you can see the city lights glittering and its brilliant. As much as I love the countryside, I also need a bit of lights and action and love the contrast. I need the busy markets and bookshops.”
Read the Full Story at THE CHIC.
October 6, 2014
We alive today are witness to the transformation of the world, from a place of physicality to a more conceptual space, a space that is as infinite as it is vast. With the promulgation of digital culture, the photograph has been liberated from the page. No longer is it an object held to is physicality. Now it exists in its ability to exist immediately and simultaneously everywhere at once. Art in the age of digital reproduction has virtually destroyed an industry, and forever altered the form. It is now that the days of film, paper, and processing have been rendered obsolete, though they retain their charms so much so that the ubiquity of photography now allows us to reconsider our assumptions of the art. So much so that it becomes a subject worthy of contemplation and veneration itself. Stand witness to the death knell of an industry and record its last days for posterity.
Robert Burley traveled the world with a 4×5 field camera to document the factories that were shutting down en masse. The Disappearance of Darkness: Photography at the End of the Analog Era (Princeton Architectural Press) presents seventy-one of Burley’s large format photographs inside and on the grounds of the plants that were closing down. Alongside the photographs are brief texts that set a tone for the story of worlds going, gone, slipping forevermore into oblivion, and we feel a sense of the complete vastness of this loss in the large scale buildings, estate planning, and the detail of design itself. From the buildings we see the very life of business itself.
The people. They are gone. There is nothing more to be done. Befitting it is, then, that Hurley should include George Eastman’s suicide note, found on his bedside table that read, “To my friends my work is done why wait?” And then we turn the page, and we see a double page spread of crowds standing outside of Buildings 65 and 69 at Kodak Park, in Rochester New York. In the second frame, the buildings are imploded. It was October 6, 2007. Through Burley’s camera we witness the detail of the debris and notice the bulldozer nestled into the back corner, ready to get to work. Though the buildings are gone, the land is good, and the show must go on.
As Burley notes, “By 2012 a number of smaller companies had begun to establish themselves in the Park, namely those started by former Kodak employees who had taken early retirement or been laid off as the company downsized. Soon this cluster of modest businesses, with operations ranging from manufacturing solar cells to making spaghetti sauce, employed about 6,500 people, a figure outnumbering Kodak’s remaining Rochester workforce.”
It is all rather grim, for those who remember , who enjoyed the countless options that working in film and papers could once afford. From some angles it appears we fixed something that was not broken, but the end result was the same. People voted with their wallets, and the time and expense of film dug its own grave. Yet at the same time, they continue, now in a new and unexpected way. The 4×5 camera is alive and well, standing tall before buildings no longer needed to serve the world. Now it is not a matter of industry, but of the individual, or the artists and the authors and the publisher, all of whom have a story to tell.
The Disappearance of Darkness is a light at the end of the tunnel. It is a photography book. It exists only in print. In inks on paper at a time when people declaim, “Print is dead!” and yet, the medium lives on. It speaks now, more than ever, to people who understand the importance of the tangible. Of that which is to have and to hold, which exists in real time and space, and is non-transferable. Of the very idea that the mechanical reproduction holds a value we did not previously esteem. Of an understanding of the edition, printing of photograph in book form, of the ways in which the very act of turning the page teaches us how to look at the world.
Originally published 28 February 2014
L’Oeil de la Photographie
“Robert Burley: The Disappearance of Darkness”
is on view at the George Eastman House, Rochester, NY,
now through January 4, 2015.
October 5, 2014
Artists are here to disturb the peace.
~ James Baldwin
October 4, 2014
Love is nothing other than finding the truth.
October 3, 2014
In the tradition of Alexis de Tocqueville comes Photographer’s Paradise: Turbulent America 1960-1990 (Glitterati Incorporated), the first book by French photographer Jean-Pierre Laffont.
Weighing in at 392 pages with 359 four-color and black-and-white photographs, two gatefolds, and an introduction by Sir Harold Evans, Photographer’s Paradise is nothing short of a publishing tour de force that is equal parts news and art. The book launches on Thursday, October 9 from 6-8pm at Clic Gallery, New York. Hosted by David Elliot Cohen, Mr. Laffont will be making remarks at 6:30pm to speak about his life in photography, and its culmination in this incredible volume of work. Please RSVP to firstname.lastname@example.org with “Photographer’s Paradise” in the subject line.
Christiane Celle, the founder and owner of Clic Gallery, states, “I’ve known the wonderful Jean-Pierre Laffont for many years as a result of my friendship with his daughter, Stephanie. I’ve always had great respect for him and his work, but I was fascinated to see his extensive catalog of images representing American life. Photographer’s Paradise has given me a much broader representation of Jean-Pierre’s skill to create an emotionally-moving photographic history. His portraits are both educating and inspiring. I’m pleased and excited to bring his book launch to Clic Gallery on October 9.”
Photographer’s Paradise is a testament to the power of photojournalism to shape the course of human events. As the media rose in power during the second half of the twentieth-century, it was a call to action for many to bare witness to history firsthand. Mr. Laffont found himself on the front lines, something he did with a presence of mind few can lay claim to bare.
Mr. Laffont’s wife and business partner Eliane Laffont has worked with him throughout his career, first as his agent, and then again as his editor. The Laffonts’ shared professional history gave them the knowledge and depth necessary to edit through hundreds of thousands of images that Mr. Laffont had amassed as he traveled all over America.
Read the Full Story at THE CLICK.
October 2, 2014
I’m so glad I live in a world where there are Octobers.
~L.M. Montgomery, from Anne of Green Gables
October 1, 2014
But luxury has never appealed to me,
I like simple things, books, being alone, or with somebody who understands.
~ Daphne du Maurier
September 30, 2014
Photographer, author, vagabond. Christopher Makos has been training his eye on the world’s stage since he came to this earth, creating an understanding of life that integrates everything into a cohesive whole. Whether people, places, or things, Makos’ gift is his ability to embrace them all as subjects of beauty befitting himself. For Makos is nothing if not a presence, a force to be reckoned with.
The author of 21 monographs. Makos’ work has been exhibited around the world since 1975. He first burst onto the photography scene with his 1977 book White Trash, which was recently re-released by Glitterati Incorporated in a deluxe edition titled White Trash Uncut. The book, at once raw and luxurious, chronicled the New York City pink scene, interspersed with portraits of Uptown Boldface names.
Makos 21st monograph, Everything: The Black and White Monograph (Glitterati Incorporated), is a sumptuous retrospective of three decades in the artist’s illustrious career. Weighing in at 352 pages, with 248 photographs, Everything is printed in quadrotone for the richest, most effective reproduction of Makos’ work. The oldest photograph in the book was a taken in 1973. It is a single foot set bare upon the beach in Ditch Plains, Montauk, New York. The journey of a thousand miles had begun. Everything stands as a testament to a life lived in the present tense, forever creating itself anew with every click of the lens.
Everything will launch at Lord & Taylor, New York, on Thursday, October 9 from 6-8pm. Hosted by Manhattan magazine, the event will include a book signing, as well as a fashion presentation, fashion style, a photo booth, grooming stations, and a live DJ. All are welcome to attend, and to RSVP with the subject line “Everything” to email@example.com
Everything can be seen as a photo-biography, if you will. Here are portraits, landscapes, nudes, snapshots, studio shots, cars, dogs, horses, from Fire Island to Ascot, Mallorca to Moscow, Morocco to Puerta Vallarta, Giza to Palm Springs, as well as portraits of everyone from Elizabeth Taylor to Queen Elizabeth II, from Man Ray to Jean-Michel Basquiat, from Tennessee Williams to John Lennon.
The Lord & Taylor launch is the only New York public appearance Makos will be making this Fall, as he tours the world presenting his original collaborations with Ports 1961 and Kiehl’s, featuring some of his most iconographic images. He chats with The Chic about his life in photography.
Read the full story at THE CHIC.