1. There’s a lot going on in Philadelphia (Philthy to those who dare) this weekend. My main pick is Soft Smoke Rises in Gay Rings Above the Roof at Bodega. The show features work by Heidi Norton, Carson Fisk-Vittori, Stephen Eichhorn and Ryan Fenchel.
Soft Smoke Rises in Gay Rings Above the Roof
3. NEXT THURSDAY, The Sum of All Colors opens at Sasha Wolf Gallery. The show features work by Jessica Eaton, Matthew gamber and Bill Sullivan.
4. ALSO NEXT THURSDAY AND ALSO IN PHILLY, Breadboard is hooking up with the Virtual Public Art Project (VPAP) to launch a city-wide Augmented Reality (AR) exhibit as part of Philadelphia International Festival of the Arts. Over 30 virtual art sculptures will be located around the city of Philadelphia and can be viewed via VPAP’s free Layar App for most iPhone and Android smartphone devices. THIS IS GONNA BE AWESOME!
5. Browse the Brooklyn Academy of Music fundraising auction powered by BiddingForGood and bid on items to help support this cause!! Bidding closes April 10th.
6. Do not miss stunning work from Carlos Reyes, Ben Schumacher, Jo-ey Tang and David J Merritt at the NYU Steinhardt MFA Thesis Exhibition (Part 1). The show closes April 9th.
7. Antenne Books just launched their new and improved website with new titles from Ryan McGinely, Henry Roy and more!
8. The New York Photo Awards, one of the most dynamic and sought-after showcases for emerging photographers from all over the world, is open for submissions! Deadline for submitting photographs and digital images will be April 25, 2011 at midnight.
9. LAST CHANCE! Now until midnight, join 3rd Ward with no commitment necessary and submit your work for our Open Call Early Entry Award.
10. LAST CHANCE!! Lay Flat pledges to donate 50% of all sales from March 11th through March 31st towards the American Red Cross disaster relief efforts to help those affected by the earthquake in Japan and tsunami throughout the Pacific.
This is the sixth installment in a conversation series initiated by Lucas Blalock with contemporary artists concerning materiality in regards to current photographic practice.
Ruth van Beek is a Dutch artist who works mainly with an archive of found photographs that she manipulates and re-contextualizes in ever changing relationships. The disjunctions in her collage works are often redoubled by the feeling that each piece is somehow part of a greater network. Ruth’s work has been exhibited widely in Europe and the United States and she recently had a solo exhibition, The Great Blue Mountain Range, at Okay Mountain in Austin, TX. I caught up with her on occasion of a two person exhibition (with Philip Miner) currently up at SEASON (a residential gallery opened by Robert Yoder) in Seattle.
LB: I feel in your work a kind of insistence on the subject of the photographs that is often absent from collage / bricolage work. For me, the psychic drama of the work is in trying to reconstitute the object (as in the one above [will be the one attached]) where in most collage the attention is in constructing a picture plane. Is this an attitude that is important to you in making the pieces?
R: Yes, for me it is not so much the technique of collage that interests me, but its the ability to transform existing photographs into the images of my imagination. By cutting and folding, the work not only represents an object, but also becomes an object itself.
Untitled, (orange), 2009
LB: There seems to be some consistency to the content of the photographs you use. Rocks, animals, and furniture come to mind. Do you see this content as particularly important?
R: When I collect these pictures I think a lot about the way the subjects are photographed. This is more important than the subject itself, since I can easily change or cover up the original subject of the photograph. So in this way the content doesn’t really matter.
But then again, I intentionally go for these kinda nondescript, “useful” photographs. It is not as if it is just any image that I can get my hands on. Most of them come from books published to teach people about how to make things: how to decorate your house, how to take care of your plants, how to recognize gemstones, all about hobbies, cats or rabbits and so on. How to do things the right way. So the content of the single image does’t matter to me, but the origins of the photo are important.
LB: For me there is a kind of intimacy in your obscuring. As if by removing or folding together the “faces” of these objects we are left to explore the pictures for other clues. This leads to a kind of weighing and measuring in an attempt to come into terms with the image. Or in other words, it is as if by obscuring the face you have come to reveal the body. Tthis sense of physicality is really pervasive. Does this relate to your idea of an object? And do you see this objectness (the one w/in the photograph) as dependent on the second objectness of the physical thing itself?
R: I like your comparison to the face and the body. I actually try to animate the objects. The work is much about actions related to the object: obscuring, collecting, transforming, but also the guessing or longing brought out by these interventions. They come alive once separated from their original function. When I cover up the object, it is to make the viewer curious about what is behind, but I also give the viewer a clear shape in return. The original object is never to be seen, only to guessed at. This makes the viewer long for what he can’t see, which in these works becomes an impossibility.
LB: It is a strategy that is really successful in the work! When I have seen your work in the past I feel like the obscured content in the photographs has often been similar — leading to feelings of a group or collection, also a museum display. The works in the SEASON exhibition feel more disparate, which makes you focus on them more as a group of pictorial interventions. Is this something you were thinking about?
R: I guess like the collections I have brought together in the past, the images I selected for the SEASON exhibition also try to tell a story. Either case begs a reconstruction of something by its traces. In this case, I do not only hide and transform furniture and objects, but the people in a number of the pictures also become hidden in their homes. The exhibition is actually in a house. I wanted to play with this.
*All images copyright Ruth van Beek
1. Humble Arts Foundation & Chelsea Art Museum present The Collector’s Guide to New Art Photography Vol. 2 Book Launch & Exhibition Curated by Vanessa Kramer Director of Photographs, Phillips de Pury & Company. Launch party: Friday, March 4, 8PM – midnight. Ticketed event. Exhibition: Saturday, March 5 – Saturday, April 2, 2011 Tickets: $20 (cash only at the door).
David Benjamin Sherry
2. It’s Armory Art week people! If you are overwhelmed, start here!
3. F.L.O.A.T. Gallery is going whole hog in their new Chelsea space with a show called Art of Attraction curated by F.L.O.A.T. proprietors Carol Taverass and Meagan Zeigler Haynes and featuring work by Brian Finke, Camille Vivier, Christian Weber, Ellen Jong, Joseph Szabo, Cass Bird, Løber Nøgan, Sandy Kim, Stephen Irwin, Therese + Joel, Yisook Sohn and Zed Nelson.
4. TONIGHT! You may want to consider whooping it up at The Night Event. This is more than a party. Experience exquisite art and performance at the premier event of NYC’s Armory Arts Week, TONIGHT from 7pm – 1am inside the historic Angel Orensanz Foundation. Featuring live performances by Gang Gang Dance, Didi Gutman of The Brazilian Girls, and the Vintage DJ.
5. TONIGHT! HEREart is pleased to present the group exhibition, .gif .jpg .png .tif (gjpt). Titled after common web-based graphics, this exhibition explores the realm of standardized image formats as represented in Internet-based art, websites, videos, applications, and multi- media design.
6. Speaking of Art Fairs, Rhizome will have a booth at the Armory Show at Pier 94, in booth L-26. Artists include: Harm van den Dorpel, Sara Ludy, Takeshi Murata, Seth Price, Anne de Vries and Rafaël Rozendaal.
Anne de Vries
7. TONIGHT! “Moving Image is very pleased to announce the list of participating artists and galleries for its inaugural exhibition, including 36 artists represented by 30 galleries from the US and Europe.” 6:00pm – 9:00pm at Waterfront NY.
8. On Saturday, in conjunction with ARMORY NIGHT – BROOKLYN & the WGA (Williamsburg Gallery Association), Capricious will remain open after hours and invites you to view continuous screening of emerging artist Arielle Falk’s new video work THROWING PAINS.
9. Tomorrow at 7:00pm, FUSE Gallery is hosting an opening reception tomorrow for their latest show, WHAT’S HE BUILDING IN THERE – An ode to the darker side of curiosity.
10. As part of SITE Fest 2011, 319 Scholes is pleased to present Not Spring Not Winter, an annual exhibition of installation + performance by emerging artists from the Interactive Telecommunications Program (ITP) of NYU’s Tisch School of the Arts.
1. THE SHOW MUST GO ON, the final show at Capricious Space opens TONIGHT and includes work by Aaron McElroy, Justin James Reed, Caitlin Teal Price, K8 Hardy, Julia Gillard, Shawna Ferreira, Anika Sabin, Melissa Shimkovitz, Amy Harrington, Venus X, Katie Hubbard & AK Burns, Amelia Bauer, Santiago Mostyn , Olivia Wyatt, Martien Mulder, Grant Willing, Melanie Bonajo, Emmeline De Mooij, Sam Falls, Peter Sutherland, Skye Parrott, Molly Surno, Zack Genin, Nicholas Gottlund, Sheila Pepe, Erin Jane Nelson, Anne Hall, Isabel Asha Penzlien, Diana Scherer, Amber Ibarecche, Bunny, Jibz Cameron, Io Tillett Wright, Collier Schorr, Agnes Thor, Nicky Lesser, Elizabeth Gilchrist, Christelle de Castro, Andreas Laszlo Konrath, Jessica Olm, Lee Maida, Sophie Mörner, Karen Codd, JOFF, Brian Paul Lamotte, Andrew Laumann, Scott Valentine, Manuela Paz, Veronika Georgieva & Stephen J. Shanabrook and Andrea Longacre White.
2. If you missed the previous incarnations of BYOB stateside and you happen to be in London TONIGHT, check out the latest in this “series of one-night exhibitions where artists are invited to bring their own ‘beamers’ and explore the medium of projection.”
3. Parsons is hosting a series of lectures called The Photographic Universe. Don’t miss this!
4. Jesse Hlebo has a solo show opening at Printed Matter on March the 3rd! Mark your calendars!
5. If you missed the opening Last week (like I did), check out Carrie Levy’s show You Before All at Daniel Cooney Fine Art.
6. Hassla just released Andy Capp Variations by Torbjørn Rødland.
7. TONIGHT in Chicago, make sure you head over to EBERSMOORE to see Stephen Eichorn’s Flowers. Opening starts at 6pm. with a performance by Robert Aiki Aubrey Lowe (Lichens)
As a Friday before Valentine’s day treat, I thought I’d share the work of some of our favorite naughty photographers. If you were looking to surprise your sweetie with something sexy, fun and a little off the beaten path, consider hitting up these talented teasers for a session and document your looooove – they are for hire!
Constance and Eric are a team (yes, they are also in love) and they specialize in whatever you like. They have a show up right now at the NY Studio Gallery that is closing tomorrow night! Check it out with your sweetheart! Here are a few images from their appropriately titled Fever series…
Natasha Gornik prefers to be called a “kink” photographer. Specializing in raw, immediate portraiture and documentation, Gornik knows her way around your deepest desires. Here are a few images from her supercharged Fantasy is Reality series…
1. At the Barbican Gallery in London, Brooklyn-based Cory Arcangel has an installation featuring 14 bowling video games from the 1970s to the 2000s. Using custom manufactured electronics, Arcangel has hacked each unit to play a loop of a game in which the bowler fails to score. See if you can “beat he champ”!
2. You can see more of Cory’s work (along with that of Tauba Auerbach, Bureau Of Inverse Technology ,I/O/D, JODI, Nam June Paik, Sterling Rub and Kerry Tribe.) at a show called Highways Connect and Divide at Foxy Productions.
4. If you are in Toronto, Come celebrate the launch of the new Butcher Gallery space at the BUTCHER GALLERY FUNDRAISER!
5. On Friday from 7:30-10:00 pm help F.L.O.A.T Gallery say goodbye to their Atlantic Avenue space and celebrate their move to their new Chelsea digs!
6. HungryMan Gallery in San Francisco presents the photographic and sculptural work of Chicago based artist Heidi Norton in the exhibition entitled, Between New Moons. Opening Reception 7:00 -10:00 pm, Saturday February 12.
7. In Venice, CA, don’t miss REVERSEVENT A group show organized by: Thomas Macker, Joe Zorrilla, Calvin Lee and featuring the work of Lucas Blalock , Sam Falls , John Houck , Calvin Lee, Thomas Macker, Arjuna Neuman , Michael Ray-Von, Albert Samreth , Esteban Schimpf , Cody Trepte, Grant Willing and Joe Zorrilla. The show will take place at 1128 5th Ave Venice CA 90291 and opens Saturday, February 12, 7:00pm – 10:00pm.
8. Lay Flat has a new fan page! Like it!
9. Check out Michael Schmelling’s show Atlanta: Hip Hop and The South at ClampArt. Opening reception Friday, March 11, 6:00 – 8:00pm.
10. Feeling like you’d rather not go out at all? Check out all the art on EARTH with the Google Art project!
1. Don’t miss Sam Falls‘ solo show, Everything Keeps Being Nothing at Higher Pictures,Opens this Saturday from 4-6pm.
2. Humble Arts is pleased to announce The Collector’s Guide to New Art Photography Vol. 2, a 216-page biennial sourcebook that highlights some of the most challenging and innovative new photographic work from 100 photographers internationally. Pre-order today!
4. Capricious Presents: Logical Operator featuring work by Dawn Light Blackman, Grant Willing and Andrew Laumann. Curated by Karen Codd & Sophie Mörner : Polaroids. Curated by Nina Ziefvert. Opening reception TOMORROW, February 4 · 6:00pm – 8:00pm.
5. Next Thursday, February 10th, from 8pm to 11pm, Hunter & Cook celebrates the launch of their 8th issue at Unlovable. Issue 08 features: Jeff Wall interview by Brad Phillips, Robert Bateman interview by Aaron Carpenter, Tyler Brett interview by Tony Romano, Ron Giii by Rosemary Heather and David Cordero by Emily Jones with projects by: Mark DeLong, Rebecca Belmore, Emily Vey Duke and Cooper Battersby, Kelly Mark, Joshua Jensen-Nagle and Matthew Shields.
7. If you are like me and missed the launch last week, don’t miss your chance to order one of Pierre Le Hors Firework Studies from Hassla! This book is beautiful!
8. The Camera Club of New York has once again invited Alice S. Zimet to teach So You Want to Collect Photography: Beginner Basics.
9. The SIP has published their general calls. “The SIP offers funding to writers, theorists, and researchers from various disciplines (be they academic faculty, independent scholars, graduate students, artists or research-oriented curators) doing research that will advance the methodologies, theories, and practices by which we can better comprehend the world of photography and the world perceived through photography.”
10. Artists Wanted : A Year in Review closes THIS FRIDAY! These are your final moments to register for a chance at your own featured exhibition at SCOPE – enter before its too late!
This is the fifth installment in a conversation series initiated by Lucas Blalock with contemporary artists concerning materiality in regards to current photographic practice.
Zoe Crosher is an artist who lives and works in Los Angeles. Her current undertaking is The Michelle duBois Project; a series of investigations into the personal photographic archive of Michelle duBois, a call girl and aspiring flight attendant who worked the Pacific Rim during the 1970’s and ’80’s. The range and depth of the archive is tremendous, owing greatly to the fact that the subject was enthralled by her own portraiture. Crosher has approached this archive in ever evolving iterations that highlight the strategies and structures of fantasy as much as they expose anything concrete about Ms. duBois herself. Two independent iterations of the archive can currently be seen in Los Angeles; one as part of the California Biennial at the Orange County Museum of Art, and the other, For Ur Eyes Only: The Unveiling of Michelle duBois, at the Charlie James Gallery with related events at Dan Graham, Royal Pagoda, and EGHQ. This final iteration (the tenth), curated by Emma Gray, will be the last before Crosher commits it to a monograph to be published by a new arm of Aperture Books next year. Work from other of the artist’s projects are also currently on view in The City Proper (curated by James Welling) at Margo Leavin, also in LA.
LB: Can you talk a little about how photographs “act” as material in The Reconsidered Archive of Michelle du Bois? They seem to be considered as both images of someones life, but also as objects or keepsakes from that life. For me this doubles the notion of archive in that it is both an ‘archive of her’ as well as ‘her archive’. Is this something you were thinking about?
ZC: Yes it is absolutely something I am thinking about! Not only is this an ‘archive of her’ as well as ‘her archive’, but with all these different iterations/shows accumulating over the course of the project and everything gradually collapsing together, it also becomes an archive of my ever-shifting relationship to the work. This cumulative collapse will ultimately play out in the upcoming book to be published by Aperture in the Spring of 2011, where images from previous versions of the book, install shots, various reviews, the recent mock-mock up in the CA Biennial, possibly even this interview will end up as part of the larger archive. This cumulative layering of material and history, playing out through the “Kodak Promise” of every single film type, size and print, add to the impossibility of seeing the archive as a totality of ‘her’, or whatever various fantasies there are of ‘who she is.’ The fiction of the totality of ‘her’ mirrors the fiction of totality that the actuality of the archive can never achieve.
It is here that the materiality of the archive gets sussed out through the photographs themselves. Their (the photographs’) object-ness and material-ness become paramount in the connection between the archive’s own materiality and the concept of the archive specific to this historical moment of the end of the analog. There is a parallel between the unraveling of her narrative and the unraveling of the material of the narrative, of the end of the analog…Somewhat secondary to this you also have my exploring the physicality of the archive through its materials (through the backs of photographs and the fronts of albums), and furthermore, there is an interest in anything inside the image frame that references things ‘kodak’. I am interested in the vernacular tropes of the amateur photographer that become the invisible layer through which you view the images themselves. Neither the ‘images’ nor the ‘photographs’ are neutral. Both get read (reconsidered, unraveled, unveiled) simultaneously against the backdrop of this perfect example of an amateur photographer known as Michelle duBois.
LB: I want to continue down this idea of the archive-at-the-end-of-the-analog and it’s relationship to narrative. Do you see the digital as the end of a certain kind of narrativity? Said that way it reminds me a bit of Christopher Williams’s “period piece” For Example: Dix-Huits Leçons sur La Société Industrielle which also comes into itself through a collection of iterations, except that where he is focused on a broad material (Marxist) history your work seems to focus on the problematics of a personal history. Maybe you could even say a personal history as it could be told/collected in the brief ‘age’ of analog photography?
ZC: I do want to make clear that this idea I’m working with of archive-at-the-end-of-the-analog and it’s relationship to narrative was initially rooted in the impossibility of totality concerning a persons’ persona (or history) in photographs. This fiction (of possible totality) as regards the archive is in fact nearly inverse in that in fact accumulation does not equal clarity but in fact compromises it. Starting off with my LAX work that played with the fiction of the ‘documentary’ in relation to the mapping of Los Angeles via LAX, I next wanted to extend this notion of documentary failure to a question of numbers; amounts of images and what that means. The problems I am interested in; the archive and mapping, became intertwined in this project with the problematics of the “amateur photographic history” that the duBois’ archive encapsulates. All of which now seems clearly specific to a historical, pre-digital, Kodak moment.
I don’t think the digital is the end of a certain kind of narrativity, but I do see it as the end of a certain physicality of the narrative. Information is always embodied, it is just that there is now distance from this type of analog embodiment that is particularly physical and messy; in this case, as messy as the content of her life and fanatical self-documentation, or what I called Autoportraiture. Not only are you dealing with the collapse of her pose over time, of the ‘quality’ of her image, but you are dealing with a physicalized collapse of the photograph (or film, or polaroid or print.) In the analog the way that time takes a physical toll (in all senses) is so vastly different from the digital and its comparatively immaterial relationship to history; where information be so easily deleted on the spot or forgotten on some hard drive somewhere. The problematics of the narrative and the archive are of course still present with the digital, but in such a vastly different realm.
It’s also interesting that you bring up Christopher Williams as he was quite influential when I began to think about photographing the language of photography and the schism between image and objectness (Anne Collier was also very inspiring in this way). He is actually so inspirational that there are a couple of pieces from the duBois project dedicated specifically to him, Like Mika Smiling for Christopher Williams and Like Mika Almost Laughing for Christopher Williams. There was such an amazingly innocent readymade reference to Williams’ faux commercial images of the ladies with the towels on their heads that I ended up extending the reference by mimicking his exact print size, mat size, frame size & type and edition size, which is always the same. This was part of an early investigation into mining the (unintentional) art historical references that duBois had (see also the Cindy-Shermanesque cluster.)
I’ll have to think more about the comparison to Williams in regards to the problematics of history, but yes, I am clearly working within that realm, specifically from a feminist vantage point…
LB: That the material (c-print) mirrors the dissolution of a lifetime in the analog is a really resonant notion, and inherently gets to the sense of their being no achievable totality either in identity or in history. I feel to treat the information physically (bringing it’s decaying substrate into focus) really does make for a strikingly corporeal photography which for me opens easily to certain traditions in feminism. I am interested in the way that the contemporary explorations of the analogue and it’s properties really deconstruct a great deal of the popular mythology about the medium. Popularly, the photograph has often been considered in spite of it’s materiality in notions of permanence and objectivity, yet from here (on the digital horizon) it seems we are all-of-the-sudden often relating to pictures through their ‘bodies’ as it were. I am interested in the way duBois’ “amateur-ness” defines this relationship in your work. You said earlier that she was a sort of “perfect amateur photographer” and to me her relationship to the photographs production is the initial point of capture. (Who is this woman? What was she seeking by making these? etc.) I feel like amateur here comes with a fully articulated set of conventions as if it were a genre all its own (even the notes on the back feel like a convention)? Do you see this acting out as implicit in the “Kodak promise”? that she was performing not only a set of fantasy roles in her life but ones that come to necessitate photography? is this a stretch?
ZC: The wonderful thing about the word amateur is that it is based in the root word amour, meaning love. There has historically been a distinction made between the “amateur” and the “professional” in regards to art-making, with Professionalism as a concept going through an interesting bout of self-definition in the last forty years. Howard Singerman speaks a lot about this, a huge shift towards MFAs, formalizing art production, the system of a monied art world dictating terms of production on all levels. This simple and very misleading dichotomy, to make something out of ”love” or to make a “living” is also encapsulated in the Postmodern discussion of High/Low art and the questioning (and resulting collapsing of) that so-90s question of selling out. It begs the larger question, how is art judged? In the amateur world, there is no assumption of judgment, or at least no perception of one, and this supposed liberation is key to reading the duBois work.
Her amateur ‘liberation’ is indeed conventional, all amateur things are, because one lets go any assumption of criticality and can therefore be “free” to do whatever it is they want, from stamp collecting to pole dancing to photographing oneself in many Mae-West like poses all over Asia in the 70s and 80s. This fantasy duBois has of herself, the “freedom”, is seen in the quality and, most importantly, the numbers of her photographs. And I agree with your “stretch” – there is no question her fantasy relationship to herself is inextricably caught up with assumptions of the photographic (and the cinematic), especially in relationship to feminism and to how women have been photographed/objectified/posed/etc.
The project swings back around when duBois’ agency gets complicated by her relationship to her means of production – she was completely in charge of every aspect of the image, from the materials to the pose to the keeping of the photographic stuffness that begs this embodied question of the digital horizon.The crazy part about the whole thing is that the viewer isn’t sure whether the/her/my intent is cynical or not, and that confusion is especially profound. She has all the hallmarks of “art” yet her “work” was made without any self-reflexive relationship to that. Perhaps self-reflexivity is a key to that amateur/professional distinction.
LB: I thought we might leave off this installment w/ an extended quote from Claude Levi-Strauss that I came across in Ann Reynolds book on Robert Smithson. I feel like it has a lot of relevance here. She quotes:
“The virtue of archives is to put us in contact with pure historicity. As I have already said about myths concerning the origin of totemic appellations, their value does not lie in the intrinsic significance of the events evoked: these can be insignificant or even entirely absent, if what is in question is a few lines of autograph or a signature out of context. But think of the value of Johann Sebastian Bach’s signature to one who cannot hear a bar of his music without a quickening of his pulse. As for events themselves, I have pointed out that they are attested otherwise than by the authentic documents, and generally better. Archives thus provide something else: on the one hand they constitute events in their radical contingence (since only interpretation, which forms no part of them, can ground them in reason), and, on the other, they give a physical existence to history, for in them alone is the contradiction of a completed past and a present in which it survives, surmounted…”
* all images copyright Zoe Crosher
1. Check out Dan McCarthy’s Calvary at Journal Gallery in Brooklyn 6-9pm.
2. TRESSPASS opens this Saturday at Pandemic Gallery at 7:00pm and features work by Korakrit Arunanondchai, Joshua Citarella, Julian Duron, Jack Greer, Sandy Kim, Leah Meltzer, Edouard Nardon, Grear Patterson, Victor Payares and Evan Robarts. This should be a nice show.
3. Linda Salerno’s show, A Selection of Experimental Photographs from the BLACK MIRROR SERIES opens this Friday from 6-8pm at the Camera Club of New York curated by Allen Frame & Martin Kunz.
4. Winter weather got you down? Don’t miss Hotter Than July: A Sexploration curated by Savannah Spirit and featuring work by Constance & Eric, Mark Freedman, Matthew Goldman, Jacob Pander & Marne Lucas, Reuben Negron, Paul Richmond, Ned & Aya Rosen, P Elaine Sharpe, Gavin Wilson. The show opens this Friday from 7-9pm at NY Studio Gallery and runs through February 12th.
Constance and Eric
5. Submissions are now being accepted for SuperMassiveBlackHole Issue#7. The Theme for this issue is “Colour Theory”. Please read the submission guidelines before submitting…
6. F.L.O.A.T. Gallery is accepting submissions to their next group show and the deadline is TOMORROW (my bad)! The theme of the show is “confinement”. Please send max 10 low res jpegs to: firstname.lastname@example.org **If you have work that is already framed please consider sending and make a note that it’s ready to hang**.
7. Also, join at F.L.O.A.T for a discussion/q+a this Saturday Jan 15th from 6-9 pm with independent publishers, JSBJ, Hassla, Seems and Lay Flat.
8. Don’t forget! This Thursday from 6-8 pm. Mixed Greens presents Tuesday, curated by Amani Olu and featuring work by Conor Backman, Joy Drury Cox, Jon Feinstein, Van Hanos, Heather Rasmussen, Peter Segerstrom, Breanne Trammell, and Jennifer Marman & Daniel Borins.
1. Foam Magazine’s annual Talent Call is now open. “We are looking for the world’s next photography talent. We invite new talents to submit their work and a selection will be published in Foam Magazine’s 2011 Talent issue.” (via Foam)
2. Get BACK into the holiday spirit and help our talented friends over at Reference Gallery.
3. Don’t miss FINISHED: The LAST Show @ the Showpaper Gallery this Thursday, January 6th from 6-10pm. featuring work by Chad Muthard, Dena Yago, David Horvitz, Grant Willing, Jamisen Ogg, Jesse Hlebo, Kate Steciw, Lucas Blalock, Lucky Dragons, Pierre Le Hors, Ryan Foerster and Tuomas Korpijaakko.
4. If you are out and about in Brooklyn, stop by F.L.O.A.T Gallery and pick up some great photography books!
5. Silver Eye Center for Photography in Pittsburgh has announced its first Member’s Exhibition, titled “Future Forward,” to be juried by Darren Ching of Klomp Ching Gallery in Brooklyn, New York. Deadline January, 17th.
6. The Magenta Foundation has extended its submission deadline for it’s annual Flash Forward Competition to January 10th!
7. Waterfall Magazine is now accepting submissions to their next issue.
8. Next week, Mixed Greens is pleased to present Tuesday, our first exhibition organized by independent curator Amani Olu. The show features work by Conor Backman, Joy Drury Cox, Jon Feinstein, Van Hanos, Heather Rasmussen, Peter Segerstrom, Breanne Trammell, and Jennifer Marman & Daniel Borins and opens next Thursday January, 13th.
9. Artists Wanted is kicking off the new year with Artists Wanted : A Year in Review, an international open call looking for dynamic, innovative and compelling artwork to present during Armory Week in New York City, scheduled to take place March 2011. One selected artist will receive a feature spot at SCOPE Art Show in New York City during Armory Week 2011, where the world’s artists, collectors, buyers, gallerists, critics, curators and art-enthusiasts will gather. The selected artist will also receive a $10,000 prize, which includes a $5,000 cash grant to produce new work to showcase at the SCOPE show. Deadline is Friday January 28.
10. Invest some time in personal/artistic growth and learn how to make one of THESE.