Tag Archives: Abstract Imagery

Traveling Exhibitions: Pennsylvania, Oregon, Kansas

Aperture has long been recognized as an excellent source for quality traveling exhibitions to museums, university galleries, libraries, and art centers around the world.  The foundation has a prestigious roster of exhibitions available at any given time, currently there are ten different exhibitions moving around the world and another four that are currently in development. These exhibitions reflect the diversity of our book program including monographic exhibitions from masters of the medium such as Bruce Davidson and Alex Webb to exciting group shows including The New York Times Magazine Photographs, a never before seen collection of some of the greatest photography ever published in the Magazine and reGeneration 2 a  introduction to the most promising photographers of the next generation. See below for more details on where our exhibitions are currently on view.

 

Dawoud Bey: Class Pictures

Odalys, 2007 by Dawoud Bey

Dawoud Bey’s Class Pictures are portraits of American adolescence across the social, economic and racial spectrum. Now on display at Silver Eye Center for Photography in Pittsburgh, PA, the 40 x 30 inch color prints are paired with page-long statements written by the subjects–sometimes touching, sometimes funny, sometimes harrowing–that deepen our understanding of the most awkward age.

Tuesday, January 10, 2012–Saturday, March 10, 2012

Silver Eye Center for Photography
1015 East Carson Street
Pittsburgh, Pennsylvania
(412) 431-1810

 

The Edge of Vision: Abstraction in Contemporary Photography

PushPins, 2002 by Ellen Carey

The Ronna and Eric Hoffman Gallery at Lewis and Clark College in Portland, OR presents The Edge of Vision: Abstraction in Color Photography. Photographs and photo-based installations, many exhibited for the first time, “explore the territory of ‘undisclosed’ or abstract imagery in all its forms.” Single-artist installations examine the photographic process and visual culture in an effort to discover new optical possibilities and meaning-making.

Thursday, January 19, 2012–Sunday, March 18, 2012

Ronna and Eric Hoffman Gallery, Lewis and Clark College
0615 S.W. Palantine Hill Rd.
Portland, Oregon
(503) 768-7687

 

Chuck Close: A Couple of Ways of Doing Something

Self Portrait, 2004 by Chuck Close

In Witchita, KA, the Witchita Art Museum presents A Couple of Ways of Doing Somethingfifteen of Chuck Close’s intimate daguerreotype portraits of influential contemporary artists alongside Bob Holman’s beautifully typeset poems.  In addition, Close a curator has included examples of his other works taken from each daguerreotype in a variety of media, including tapestries and photogravures.

Sunday, January 29, 2012–Sunday, April 15, 2012

Wichita Art Museum
1400 West Museum Boulevard
Wichita, Kansas
(316) 268-4980

 

 

We update all traveling exhibition schedules on a regular basis on our website here and here.  Please feel free to contact Annette Booth, Exhibitions Manager at 212.946.7128 or at [email protected] for further information on hosting an exhibition at your venue!

Kick off 2012 and Visit New Exhibitions

New Year, 2010, © Jowhara AlSaud

Kicking off the 2012 art season, check out highlights on view throughout New York! See below for some of our favorite Aperture artists and galleries.

New Photographers at Dazinger Gallery, January 12–February 25, introducing five emerging photographers unlinked to one another through content but brought together for their first time exhibiting in New York City. Featured photographer Tereza Vlčkovà from Aperture’s groundbreaking book, reGeneration 2: tomorrow’s photographers today.

Silverstein Annual at Bruce Silverstein Gallery, January 14–February 25, offers exposure to ten up-and-coming photographers who have been chosen by ten prominent curators, including Nelli Palomaki, reGeneration 2 artist. View her limited edition prints available through Aperture.

Penetration at Foley Gallery, January 12–March 3, recreates the photographic image with five artists who interrupt the common photographic process. Portfolio Prize 2008 Runner-Up Jowhara AlSaud’s portraits of faceless figures, inspired by censorship, are personal photographs made into drawings etched on the surface of a negative, view her limited edition prints here. Pushing the capabilities of photographic paper itself, Marco Breuer scratches and scrapes the light-sensitive paper making conceptual, abstract imagery. See Breuer’s limited edition book by Aperture Early Recordings and Untitled 2007 and the highly acclaimed compilation The Edge of Vision: The Rise of Abstraction in Photography, he was also featured in Aperture magazine issue 172.

Joel Sternfeld: First Pictures at Luhring Augustine, January 6–February 4, displays a selection of Joel Sternfeld’s earliest photographs, taken between 1971 and 1980, documenting his travels across America through vibrant colors twined with wit and satire.

Visions: Tim Hetherington at Bronx Documentary Center, through January 22, is the inaugural exhibit featuring photography and multimedia work produced by photojournalist Tim Hetherington who was killed in April of 2011 as he covered Libya’s revolution.

First Look at Yossi Milo Gallery, January 26–February 18, is the inaugural exhibition at the new gallery space located at 245 Tenth Avenue. The photographers included all had their first solo New York City exhibition presented by the Yossi Milo Gallery. These artists include Robert Bergman, Mohamed Bourouissa, Pieter Hugo, Simen Johan, Sze Tsung Leong, Loretta Lux, Yuki Onodera, Muzi Quawson, Mark Ruwedel, Alessandra Sanguinetti, Lise Sarfati, Alec Soth, Kohei Yoshiyuki and Liu Zheng. A celebration will be held in honor of these photographers on February 16 from 6:00–8:00 pm.

Go See – New York: Donald Judd ‘Works in Granite, Cor-ten, Plywood, and Enamel on Aluminum’ at Pace Gallery through March 26, 2011

Donald Judd, Untitled (1989), Cor-ten steel

Thirteen wall and floor pieces by Donald Judd are on display at the Pace Gallery. A sampling of the work from the last two decades of his life, the exhibition covers a wide range of materials Judd had not previously explored. The thirteen pieces demonstrate the artist’s use of space, materials, and color in his work, which revolve around his iconic box structure. Even before he began working with sculpture, his work has focused on stacks and repeated shapes, mostly with straight edges and right angles.
Donald Judd, Untitled (1978), granite

More text and images after the jump…


Donald Judd, Untitled (1988), aluminum with Plexiglas

Starting with woodcutting as his artistic medium, Judd moved away from figurative imagery to increasingly geometric and abstract imagery. Before he became involved with sculptures, Judd painted with the same hard edges that his later sculptures would have. His pieces move away from any illusion: the two-dimensionality of a canvas is not interrupted by any imitation of a third dimension in his paintings. In his sculptures, illusionism is even further dismissed by bringing the art into the space of the viewer.

In a move away from the typical media of sculpture, Judd often worked with industrial materials such as stainless steel, Plexiglas, and aluminum. The modest materials reflected the same motivation Andy Warhol had in using silkscreen in his paintings rather than more commonly accepted oils or acrylics. The materials are durable and commonplace, which reflects the anti-illusory quality to his pieces. Judd’s only known work in granite, a floor-mounted piece from 1978 is on view, the first time it has been in an exhibition devoted to Judd’s work. It is composed of two vertical components that rest on the floor, a base that fits between them, and a top slab that extends to the edges of the wall components.


Donald Judd, Untitled (1989), plywood and Plexiglas

Judd began working with plywood in 1972, which allowed him to increase the size of his installations without worrying about buckling. Two plywood floor boxes, one from 1978 and a later piece from 1989, are on display as well as two wall-mounted boxes from 1992 and 1989, both with Plexiglas. Except for the 1978 piece, all of the plywood works contain diagonal parts, which give the structures a more complex composition. In the floor-mounted 1989 piece, the repeated diagonals give a sense of motion. The intersections in the wall-mounted pieces draw the eye in and lend the pieces more dimensionality.
Donald Judd, Untitled (1985), enamel on aluminum. All images via Pace Gallery

In the 1980s, Judd started experimenting with Cor-ten steel, a material he had previously avoided because of Richard Serra’s frequent use of it. The exhibition includes one Cor-ten steel floor box, and a vertical Cor-ten steel wall piece with Plexiglas. These pieces are the only that the artist crafted in his long-term home of Marfa, Texas. Plexiglas comes up in many of Judd’s pieces, adding a translucent coloring to the natural coloration of the steel and wood. His use of enamel on aluminum adds a similar palette but with harder definition to the edges. The exhibition displays a wide range of colors and material combinations representative of Judd’s body of work.

-K. Heiney

Related Links:

Exhibition page [Pace Gallery]