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Art Photo Collector

Posts tagged color photography:

"Fall in love. Every day. With everything. With life. If you can fall in love, you can be a photographer. I think that is absolutely essential."—Ruth Bernhard 

The Parisienne photographer, Lara Kiosses's, series Romantic Collection isn’t breaking any new ground, or charting any new territory. Using multiple exposures is nothing new, and using female models and flowers has a long, established history. Nevertheless, the results Kiosses achieves using these common elements are impressive. The richness and the romance shine through. The images are exactly what they’re supposed to be: beautiful, meditative, and romantic.

Kiosses, like many working photographers, has a diverse portfolio. She’s talented, and I can sense through her work, passionate about what she does. Her work reminds me how many wonderful photographers—many of whom I’ll never discover—are out there falling in love.—Lane Nevares

"A lot of the time you keep looking for beauty, but it’s already there. And if you look with a little bit more intention, you see it." Vik Muniz 

San Francisco-based artist Caren Alpert cares about the food we eat. A commercial food photographer by trade, Alpert’s series “terra cibus” aspires to "transform our food obsession into a newfound closeness with what nourishes us." Using a Scanning Electron Microscope (SEM), Alpert is able to take incredibly sharp and detailed images of common food items revealing colors and details that express the wonder of nature.

The idea is simple and the execution is exquisite. I find these super-duper-macro images not only captivate, but they transform banal subjects into something quite extraordinary. The colors, textures, and form remind us that beauty, not always obvious, is already there.—Lane Nevares 

"Nobody knows what art is, and it can’t be taught. It’s the mind and the talent of the eye of the individual, who is operating the machine, that produces what comes out of it."—Walker Evans

Some people can paint, others can’t. Some folks can sing, I cannot. And some individuals take great photographs, while others can only aspire. The Rome-based photographer, Giovanni Cocco, was unknown to me until last week. I stumbled upon his work online and in a moment, knew, this is a photographer with talent. Later, upon reviewing his portfolio online, my notion was duly confirmed.

Cocco’s work is diverse and strong. A quick survey of his portfolio and you’ll see, there’s a passionate eye behind the lens. Whether in color or black & white, shooting commercial or his own personal projects, this Italian photographer knows exactly what he’s doing with his machine. This selection from his “Burladies" series is but one distinct example of what he can do. Younger and ambitious photographers, in particular, should take note. This is how good you need to be—and it can’t be taught. —Lane Nevares

"One tree, so many leaves, one tree…one people." —R. Dobru

If you know where Suriname is, then you might know something of its history and connections to both the Netherlands and the African continent. The noted fashion photographer, Viviane Sassen, who was born in Amsterdam, but at the age of two spent three indelible years as a child in Kenya, understands the Dutch relationship to this small, South American nation.

Pikin Slee is a large village on the Upper Suriname River. Sassen’s experience among its inhabitants, who have none of the modern world’s conveniences (running water, electricity, paved roads), deeply affected her. These photographs, lush with light and color, tell her story—one of a skilled photographer interpreting a different world.

Viviane Sassen is represented by the Stevenson Gallery in Capetown, South Africa where her latest exhibition, Pikin Slee, is on view. In April, Prestel will release an eponymous monograph. Bridging the worlds of fashion and fine art photography, Sassen makes crossing the bridge look easy. —Lane Nevares

"Those were the reasons and that was New York, we were running for the money and the flesh…"—Leonard Cohen

The Hotel Chelsea has a storied history. It has witnessed the comings and the goings of generations of men and women who have believed in the independence of their minds and their abilities to create.

The artist, Linda Troeller, knows the Chelsea. For twenty years she’s documented and lived in its interiors. Her most recent book, “Hotel Chelsea Atmosphere: An Artist’s Memoir,” takes us into the history and the inhabitants of the famed hotel, where we get to meet the denizens and, revealingly, read their “Dear Chelsea Hotel” letters.

Troeller’s photographic work is varied and rich, often exploring intimate and difficult themes. She pays wonderful attention to light and color, while maintaining an understated sensitivity that infuses her images. She is, “exploring the fragility and elegance of sustaining atmosphere.” 

Photographs from this series will go on exhibit in Baden-Baden, Germany at the State Kuntshalle’s upcoming show Room Service. For those who can’t make it, it’s worth taking the time to explore Troeller’s work online and, given what is slated for the future of the property, to “remember you well in the Chelsea Hotel.” —Lane Nevares

"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

"I gotta roll, I can’t stand still. Got a flamin’ heart, can’t get my fill. …Didn’t take long ‘fore I found out, what people mean by down and out."Led Zeppelin

Philip-Lorca diCorcia was awarded a prestigious National Endowment for the Arts fellowship in 1989. He took the $45,000 grant money, his 6 x 9 Linhof camera, an assistant, and headed to Los Angeles to create, what has since become, one of his most memorable series, “Hustlers.” These dispassionate portraits of male prostitutes, including a forthcoming monograph from Steidl, are now on display at David Zwirner gallery in New York.

This important exhibit marks 20 years since diCorcia’s first solo show in 1993 at the Museum of Modern Art. The new show offers 40 photographs (along with 15 newly produced works) each notably captioned with the name, age, hometown, and the amount of government-sponsored money diCorcia paid for the hustler’s time.

More than twenty years later these classic, diCorcia images still resonate. What’s different, however, is that now in our 21st Century of universal, instantaneous information, the transaction cost for human flesh is widely understood. —Lane Nevares

“I think of my work as documentations of transformation and performance. While gender is undoubtedly always a question in my work, I don’t see it as a boundary.” --Martín Gutierrez

As we know, things aren’t always what they seem. The artist, Martín Gutierrez, explores this ambiguity and the Real Doll phenomenon by casting himself into domestic scenes that float somewhere between suburban bliss and the Stepford Wives.

I am always inspired by artists who challenge convention, and in the case of Gutierrez, completely own their work. While these images may, on first glance, appear superficial and banal, there is far more going on. Gutierrez is responsible for everything in his images/videos: producing, directing, writing, casting, posing, styling, original music, and shooting the scenes. For this series, he casts himself as a “Real Doll”, and in doing so, creates a world that both disturbs and allures.

His first solo show, Martin(e), opens on the 11th at Ryan Lee Gallery in Chelsea. I am curious to see whether these small 8 x 12 inch images command attention, or whether they beg for a large-scale experience. —Lane Nevares

“Whatever else a photograph may be about, it is always about time.”—Richard Misrach

Time is an important element in Richard Misrach’s On The Beach 2.0 series currently on display (and ending this Saturday) at Pace/MacGill Gallery in Chelsea. Misrach, who is well known and highly regarded for his landscape work with an 8 x 10 inch view-camera, leaves film behind for the brave new world of digital photography.

Departing from his first On The Beach series from ten years ago, these new photographs, noted with specific dates and times of execution, reflect the “2.0” approach. With digital, the new work has an immediacy Misrach could not capture before in analog.

These large-scale prints emit an understated power. Perhaps it is their size, a heightened perspective and the isolation of the figures in the frame, but there is a mystery underlying them. Seeing them first-hand, you sense a reverence for nature and a melancholy for us. —Lane Nevares

“When you set up pictures, you’re not at any risk. Reality involves chance and risk and diving for pearls.”—Nan Goldin

Fifty years ago, during a tumultuous 1963, Constantine Manos joined Magnum Photos. Reared in South Carolina to Greek immigrant parents, he has for over 60 years taken photographs that are about light, shadow and what can be revealed in a moment. His pioneering work in color, and recognized expertise with a Leica, still capture our attention.

The Museum of Art Ft. Lauderdale’s latest show, Florida Color, mines work from Manos’s “American Color” series. While this work has already received wide acclaim, I wonder what Floridians make of seeing images of their compatriots inside a museum. Are they a mirror or a window? —Lane Nevares

“In my art, I wish to present myself through multiple lenses — as artist, as Moroccan, as traditionalist, as Liberal, as Muslim.  In short, I invite viewers to resist stereotypes.”—Lalla Essaydi

The work of Lalla Essaydi reminds me why I love photography. Sumptuous, complex, referential and captivating, her images seek the sublime. Underlying this aspiration for a transcendent beauty is a rich intellectual foundation that Essaydi eloquently explores in her writing. To appreciate the depth of her art is to read her statement

These large-scale works from her series “Harem Revisited” and “Bullets Revisited” will go on display tomorrow at Edwynn Houk Gallery in NYC. What we see online cannot reveal the elaborate detail in the intricate (and time consuming) henna calligraphy applied to her models, nor can it reveal the details in her staged sets. The photographs online, however, can lure us into reshaping our ideas of women, Arab culture and what photography can do. Join Lalla Essaydi on this journey. —Lane Nevares

“We are drowning in images. Photography is used as a propaganda tool, which serves to sell products and ideas. I use the same approach to show aspects to reality.” —Martin Parr 

Just in time for summer, the noted British, Magnum photographer, Martin Parr’s, latest exhibit, Life’s a Beach, opens tomorrow at Aperture Gallery here in NYC. Mr. Parr, who enjoys immense popularity and recognition, has done much for Photography. In addition to his signature work, he’s a lecturer, collector, filmmaker, and all around disciple for the medium.

Parr’s work has always had its detractors asking whether he is taking the piss and exploiting the public for his own amusement and needs, or whether he is a serious artist revealing ourselves through color, composition and fill flash. Like most things, I think the truth lies somewhere in between. Martin Parr is doing things his own way.

“Life’s a Beach” is a color parade around the world. Parr’s keen interest in beaches (although not a sun bunny himself) and people takes us from the shores of India to Latvia to Thailand to Mexico and onwards, transforming banal scenes into ironic, humorous, curious and sometimes dispiriting riffs on people at the beach. It’s all classic Martin Parr.

In addition to the show, which will be a crowd-pleaser, there’s also a new mini-edition of the monograph available, as well as a video of Parr presenting the book. All great stuff. Martin Parr once signed my notebook not with his name alone, but rather inscribing,”Martin Parr was here.” Indeed, the same holds true for his images. —Lane Nevares 

"I do not mistrust reality, of which I know next to nothing, but I am suspicious regarding the image of reality which our senses convey to us, and which is incomplete and limited. Our eyes have developed such as to survive. It is merely coincidence that we can see stars with them as well."—Gerhard Richter

Luigi Ghirri, who passed away in 1992, was many things in his 49 years: a writer, curator, land surveyor, photographer, and conceptual artist. It is through his color photography that he is best known. His 1978 self-published monograph, Kodachrome, has influenced numerous artists and was re-printed to great acclaim last November. Currently (and for the first time in the United States), the accompanying exhibit of 25 vintage works is on display at Matthew Marks in NYC. 

Ghirri pursued his philosophical ideas using photography as a medium for deciphering form and meaning. His cool, smooth, Kodachrome view of the world is an attempt to mine significance from the signs surrounding us. Engaging with his work is to join him in grappling with universal questions of identity, place, and reality. Are his photographs, then, aspirations for some cathartic truth? Don’t let the ironic, understated images fool you, Luigi Ghirri is enjoining us to think deeply and critically about what we see and know. —Lane Nevares

"A portrait! What could be more simple and more complex, more obvious and more profound." —Charles Baudelaire 

The 33rd edition of the New York AIPAD Photography Show kicks off on April 4th. For collectors and enthusiasts, this is a superlative opportunity to see the finest work going on in photography. More than 80 galleries and dealers worldwide are represented, including Brooklyn-based gallery, Klompching, who will be exhibiting for the first time. Their current show “Conflict and Costume,” by photographer Jim Naughten, features striking portraits of members from the Herero tribe of Namibia. Against the backdrop of the southwestern African landscape, we see Herero history carefully revealed through a conflation of fashion. Naughten’s use of strong flash lighting under a bright sun gives the portraits an added boost—colors burst and skin shines. 

The AIPAD show, events and talks continue through April 7th. Mark your calendars and treat yourself to one of the best chances of the year to see (and buy) an impressive array of work from all over the world, from historical to contemporary and everything in between. See you there. Lane Nevares 

"Beauty is a term that is always in development, it’s not a fixed thing and is very much subjective, so to me, it’s a perception." Erwin Olaf   

"It all begins with a dream," Erwin Olaf told a group of us last Saturday. His latest show, Berlin, currently on view in NYC at Hasted Kraeutler and in London at Hamiltons Gallery is true to form for Olaf: sumptuous images layered with narrative, rich with details, and perfectly executed.

Using his dreams as surrealistic launching points, Olaf described his process of finding themes, unifying them, and working with his design team to bring them to fruition. This latest series, Berlin, took him outside of his Amsterdam studio and into a city steeped in history, where he could shoot his tableaux inside noted buildings, some of which have notorious histories. (Indeed, the stairs Olaf climbs in his self-portrait are the same that Hitler mounted into the Olympic Stadium.) These particular interiors, and the tales they contain, become part of the new story. Olaf’s Berlin series takes us into an enigmatic world where no one is telling us what to believe, but rather engaging us to conjure these stories ourselves. —Lane Nevares 

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