STILL MOVING: THE PHOTOGRAPHY OF DANNY CLINCH
LOCATION
Jim Kempner Fine Art
501 W. 23rd Street
New York, NY,
USA
DATES
Nov 2, 2023-Jan 3, 2024
Opening Reception: Nov 2, 2023
6 p.m. – 8 p.m.
Danny Clinch loves music. He listens to it, plays it, photographs it, and films it. Danny has established himself as one of the premiere photographers of the popular music scene. He has photographed and filmed a wide range of artists, from Johnny Cash to Tupac Shakur, from Bjork to Bruce Springsteen. Danny’s relaxed and warm approach to photography has allowed him to maintain prolonged relationships with artists - such as his 20+ year friendship with Bruce Springsteen, which has resulted in over 8 album covers with Springsteen beginning with “The Rising” up to the recent 2022 release “Only The Strong Survive.”
His work has appeared in publications such as Vanity Fair, Spin, Rolling Stone, GQ, Esquire, The New Yorker, and The New York Times Magazine, and his photographs have appeared on hundred of album covers. As a director, Clinch has received 3 Grammy Award nominations: in 2005 for Bruce Springsteen’s “Devils and Dust” and in 2009 for John Mayer’s “Where The Light Is” and for the Ben Harper and Charlie Musselwhite collaboration short film called “Get Up.” He has also directed music videos and concert films for Willie Nelson, Tom Waits, Pearl Jam, Alabama Shakes, My Morning Jacket, Avett Brothers, Foo Fighters, and Dave Matthews, among others.
ANTHONY MCCALL:
NEW SOLID LIGHT WORKS AND EARLY DRAWINGS
Sean Kelly Gallery
475 10th Avenue
New York, NY
USA
Jul 14-Aug 25, 2023
Opening Reception: Jul 13, 2023
6 p.m. – 8 p.m.
Anthony McCall is widely recognized for his solid-light installations, a series he began in 1973 with the ground-breaking Line Describing a Cone, in which a volumetric form composed of projected light slowly transforms in three-dimensional space. His new solid-light works show how McCall has progressed this format, evolving his work over time through innovative installations and configurations. Upon entering the main gallery, visitors encounter McCall’s Split Second (Mirror) III, 2022, a single projection in which the “split” is created by interrupting the throw of light with a wall-sized mirror. The plane of light is reflected onto a double-sided screen hanging in space to create a triangulated viewing field, enabling the viewer to pass through and see the shifting volumetric form from both front and back.
The second half of the main gallery features McCall’s vertical installation Skylight, 2020. This smaller-scale piece stands alone with a gradually morphing light sculpture projected from above onto a four-foot plinth, which allows the viewer to walk around the cone of light and observe it from all sides. This work is accompanied by a sound element by acclaimed composer and musician David Grubbs. Echoing throughout the space is the sound of a distant thunderstorm accompanied by the intermittent flashes of an electrical storm. As with all of McCall’s light installations, the works evolve slowly, yet quickly enough for the viewer to clearly perceive its movement and progression.
The third-floor gallery space features a select overview of photographs and preparatory drawings illustrating the arc of McCall’s career, offering the visitor context and insight for a fuller understanding of the artist’s oeuvre.
AMAZONIA
Sundaram Tagore Gallery
542 W. 26th Street
New York, NY
USA
Jun 15-Jul 15, 2023
Opening Reception: Jun 15, 2023
6 p.m. – 8 p.m.
For more than five decades, Salgado has made it his life’s work to document humankind and nature on photographic expeditions around the world. For this series, he traveled deep into the heart of the Amazon, capturing the unspoiled beauty of the world’s most biodiverse region and its inhabitants in stunning back-and-white images. Salgado, who was born in Aimorés, Brazil, in 1944, initiated the project with the hope that it would serve as a catalyst for raising awareness of the need to protect the Amazon and its indigenous population. Images from Amazônia have traveled to cities across the globe, including São Paulo, Rio de Janeiro, Rome, Paris, London, Manchester and Avignon. In the fall of 2022, the California Science Center in Los Angeles hosted the North American premiere, presenting more than 200 large-scale photographs suspended throughout the museum’s 13,000 square feet. The exhibition is scheduled to be shown throughout 2023 in Milan, Zurich, Madrid and Brussels. In addition to work from Amazônia, we will also be showing select work from Magnum Opus, Salgado’s special series of fifty platinum-palladium prints representing some of his most powerful series, including Amazônia, Genesis and Workers. These rare prints, made in Belgium by the printer Salto Ulbeek, were recently presented in a selling exhibition curated by Lélia Wanick Salgado at Sotheby’s. It was the largest curated solo exhibition of photography in the auction house’s history, with 100 percent of the proceeds going to Instituto Terra, the Salgados’ nonprofit devoted to reforestation and environmental education. Sales raised more than a million dollars for the foundation.
2023 SUMMER EXHIBITION
New York Academy of Art
111 Franklin Street
New York, NY
USA
Jun 7-Jul 9, 2023
Opening Reception: Jun 7, 2023
6 p.m. – 8 p.m.
The New York Academy of Art is pleased to announce its annual Summer Exhibition. This year's exhibition was juried by downtown NYC gallerists Eden Deering of P·P·O·W, Anna Furney of Venus Over Manhattan, and Olivia Smith of Magenta Plains. Featuring works by Academy alumni, students, and faculty, the exhibition includes paintings, drawings, and sculptures.
Jimmy DeSana’s reputation might have died when his life ended, in 1990, as a result of aids. He was only forty years old. The New York-based photographer was busy, prolific, and popular during his lifetime—he was included in the buzzy exhibitions “The Times Square Show” and “New York/New Wave,” in the early eighties—but, in hindsight, he seemed stranded at the edge of the scene. A new retrospective at the Brooklyn Museum, “Jimmy DeSana: Submission” (through April 16), makes a strong case for his ongoing relevance. From the beginning, DeSana’s work was erotic, compulsive, gender fluid, and all the more unsettling for its comic flashes. The show opens with a wall-filling grid of fifty-six voyeuristic, black-and-white pictures from 1972—student work, made in imitation of amateur porn and flea-market snapshots. Nearby hang later examples of DeSana’s stylized portraiture, featuring the likes of William S. Burroughs, Billy Idol, and Laurie Anderson. A portrait of Debbie Harry, laughing in sunglasses, appeared on the cover of the influential underground magazine File, under the headline “Punk ’Til You Puke.” At a moment when the counterculture had come to define the culture, DeSana played a key role, turning rising stars into hipster pinups. He also dabbled in S & M, portraying unlikely collisions of bodies and objects, all luridly lit: a red high heel trapped under pantyhose, a suspended figure with his head in a foaming toilet bowl, a screaming mouth full of cocktail toothpicks (“Party Picks,” from 1981, above). The effect is a cross between David Cronenberg’s body horror and Guy Bourdin’s fashionable fetishism. At once laughable and alarming, playful and lethal, DeSana’s work still lands like a psychological time bomb.
Since 2016, the American artist Zoe Leonard has taken hundreds of photographs at the border of Mexico and the U.S., following the route of a body of water that divides the two countries for twelve thousand miles, known alternately as the Río Bravo and the Rio Grande (and by at least five ancestral names, in Pueblo and Navajo). The exquisitely installed exhibition “Excerpts from ‘Al río / To the River,’ ” on view at Hauser & Wirth through Oct. 29, offers only a glimpse of Leonard’s epic project—ten works consisting of fifty-six black-and-white pictures, hanging singly and in sequences on the walls—but it conveys her rare balancing act of poetics and politics. You might call Leonard’s approach concerned conceptualism, as seen in a quartet of near-abstractions portraying lines raked in dirt, a tactic used by ice to capture the footprints of migrants. These striations are echoed in five views of irrigation canals, attended by flocks of birds (above, in an untitled detail, dated 2020/2022). Leonard’s quiet vistas run counter to sensationalist media coverage of borderland conflict. Her camera lingers on landscape, not people, who appear in only six images here, as distant figures enjoying a day at the beach on a riverbank in Ciudad Juárez, under the omnipresent eye of surveillance apparatus.
Fifty years ago, a posthumous retrospective of a New York photographer broke attendance records for a one-person show at moma. Crowds lined up around the block to see a hundred and thirteen black-and-white pictures by Diane Arbus, a relative unknown whose brilliance was already an open secret among her peers. (Before she took her own life, in 1971, at the age of forty-eight, Arbus had few collectors, but they included Richard Avedon, Jasper Johns, and Mike Nichols.) The exhibition generated both rave reviews and hot takes; dissecting Susan Sontag’s scathing essay “Freak Show,” published in 1973, is now almost an academic subgenre unto itself. On Sept. 14, the Zwirner gallery, in collaboration with Fraenkel, in San Francisco, opens “Cataclysm: The 1972 Diane Arbus Retrospective Revisited,” reuniting all the images from the exhibition (“Woman with a veil on Fifth Avenue, N.Y.C. 1968,” above, among them). It’s accompanied by the new publication “Diane Arbus: Documents,” a doorstop scrapbook that reproduces a half century’s worth of writing about an artist who, as Avedon once observed, “made the act of looking an act of such intelligence, that to look at so-called ordinary things is to become responsible for what you see.”
The Lakota expression mní wičóni—“water is life”—was heard around the world during the Standing Rock protests. Now it echoes through the halls of the Met, thanks to a small but momentous exhibition on view through April 2. Titled “Water Memories,” the show was organized by Patricia Marroquin Norby, the museum’s first curator of Native American art; as a woman of Purépecha heritage, Norby is also the first full-time Indigenous curator in its American Wing. The show traverses six centuries in a scant forty art works and artifacts by both Native and non-Native creators. An exquisite oil of a foamy wave by the American modernist Arthur Dove, from 1929, assumes a mournful edge in the company of a shimmering sculptural installation by the Shinnecock ceramicist Courtney M. Leonard, from 2021, that eulogizes the decimation of the sperm-whale population off Long Island’s East End, where Dove made his painting. Poetry and protest are inseparable in all of the contemporary pieces here, including the Chemehuevi photographer Cara Romero’s oneiric 2015 scene (pictured above) of Pueblo corn dancers reckoning with a collective water memory: the flooding of thousands of acres of tribal land by the construction of the Parker Dam.
2016 年，摄影师山姆·康蒂斯（Sam Contis）结束了她最著名的项目——对加州深泉学院的全男性学生群体和牧场校园进行为期五年的研究——一次偶然的旅行到柏林将她的艺术带向了一个新的方向。看着女中音 Inbal Hever 排练作曲家 Chaya Czernowin 的超凡脱俗的独奏，Contis 对呼吸对歌手身体的微妙要求着迷。在接下来的六年里，Contis 断断续续地继续拍摄 Hever，总是在自然光线充足的小练习室里。至 6 月 18 日，在翠贝卡的 Klaus von Nichtsaggend 画廊新址展出了极为克制的作品。肖像画的形式巧妙地发生了变化：彩色、黑白、亲密的双联画、大版画、纪录片，几乎是抽象的。在此过程中，康蒂斯确立了她的项目的血统，从 Eadweard Muybridge 的运动研究和 19 世纪的精神摄影师（上文“Inbal 2018 年 7 月 18 日”中的一个典故）到 Alfred Stieglitz 长达数十年的 Georgia O'Keeffe 合成肖像和“我看到的声音”，罗伊·德卡拉瓦对爵士乐的升华。 Hever 对 Czernowin 作品的演绎音频为展览增添了活力； 5 月 26 日，7 点，她现场表演，周围环绕着窗户的照片——康蒂斯记录了这两个女人相遇的空间，创造了这首令人惊叹、广阔的二重唱。
目前该市最激动人心的展览是 Lauren Halsey 在 David Kordansky 画廊的纽约个展（截至 6 月 11 日）。这是一封写给历史悠久的洛杉矶中南部黑人社区的雕塑情书，艺术家的家人在那里生活了一个世纪。展出的十四件作品在形式上从硬边转变为生物形态，从公共纪念碑转变为秘密避难所，但它们的主要材料是街道的语言和生活，以及它的小企业标志（辫子小屋， Watts Coffee House）和传奇人物（Kobe Bryant、Nipsey Hussle）。在密集拼贴的广告牌大小的“LODA”中，一位黑人宇航员阅读 Jet 杂志的卡通形象强调了 Halsey 正在构建一个时间胶囊和一个长期计划，后者在这里意识到，以充满活力的效果，在“我的希望”中，一个 18 英尺长的拥挤街区模型（细节见上图），其中低矮的汽车在金色棕榈树和努比亚金字塔的中南部梦境中巡航。把它想象成未来大片的预演：明年夏天，这位艺术家将在大都会的屋顶上扩大她非凡的视野。
Baseera Khan 包含许多人。他们是一名酷儿印度裔阿富汗裔东非裔美国人、一名穆斯林妇女、一名德州本地人，并且是 2021 年 UOVO 奖的获得者，该奖每年颁发给一位新兴的布鲁克林艺术家。在布鲁克林博物馆的这个相关展览中，这位雄心勃勃的艺术家通过像蛇蜕皮一样的媒介，使用表演、雕塑、装置、拼贴、纺织、绘画和摄影——这是一个不完整的清单——来面对殖民历史。在“古物法”中，这是一个充满活力的喷墨打印系列，可汗以数字方式将静物和自画像分层，用博物馆的伊斯兰世界艺术收藏品进行概念性的花招。在一张图片中，这位艺术家带着一盏来自现今叙利亚或埃及的 14 世纪搪瓷清真寺灯，以及 17 世纪早期的伊朗祈祷地毯的复制品，该地毯太脆弱而无法处理——汗改造的流离失所的人工制品进入某种避难所。