Tag: photographs

Duo exhibition of Jamie Baldridge and Bernhard Buhmann: Versus – Dubai

Jamie Baldridge "The Hindenburg Signal Ballet" Pigment print 2011


7th of May 2012 to 15th of June 2012  – Carbon 12 – Gallery

Carbon 12 proudly presents “Versus”, an exhibition of new works by Jamie Baldridge and Bernhard Buhmann. Buhmann returns to Dubai after a brilliant first solo exhibition at Carbon 12, in 2009 and it is Baldridge first “solo” in the Middle East.

It’s the golden age of struggle: occupy everything; lex talionis; welcoming to the jungle. Acceleration and demise go hand in hand; the hamster’s wheel leaves no room for imagination and introspection.

This is what we need and this is what they do. Baldridge’s meticulously composed images assembled from hundreds of digital photographs. “Existing in a state of quivering potentia, swirling somewhere in a sparkling electric reservoir, waiting to be brought into the light of day”, the very personal darkroom of one’s unconscious abyss.

Bernhard Buhmann "Heldenplatz" Oil on canvas 2011 200x185 cm


B
uhmann’s magnum opus sucks the viewer directly into a narration, full of marvel and wonder, a parallel universe, an alternative reality, full of buskers and jesters, where rivers flow upstream and clocks go backwards, the irrational, the unexplainable. A place “where not only time is out of joint”.

Baldridge’s and Buhmann’s contemplative, at first glance almost unearthly approach to their respective media is very investigative, in subject and form alike. Their struggle is universal, their matters ubiquitous; the artist as the alchemist or the artist as a prophet.

Baldridge and Buhmann oeuvres are deeply rooted within art history. Hieronymus Bosch, as a very early example, where overall composition and detail are in constant dialogue, not only reflecting world views and belief systems, but deconstructing and reconstructing the semantics themselves. Inner urge as their impulse, friction as their motif. Fighting against, fighting with, fighting for. This is VERSUS.

Jamie Baldridge, born in 1975 in Louisiana, is a professor of photography at the University of Louisiana at Lafayette, USA.

Bernhard Buhmann, born in 1979 in Bregenz, Austria, is the winner of the STRABAG Art Award 2008.

Carbon 12


Stars in Venice, fotografia bianconerro – Sofia – Bulgaria

From April 22 to May 11th 2012 – National Gallery for Foreign Art
After the success of the Bulgarian Pavillion at the 54th Venice Biennale, Gershon Bulgaria is introducing a new exhibition project at the National Gallery for Foreign Art, Sofia. Stars in Venice presents 90 meticulously arranged photographic portraits from the immense collection of the Archivio Cameraphoto Epoche – a fascinating cross section of celebrities from all genres of art who visited the legendary Venice Film Festival and the Venice Biennale through the years of the second half of the previous century.

We are offering our guests the chance to admire, among others, photographs of Sophia Loren, Claudia Cardinale, Sean Connery, Paul Newman, of Humphrey Bogart and Lauren Bacall at the Portofino Cafe, of Mick Jagger enjoying a Gondola ride and Salvador Dali posing in front of memorable Venetian historic sites. The merit for the outstanding quality of the large format photo reproductions belongs to printer Vittorio Pavan, one of the founders of the Archivio Cameraphoto Epoche.

Gallery Hours


Pacific Standard Time – Art in Los Angeles 1950–1980 – Berlin – Germany

Hockney, David - A Bigger Splash - 1967; Acrylic on canvas, 242.5 x 243.9 cm (95 1/2 x 96 in)


15th of March to 10th of June 2012 – Martin-Gropius-Bau, Berlin

The exhibition project “Pacific Standard Time – Art in Los Angeles, 1950-1980” traces the development of the Los Angeles art scene during the post-war period, when the city on the Pacific hosted an impressively varied and versatile art scene, thus proving that it was more than Hollywood and a sprawling metropolis in the land of sunshine and palm trees. “Pacific Standard Time” features such internationally esteemed artists as John Baldessari, David Hockney, Edward Kienholz or Ed Ruscha as well as protagonists that are yet to be discovered like the abstract painters Helen Lundeberg and Karl Benjamin, the ceramicists Ken Price and John Mason, and sculptors such as De Wain Valentine.

Betye Saar: The Phrenologer’s Window, 1966


T
he mega show – over 60 institutions and galleries in Los Angeles were involved – is taking the two main core exhibitions of the Getty Museum and the Getty Research Institute to Europe. The sole European venue is the Martin-Gropius-Bau in Berlin.

What was the feminine element in the avant-gard movements of the West coast? This is an interesting filter to place on the exhibition “Pacific Standard Time” Whether we refer to performances to protest against the war in Vietnam (Suzanne Lacy and Leslie Labowitz-Starus), the vitality of the campuses as nests of creativity(with Martha Rosler in San Diego) or even the commitment of audacious collectors (in the footsteps of Betty Asher), a history of art in America after the war can surely not be drawn up in the masculine gender. But male chauvinists need not worry: with John Baldessari to Richard Diebenkorn, including Bruce Naumann and Edward Kienholz.

Judy Chicago: Big Blue Pink, 1971 - Sprayed acrylic lacquer on acrylic - Courtesy Tom Jancar Gallery, Los Angeles - © Judy Chicago, 1971 / VG Bild-Kunst, Bonn 2012, Foto: Donald Woodman


T
he section of the exhibition that was to be seen in Los Angeles’ Getty Museum under the title of “Crosscurrents in L.A. – Painting and Sculpture, 1950-1970”, presents painting and sculpture. In the second part that was to be seen in Los Angeles under the title of “Greetings from L.A. – Artists and Publics, 1950-1980”, posters, artists’ catalogues, postcards, invitation cards and other memorabilia are shown which offer a deeper insight into the networks of the Los Angeles art scene at that time. For Berlin the show has been supplemented to include photographs by Julius Shulman, whose architectural shots defined the image of the Californian lifestyle in the 1950s. His incomparable sensibility and intuitive feel for composition and the ‘critical moment’ established him as a master of his craft.

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Berenice Abbott, Photographs – Paris – France

Jean Cocteau avec un revolver 1926 Berenice Abbott Épreuve gélatino argentique, 35,5 x 28 cm. Ronald Kurtz / Commerce Graphics. © Berenice Abbott / Commerce Graphics Ltd, Inc


From 21 February 2012 until 29 April 2012 – Musee du Jeu de Paume

With Berenice Abbott (1898-1991), urban experience is at the heart of the exhibition: in an America shaken by the Wall Street Crash, her images of 1930s New York convey her fascination with an urban landscape in the throes of dramatic change. Also known for championing the work of Eugène Atget, Abbott, who originally wanted to be sculptor, proved to be a great photographer of matter, space and light.
This is the first exhibition in France to cover every stage of Berenice Abbott’s career, featuring over 120 vintage prints by this American photographer as well as a series of documents never previously shown. The selection of portraits, architectural photographs and scientific plates shows the many facets of a body of work all too often reduced to a handful of familiar images.

Berenice Abbott came to the French capital in the 1920s and was trained by Man Ray before opening her own studio, where she began a successful career as a portrait photographer. Mixing in the artistic and intellectual circles of the day, she photographed a cosmopolitan cast including Eugène Atget, Marcel Duchamp, James Joyce, Man Ray, Jean Cocteau, Sylvia Beach, André Gide, Foujita, Max Ernst, and Marie Laurencin.

Park Avenue et 39e rue, New York 8 octobre 1936 Berenice Abbott Épreuve gélatino argentique, 19 x 24,5 cm. Museum of the City of New York. Gift of the Metropolitan Museum of Art. © Berenice Abbott / Commerce Graphics Ltd, Inc.


T
he exhibition also features a substantial selection of images form her Changing New York project (1935-1939), for which she is best known. This undertaking was Abbott’s own initiative but was financed by the Works Progress Administration, part of Roosevelt’s New Deal efforts to combat the Great Depression. Conceived as both a record of the city and a work of art in its own right, this ambitious government commission focuses on the contrast between the old and the new in the rapidly changing city.
The photographs she took in 1954 when travelling along the US East Coast on Route 1 (the exhibition is presenting a never previously exhibited selection of these) reflect her ambition to represent the whole of what she called the “American scene.”
In the 1950s, Abbott produced a set of photographs illustrating the principles of mechanics and optics for the Massachusetts Institute of Technology. Combining aesthetic and educational concerns, these abstract, experimental images echo her photograms of the 1920s.
An active participant in the avant-garde circles in the 1920s, a determined opponent of Pictorialism and the school of Alfred Stieglitz, famous for bringing Eugène Atget to international attention, Berenice Abbott spent her whole career exploring the notions of documentary photography and photographic realism. This retrospective at Jeu de Paume brings out the richness of her approach, and both the diversity and unity of her work.

Museum Hours


Cy Twombly – Photographs 1951-2010 – Brussels – Belgium

Cy Twombly, Brushes, Lexington,2005, dryprint on cardboard, 43,1 x 27,9 cm, courtesy : Schirmer/Mosel Verlag - Fondazione Nicola del Roscio


Wednesday first of February to Sunday the 29th of April 2012 – BOZAR – Centre for Fine Arts

The exhibition Cy Twombly. Photographs 1951-2010 presents more than 100 dry prints, generated from Polaroid photographs, which were selected in close cooperation with the artist himself prior to his death on July 5th, 2011. Cy Twombly’s photographs have been a rather recent discovery. Snapping photographs with his Polaroid camera since his student days, the artist did not make available to the public his photographic material until the 90s.

Cy Twombly, Painting Detail (Roses), Gaeta, 2009, dryprint on cardboard, 43,1 x 27,9 cm, courtesy : Schirmer/Mosel Verlag - Fondazione Nicola del Roscio


T
he subject matter of his photographs varies considerably. From still-life images of flowers and brushes, snap shots of his studio and museums interiors, details from his paintings to views of ancient temples and atmospheric landscapes, the ethereal and delicate photographs reveal the themes that have nourished the artist’s paintings, drawings, sculptures and graphic art. The exhibition will include a number of paintings by Cy Twombly and the intimate cinematic portrait “Edwin Parker” by artist Tacita Dean as a tribute to the recently deceased greatest artist of our times.

Centre Hours


Fiona Pardington: The Pressure of Sunlight Falling – Dunedin – New Zealand

Fiona Pardington Portrait of a life cast of Koe (painted), Timor 2010 Courtesy of the artist, Two Rooms Gallery, Auckland and the Musée de l'Homme, (Musée d’Histoire Naturelle), Paris


From September 10 to January 22, 2012 – Dunedin Public Art Gallery

Fiona Pardington’s The Pressure of Sunlight Falling is a series of photographs that depict life casts made by medical scientist and phrenologist Pierre Dumoutier during one of French explorer Jules Dumont d’Urville’s South Pacific voyages from 1837-1840.
A photographer of international standing, Pardington has exhibited widely in Australasia and Europe. A selection from this series was included in the 2010 Biennale of Sydney.
The associated book, Fiona Pardington: The Pressure of Sunlight Falling, is edited by Kriselle Baker and Elizabeth Rankin, and is published by Otago University Press in association with Govett-Brewster and Two Rooms Gallery.

Gallery Hours


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