News

On view now at Yancey Richardson Gallery:

Lewis Baltz, Bernd Hilla Becher, Ed Ruscha

topography, systems, stylistic
anonymity, conceptual formalism, deadpan, landscape, systematic approach, industrial
complex, anonymous architecture, gasoline stations, industrial warehouses, municipal water towers...

535 West 22nd St.

3rd floor

NYC

April 21 - May 27, 2011
Open Tuesday thru Saturday, 10 - 6.

www.yanceyrichardson.com

In conjunction with the current exhibition Jasper, Texas: The Community Photographs of Alonzo Jordan, the International Center of Photography presents a debate around the issues of community photography. Guest Curator Alan Govenar, photographer Clarissa Sligh, and filmmaker Thomas Allen Harris will discuss the role of community photography in documenting African American social and cultural life and how the vernacular aesthetic has impacted contemporary photography. ICP's Chief Curator Brian Wallis will moderate the discussion.

New Perspectives on Community Photography
ICP Museum, 1133 Avenue of the Americas
Monday, April 25, 7:00 p.m.

Read more about the event and panelists here.

Earth Day is coming to a close, however, this fact does not infer that any actions made towards maintaining as healthful an earth as possible should cease tomorrow. Earth Day is in fact everyday; the 22nd of April simply happens to be internationally recognized. The following link provides information about how you can become more involved with the green movement, this weekend's local (NY) Earth Day events and methods of raising awareness and contributing to the future of our planet. 

Link: http://www.earthdayny.org/

And here's some Thoreau to really get things going. 

"I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived. I did not wish to live what was not life, living is so dear; nor did I wish to practice resignation, unless it was quite necessary. I wanted to live deep and suck all the marrow of life, to live so sturdily and Spartan-like as to put to rout all that was not life, to cut a broad swath and shave close, to drive life into a corner, and reduce it to its lowest terms, and, if it proved to be mean, why then to get the whole and genuine meanness of it, and publish its meanness to the world; or if it were sublime, to know it by experience, and be able to give a true account of it in my next excursion." - Henry David Thoreau

RayKo Photo Center will be hosting an exhibition of photographic work made without cameras in our main gallery (San Fransico, CA). This is an open call for creations of your imagination, photograms, scan portraits, lumen prints, chemigrams, and laptopograms, just to name a few processes. All work must be original and works previously shown at RayKo are not eligible. The deadline is fast approaching (May 1^st, 2011), so utilize your skills and creativity and submit your work to this rare opportunity. For more information about the competition, guidelines and requirements, visit the RayKo submission page: http://raykophoto.com/gallery/no-mirrors-submission-page/

Daylight Magazine contributor Sarah Pickering will be exhibiting her installation of photographs entitled Art and Antiquities at the Belgian gallery Meessen De Clercq. Ms. Pickering’s examination of the photograph’s relationship to ‘the real’ and the concept of authenticity (propelled by her research of the notorious art forger Sean Greenhalgh), is further aided by her access to Scotland Yard’s Fakes and Forgeries archive. 

Excerpt from Arts and Antiquities Press Release: 

Pickering’s work often turns on photography’s ambiguous relationship to the real. On the one hand, the indexical veracity of her photographs insist that what we see (now) was really there (then); on the other hand, her uncanny subjects urge us to question the conditions of their framing. Her decision for this work to present The Faun, falsely attributed to Gauguin, via its reproduction in six separate fine art catalogues did more than convey the reach of Greenhalgh’s trickery; it also undermined the very processes and structures by which authenticity is established and maintained. Almost a century ago, Walter Benjamin observed that, with mechanical reproduction, the aura associated with the ‘original’ art object is radically superseded by the political. By showing art as already corrupted by its transmission via reproducible media, Art and Antiquities reinvigorated Benjamin’s suggestion, and intimated the reach but also the fallibility of authority more broadly. This understanding of the arts as socially and politically inscribed has surfaced in earlier works, not least Public Order (2002-5). The first of Pickering’s projects to engage the authorities, this series of photographs witnesses sites of police riot-training. In their description of eerily vacant streets, lined only with building facades, the images simultaneously expose and destabilise the state apparatuses for maintaining civil order by lifting the curtain on the scene of rehearsal. In Art and Antiquities, Pickering employed reenactment, rather than the rehearsal, to defamiliarize and thus reveal usually imperceptible mechanisms of power. This shift in emphasis is apt given the photograph’s always-past tense (albeit a past deferred to unknowable, future viewers), and as such permitted greater reflexivity, not least in enabling Pickering to implicate and problematize her own working processes and status as Fine Art photographer.