Tag: photographer

A Bunny Yeager Retrospective – Las Vegas – Nevada

bunny-yeager-camera

Until the 20th of July 2014 – Sin City Gallery
“Bunny’s Bombshells” – Anyone who is into the vintage pinup lifestyle or at least appreciates the art has probably heard of Bunny Yeager, the 1950s  pinup photographer who helped make Bettie Page famous.  Born Linnea Eleanor Yeager on March 13, 1929, she passed away Sunday, May 25th 2014, but was still shooting photos in her Miami studio and gallery right up to the end!

24. Silver Gelatin Print 20x24 Ed. of 5 or 16x20 Ed. of 10 (Model Bettie Page)

24. Silver Gelatin Print 20×24 Ed. of 5 or 16×20 Ed. of 10 (Model Bettie Page)


A
dmirers of retro aesthetics are in for a treat, as legendary “pin–up girl” photographer Bunny Yeager has an exhibition in Las Vegas at the Sin City Gallery. The exhibition, titled “Bunny’s Bombshells,”  This is a rare opportunity to see and enjoy the golden age of this visual style.

Yeager started out as model in the 1950’s, and only picked up a camera to take her own portfolio shots. She quickly found a calling: as talented as she was before the camera, Yeager proved to be a genius behind it.

Silver Gelatin Print 20x24 Ed. of 5 or 16x20 Ed. of 10 (Bunny Yeager)

Silver Gelatin Print 20×24 Ed. of 5 or 16×20 Ed. of 10 (Bunny Yeager)


Y
eager brought a unique point of view to a formerly male-dominated craft. Beauty, lightness and spontaneity became the trademark in the pictures of Bunny’s girls. She discovered Bettie Page and made her the icon of the 1950’s she remains today, and was the first woman to have shot for Playboy, and has created some of the magazine’s most emblematic covers.

33. Silver Gelatin Print 20x24 Ed. of 5 or 16x20 Ed. of 10 (Model Bettie Page)

33. Silver Gelatin Print 20×24 Ed. of 5 or 16×20 Ed. of 10 (Model Bettie Page)

103. Silver Gelatin Print 20x24 Ed. of 5 or 16x20 Ed. of 10 (Model Bettie Page)

103. Silver Gelatin Print 20×24 Ed. of 5 or 16×20 Ed. of 10 (Model Bettie Page)


T
he iconic photos of Bettie Page in the leopard print bikini that Bunny designed are some of the most famous pinup photos of all time!

bunny-and-bettie

“Almost all of the girls I asked easily agreed to pose for me, because they knew I wasn’t going to flirt with them like the men photographers did,” recalls Yeager.

Sin City Gallery


Josef Koudelka Retrospective – Tokyo – Japan

CZECHOSLOVAKIA. Prague. August 1968. Invasion by Warsaw Pact troops. Near the Radio headquarters

CZECHOSLOVAKIA. Prague. August 1968. Invasion by Warsaw Pact troops. Near the Radio headquarters


From November 6, 2013 to January 13, 2014 – The National Museum of Modern Art

Josef Koudelka (born in Czechoslovakia in 1938) is one of the most important photographers in the world today. This exhibition traces his career from his earliest to his most recent works.

While working as a flight engineer, Koudelka became involved in photography in the early 1960s. He became a well-known figure in the Czechoslovakian photography world through his pictures of a Prague theater, which he came to shoot on the introduction of an acquaintance. In 1967, Koudelka quit his job and began working as a freelance photographer. The following year he shot Warsaw Pact troops as they invaded Prague. These photographs were anonymously distributed in the West, and as a result, Koudelka decided to leave the country in 1970.

FRANCE. Hauts-de-Seine. Parc de Sceaux. 1987.

FRANCE. Hauts-de-Seine. Parc de Sceaux. 1987.


A
fter living first in England and then France, Koudelka showed series such as Gypsies (1962-1970), which he had taken while still in Czechoslovakia, and Exiles (1970-1994), which he shot throughout Europe after his defection. In these poetic and uniquely powerful images, Koudelka captured the shadows of people’s modest lives in various towns. The photographs were highly esteemed as works that were imbued with profound insights into civilization during the 20th century, and Koudelka immediately rose to fame as a photographer in the West.

The first retrospective of the artist’s work was held in Koudelka’s former homeland of Czech Republic at the National Gallery in Prague in 2002 before traveling to Turkey and Mexico. In addition to vintage prints that have rarely been shown in the past, and a series of panorama photographs called the Chaos series (1986-2012), which he has continued since the late ’80s (shown here in a new structure that includes his most recent efforts), this exhibition, the artist’s first in Asia, introduces Josef Koudelka’s entire body of work.

The National Museum of Modern Art, Tokyo


Steve Diet Goedde: New Works – Las Vegas – Nevada

Steve Diet Goedde - Midori, San Francisco, 1996<br />13” x 19” Ultrachromium Ink Print - Series of 10


From July 5 to August 26,2012 – Sin City Gallery

Recent erotic photographic explorations by World-renowned photographer Steve Diet Goedde, that expand his traditional means of taking images.

In addition to his trademark black and white medium-format work, Goedde finds inspiration from a variety of low-fi equipment as point-and-shoot cameras and the iPhone. Many of his new images, which have never been made public before this exhibition, are of Goedde’s muse and girlfriend Yee and possess a very candid and personal feel.

Steve Diet Goedde - Gina Velour, Chicago, 1996 - 13” x 19” Ultrachromium Ink Print - Series of 10


G
oedde has been taking erotic photographs since 1990. His recognizable work has adorned magazines and gallery walls worldwide. His models include such icons as Dita Von Teese, Masuimi Max, Aria Giovanni, Justine Joli, and Emily Marilyn.

Goedde was born and raised in St. Louis, Mo., and learned the basics of darkroom work and photography from his father, who was an amateur photographer. By the age of 13, Goedde was obsessed with taking photographs and started educating himself about photographers who inspired him, most notably Richard Avedon, Lillian Bassman and Diane Arbus.

Steve Diet Goedde - Gina Velour, Super 8, 1997 - 13” x 19” Ultrachromium Ink Print - Series of 10


H
e moved to Chicago in 1985 to attend the School of the Art Institute of Chicago where he studied filmmaking and painting. He refused to study photography stating that he had already acquired his aesthetic and visual style. His work was compiled in two hardcover monographs, “The Beauty of Fetish: Volumes I & II,” by renowned photography publisher Edition Stemmle in 1998 and 2001 respectively. A career retrospective was released by Slish Pix on DVD in 2005 entitled “Living Through Steve Diet Goedde” and featured animated photo galleries, interviews, commentary, and behind-the-scenes footage.

A fusion of music and photography happened in 2009 when Goedde collaborated with French composer Robert Waechter on a CD released by ReadyMade Music in France entitled “GoeddeConcerto” in which the concert master of the Philharmonic of Nice, France, interpreted 21 of  Goedde’s photographs into 21 mini-concertos.

Goedde currently lives in Los Angeles.

Sin City Gallery


Fracture: Daido Moriyama – Los Angeles – California

Daido Moriyama, Shinjuku #11, 2000, gelatin silver print, 13 1/4 x 9 in., courtesy of Gloria Katz and Willard Huyck. © Daido Moriyama


April 7, 2012–July 31, 2012 – Los Angeles County Museum of Art – LACMA
- Japanese Pavilion
Photographer Daido Moriyama (Japan, b. 1938) first came to prominence in the mid-1960s with his gritty depictions of Japanese urban life.  His highly innovative and intensely personal photographic approach often incorporates high contrast, graininess, and tilted vantages to convey the fragmentary nature of modern realities. Fracture: Daido Moriyama presents a range of the artist’s renowned black-and-white photographs, exemplifying the radical aesthetic of are, bure, boke (grainy, blurry, out-of-focus), as well as the debut of recent color work taken in Tokyo. A selection of his photo books—Moriyama has published more than forty to date—highlights the artist’s highly influential experimentation with reproduction media and the transformative possibilities of the printed page.  In total, Moriyama’s achievements convey the artist’s boldly intuitive exploration of urban mystery, memory, and photographic invention.

Beauty Parlor, Tokyo - Daido Moriyama c. 1975 - Gelatin silver print - 7 x 10 5/8 in. - Ralph M. Parsons Fund - © Daido Moriyama


B
orn in Ikeda, Osaka, Daido Moriyama first trained in graphic design before taking up photography with Takeji Iwaniya, a professional photographer of architecture and crafts. Moving to Tokyo in 1961, he assisted photographer Eikoh Hosoe for three years and became familiar with the trenchant social critiques produced by photographer Shomei Tomatsu. He also drew inspiration from William Klein’s confrontational photographs of New York, Andy Warhol’s silkscreened multiples of newspaper images, and the writings of Jack Kerouac and Yukio Mishima.

Museum Hours


Parallax: The Performance Paradigm in Photography – Sidney – Australia

Heidrun Löhr, Traffic, 2001, Nalina Wait and Alexandra-Katie Macdonald at Omeo Dance Studio, Sydney. Courtesy the artist


From March 3rd to the 15th of April 2012 – Australian Centre for Photography

Parallax is a simple enough problem for photography: the image you make depends on your viewing angle. But when you add the variable of the moving body in performance, the parallax factor multiplies to a point where the camera captures something no human eye will ever see in any other way.

Heidrun Löhr, the celebrated photographer of live performance, is famous for her active use of the camera around the stage. More than documents of a vanishing work, the images open up a whole terrain of performance photography, where the gestures and expressions of subjects from all walks of life perform a sense of identity. An identity that can be as multiple and various as the positions of the camera.

Heidrun Löhr’s career began in Munich and Berlin but for over 25 years now she has worked in Sydney. Her photographs capture some of the most bizarre, outrageous and beautiful moments in experimental performance in this city.

Centre Hours


Urs Fischer. Skinny Sunrise – Vienna – Austria

Urs Fischer, Dr. Random, 2003 © Urs Fischer Courtesy of the artist and Sadie Coles HQ, London. Photo: Andy Keate

February 17 – May 28, 2012 – Kunsthalle Wienn

I believe that art is like people: you can’t reduce it to a couple of sentences—art is much more complex and rich. (Urs Fischer)
Urs Fischer’s multimedia art, which is grounded in sculpture despite the artist’s training as a photographer, offers grand gestures with a pop attitude. A yellow teddy bear weighing several tons in the midst of Manhattan; a house made of bread placed in the public space of Vienna; images of mundane subjects like donuts, London telephone booths, and crumpled Diet Coke cans precisely rendered via silkscreen on mirrored chrome boxes—in Fischer’s work of opposites, transformations of material, media, and scale are not uncommon. Private becomes public, stone turns into bread, and everyday commodities collapse into flat reproductions to decorate minimal objects. In a sculptural balancing act, the Swiss-born artist (b. 1973) grapples with size, gravity, and volume. Fragile and floating objects seemingly suspended in the air—works in which the shadow is a fundamental aspect of their form—live next to gigantic amorphous sculptures cast in aluminum and steel.

Fischer has been known to cut holes through walls (à la Gordon Matta-Clark) and erode the floors of the exhibition space in interventions that recall land art of the 1960s and ’70s. He is less interested in radical aesthetic measures or art historical cross-referencing that could easily relate him to Franz West, Dieter Roth, or Francis Picabia, but rather finds inspiration in artistic alliances that bridge time and place. For nearly every positioning of his work one runs into a companion piece: bodylike walls with bulging scars, floating pink clouds, and installations of countless monochromatic raindrops suspended in midair bear witness not to the bombastic, but to a sensitive artistic intervention.

However, there are also constants without counterparts in Fischer’s work. Over the years certain motifs such as chairs, cats, candles, and still-lifes are repeated in multiple, often-awkward variations—they seem like an agitated ode to everyday life. Certain forms are proclaimed, though never forced. Handcrafted fabrication, flawless mechanical execution, found images, and objets trouvé go hand in hand, never without a hint of irony.

Fischer’s art makes an important contribution to the discourse of form as defined by Georges Bataille’s principle of l’informe. Probing the aesthetic frontiers between object and art, he aims at destabilizing content and form, and integrates in his art anarchistic detonators that reduce identifiable thought and action to absurdity. Occasionally KUNSTHALLE wien, Urs Fischer, 2nd press release, February 2012
dismissing static concepts of artworks, he indulges in anti-form, illustrates processes, and depicts fusion and dissolution: wax figures melt, as does the streetlight made from cast aluminum whose surface, like erupting magma, seems to have gotten out of hand—Frozen Pioneer—a mutation frozen in flux.

Urs Fischer, Untitled (Pink Lady), 2001. Collection Fundação de Serralves—Contemporary Art Museum, Porto, Portugal. © Urs Fischer. Courtesy of the artist and Galerie Eva Presenhuber, Zurich.


Fi
scher’s creative urge transcends the work by means of reference; it oscillates between abstraction and figuration and is both static and dynamic. Rather than imposing his own will onto his work, he searches for each work’s singular momentum, cultivating apparent accidents and incorporating chance as an integral part of his production. Fischer questions the creation of values added to art, as when a fruit sculpture rots during the run of the exhibition or when a seemingly benign installation of a spotlight projects the shadow of a banana or ladder onto a wall. His choice of unconventional materials including styrofoam, mirror glass, lacquer, and glue, as well as wax—imbues the work with a sense of temporality. The transience of life is also evident in motifs such as the skeleton of Skinny Sunrise—in
the Kunsthalle exhibition he will for the first time show a self-portrait, another burning candle sculpture. Nothing remains the same, as the title of another of his works—Thank You Fuck You—reminds us.

Urs Fischer has previously participated in exhibitions at the Kunsthalle, including Dream & Trauma. Works from the Dakis Joannou Collection (2007) and Skulptur. Prekärer Realismus zwischen Melancholie und Komik (2004). This solo exhibition offers a retrospective of his extensive work from the beginnings of his creative production to new works.

Urs Fischer’s work has been shown in solo exhibitions at the New Museum in New York (2009), the Museum Boijmans Van Beuningen in Rotterdam (2006), the Hamburger Bahnhof in Berlin (2005), the Kunsthaus Zürich (2004), and the Centre Pompidou in Paris (2004). He has participated in important group exhibitions such as the Venice Biennale (2011, 2007, 2003) and the Whitney Biennial, New York (2006). He is represented by Galerie Eva Presenhuber, Zurich; Sadie Coles HQ, London; Gavin Brown’s enterprise, New York; and the Modern Institute, Glasgow. He lives and works in New York.

Museum Hours


  • Follow International Art News

  • Categories

  • Archives

  • Copyright © 1999-2012 International Art News. All rights reserved.
    iDream theme by Templates Next | Powered by WordPress