Nº. 2 of  9

Art Photo Collector

"I dream of an Africa which is in peace with itself."—Madiba

Jackie Nickerson’s solo exhibition, Terrain, opens tomorrow at the Jack Shainman Gallery here in NYC and will run until the 15th of February. Nickerson is a skilled commercial photographer who, in 1996, accepted an invitation to visit Zimbabwe. Like many others, she was captivated; three weeks turned into four years and a life-long connection with the country and the continent.

I am new to Nickerson’s photographs, but immediately sense the integrity, and the yearning for beauty. These portraits, which like any good work, are collaborative and emotive, have a soft-spoken and quiet richness that reveals itself subtly. For anyone who has had the good fortune to travel in southern Africa, Nickerson’s lovely attention to the land and the light will make you smile. Her subjects are everyday people, and so are we. —Lane Nevares

"Being a father is by far the hardest thing I ever did. I used to think it was hard being an artist. Forget it. It’s duck soup." —Danny Lyon 

If you live in the NYC area and want to meet one of the greats in American photography, Danny Lyon will be on hand at Edwynn Houk gallery this Saturday the 11th for a reception with the artist honoring his latest show: Murals and Montages.

The exhibition opens earlier on the 9th and will feature for the first time thirteen large-scale, 30 x 40 inch gelatin silver prints produced from the original negatives and in conjunction with his master printer and fellow teacher, Chuck Kelton. The photographs will span Lyon’s 50+ year career and be an opportunity for collectors to purchase iconic images in a new size and edition.

My admiration for Danny Lyon’s work is infused with his mission for social justice and equity in society. His writings and personal history reveal this passion clearly. The man behind the viewfinder is more than just a bad-ass photographer, he’s “reaching out to others in the darkness.” —Lane Nevares 

Wishing each of you a healthy, prosperous and exciting new year of possibilities. Thank you for following Art Photo Collector. May you rock on and be free. —Lane Nevares

Wishing each of you a healthy, prosperous and exciting new year of possibilities. Thank you for following Art Photo Collector. May you rock on and be free. —Lane Nevares

"What you want to be is a poet…To voice the real and at the same time create an image that is a world in itself, with its own coherence, its autonomy and sovereignty; an image that thinks." —Luc Delahaye 

On view at the Nailya Alexander Gallery is the first New York solo exhibition for the Russian photojournalist, Sergey Maximishin. The show accompanies a thoughtful new book Siberia: In the Eyes of Russian Photographers featuring work from over 50 photographers spanning the past 130 years.

Siberia is evocative of sub-zero temperatures, prisons, isolation, and intriguing for all we don’t know about this vast region. Maximishin’s work captivates the attention because it is remarkably insightful and well composed. We see a Siberia revealed in the quotidian details of people going about their business and contained in their worlds. 

Whether this type of work transcends “Photojournalism” to become “Fine Art” (and selling in a gallery on 57th Street) is a disputation that will always be around. Maximishin is a talented, award winning, dyed-in-the-wool photojournalist. Whether his work needs the blessings of the market, curators, and influencers, seems beside the point. —Lane Nevares  

"You should never ask anyone for anything. Never- and especially from those who are more powerful than yourself."—Mikhail Bulgakov

Ukraine, and its brave people in Kiev, are in the news these days. Protesters in frigid streets are facing off with riot police as the world watches and wonders, like I do, what the outcome will be.

The Ukrainian-photographer, Boris Mikhailov, is from Kharkov in the eastern part of the country, closer to Russia. Born in 1938, Mikhailov’s artistic sensibilities were shaped by the aftermath of a second World War and the rise and demise of the Soviet Union. His photographic explorations of society, particularly poverty and life on the fringes, have built his reputation as a new kind of voice: an unbound social and artistic documentarian. Mikhailov has created diverse and important bodies of work making him one of the foremost photographers of his generation.

His latest exhibition, currently on view at Dominique Lévy Gallery in New York City, is Boris Mikhailov: Four Decades. The show will be up until February 8th, and offers a terse insight into the former Soviet Union and its people who—like the citizens in Kiev out in the streets demanding their rights—are still grappling with its legacy. —Lane Nevares

"It only takes a second for an impression to become a vision."—Bill Viola

Like you, I am fascinated by artists who help us see things differently. Beautiful, engaging work is always easy on the eyes, but sometimes a bit of guile and deception can take you somewhere new. 

Danish artist, Asger Carlsen’s, manipulated images contort and distort bodies, while Roger Ballen’s drawings and cut-outs touch the psyche in a disarmingly simple and unsettling way. Last July, as part of their annual photography issue, Vice magazine commissioned these artists. The result, Place of the Inside Out, is a potent collaboration—albeit separated by continents—of one artist riffing on the work of another. This video tells the tale. For my part, I like not knowing if I like it. —Lane Nevares

"In photography there is a reality so subtle that it becomes more real than reality."—Alfred Stieglitz  

It is one thing to have an idea, and quite another to realize it. The artist Lori Nix sees the world her own way. In fact, she constructs it. These images may look like post-apocalyptic, photoshopped phantasms, but they are each painstakingly and time-consumingly made, with each diorama taking up to 7 months to complete.

By shooting these handcrafted sets with an 8 x 10 camera, Nix is able to reveal, in camera, the considerable detail in her work. In these scenes void of humans, Mother Nature’s irrepressible power slowly reclaims what’s left behind. And in doing so, Nix reminds us of our own deleterious impact on the environment, and what our future could hold. —Lane Nevares

"For however dutifully we record what we see around us, the common denominator of all we see is always, transparently, shamelessly, the implacable ‘I’."—Joan Didion

I have recently discovered the work of Finnish portrait photographer, Perttu Saksa. It’s not often that I come across work that, aside from being beautifully executed, scares and disturbs me. Saksa’s series, “A Kind of You,” gives us arresting portraits of monkeys, trained as street performers in Indonesia, that reveal the dark side of animal exploitation.

These manacled macaque monkeys, trained by “monkey masters” and used for roles in “street theater,” are rented out to beggars collecting money from performances. Behind the child-like masks, these animals are suffering. This practice has now been banned, but these images are a vivid reminder that despite an attempt to entertain us, we should never ignore the anguish among us. —Lane Nevares

"There is no end. There is no beginning. There is only the infinite passion of life." —Federico Fellini 

Earlier this year, I had the pleasure of being introduced to Marjorie Salvaterra and her work at the wonderful Palm Springs Photo Festival. There is an exuberance and fearlessness in her images that I find appealing. Ms. Salvaterra isn’t afraid to take chances. In her series, “Her”, she turns the mirror on herself and her own tangled feelings of what it means, in a universal sense, to be a woman and a mother.

Using the absurd and the surreal as her muses, she stages photographs that poke at us, prodding us to project our own emotions and interpretations onto what is happening. Salvaterra styles the models, directs the scenes, and takes us into this personal world. She’s in control of the images, but lets us interpret what it all means. This openness and uncertainty, I embrace. —Lane Nevares

"Everything shifts as you move, and different things come into focus at different points of your life, and you try to articulate that."—Chris Steele-Perkins 

Few photographers understand their compatriots as well as British photographer, Chris Steele-Perkins. Born in Burma in 1947 to an English father and Burmese mother, two years later he moved with his family to England where he would grow up and later embark upon a career as a photojournalist. In 1979, at the age of 32, he joined Magnum Photos and his first book, The Teds, was published.

Teddy Boy culture developed in the London of the 1950’s. This new alchemy of teen culture fused Edwardian fashion, rock ‘n’ roll, drinking, dancing and, at times, collective violence into an original youth subculture. And like everything in Britain, social stratification and class played their customary roles. The Teds, for their part, were decidedly working class.

While Chris Steele-Perkins has enjoyed a long, storied career as a social documentary photographer covering a wide variety of issues, “The Teds” is something special. I pulled the book off my shelf yesterday, and as I smiled poring over the stories and images, I was reminded again why, thirty-four years later, “The Teds” remains a classic. —Lane Nevares

"I sung of Chaos and eternal Night,
Taught by the heav’nly Muse to venture down
The dark descent, and up to re-ascend…” —Paradise Lost

Biblical themes and allegorical creations fascinate the German artist Claudia Rogge. Well regarded for her work using bodies en masse, her series “Lost in Paradise” and “Ever After” unabashedly embrace the epic works of Dante and Milton. Through careful staging and photoshop manipulation, Rogge thrusts viewers into the action. It’s live theatre, with all its spectacle and drama, in two dimensions.

Rogge’s work goes on view next month at GaleriArtist in Istanbul; a city, much like the stories in these photographs, filled with memories of a time long past. —Lane Nevares

“The nature of creation is that you have to go inside and dig out. The very nature of creation is not a performing glory on the outside, it’s a painful, difficult search within.” —Louise Nevelson

There is power in abstraction. The latest exhibit, Remnants, at the Bruce Silverstein Gallery in New York combines the considerable talents of Louise Nevelson and Aaron Siskind into a show that is both contemplative and refreshing. These two major 20th Century artists, while contemporaries, have never been shown together. Yet, we see clearly in “Remnants,” that these two artists spoke a common visual language borne out of Modernism, Abstract Expressionism and the tumultuous events of their time.

Primarily using found objects and paying keen attention to form in space, Nevelson’s sculptures and Siskind’s photographs create an atmosphere that is ripe with metaphor and aesthetically potent. This unique pairing of sculpture and photography works beautifully to take us somewhere deeper and new. This feeling is, perhaps, what truly remains.—Lane Nevares

"It is better to live your own destiny imperfectly, than to live an imitation of somebody else’s life with perfection"—Bhagavad Gita

Mumbai-born and Brooklyn-based photographer Manjari Sharma's project “Darshan" shows us how "practice, faith, and devotion" can reveal the sublime. Originally funded as a Kickstarter campaign, Sharma raised the necessary money to research, design, and craft these elaborately staged sets. By eschewing photoshop and painstakingly maintaining the integrity of the classical depictions of the nine Hindu deities, Sharma invites us to reconsider the photograph, rather than sculpture or painting, as a medium for spiritual engagement.

For a behind the scenes revelation of the extensive work involved in creating these images, this video is helpful. For those interested in hearing from the artist, Sharma discusses her project here. For those of you in New York City, “Darshan” is on view at Clamp Art until October 12th. And for those of you who have read this far, good on you. —Lane Nevares

"Unlike other resources, water is critical to the survival of all forms of life. The underlying question that sits at the core of my exploration is to what degree can we shape water before it begins to shape us."—Edward Burtynsky

Sometimes we need the monumental to grasp the fundamental. Edward Burtynsky’s latest project, “Water,” takes us on an epic journey through ten countries to help us understand humankind’s relationship to our environment, and more directly, to what we are doing to our precious (and limited) water supply.

Throughout a career spent documenting Nature’s encounter with industry, Burtynsky has proven that one can care deeply about our deleterious impact on the environment, while capturing the beauty and magnificence around us. These images, both large in scale and breathtaking in their vantage point, are evidence enough.

With two concurrent exhibitions here in New York at the Howard Greenberg and Bryce Wolkowitz galleries, along with a new book and film, Burtynsky wants us to re-think our most essential resource. —Lane Nevares

"Memory believes before knowing remembers. Believes longer than recollects, longer than knowing even wonders."—William Faulkner

For the past ten years, SlowExposures has offered a satisfying insight into what is happening in contemporary, rural, southern American photography. Centered in Pike County, Georgia, the juried photo exhibition and festival combines workshops, portfolio reviews, and a wonderful mix of folks getting together to celebrate photography and the South.

This year’s SlowExposures, begins this Friday and highlights a diverse and well-considered selection of work. Outside of the juried competition, however, there will be lots of other goings-on, including a pop-up gallery in an RV trailer. The show titled “Hay Now,” produced by the “Pitchfork Posse,” features one of my favorite artists, Ann George—along with four of her contemporaries: Anne Berry, Bryce Lankard, S. Gayle Stevens, and Lori Vrba. If the lights are on, go on in, say hello, and make yourself at home. —Lane Nevares

Nº. 2 of  9