Tag Archives: Art Scene

Andy Freeberg, Sean Kelly, Art Basel Miami, Artist: Kehinde Wiley

Andy Freeberg, Sean Kelly, Art Basel Miami, Artist: Kehinde Wiley

Andy Freeberg

Sean Kelly, Art Basel Miami, Artist: Kehinde Wiley,
, 2010
From the Art Fare series
Website – AndyFreeberg.com

Andy Freeberg was born in New York City where he learned at an early age to be a critical observer of the world and the people in it. He studied at the University of Michigan, began his career as a photojournalist and now concentrates primarily on fine art projects. Freeberg has recently emerged on the contemporary art scene as a wry commentator on the art industry itself. Long fascinated with the gallery and museum worlds, he often turns his camera on the dealers, gallery patrons, artists, museum guards, and their interplay with the works of art on view. His project Guardians, about the women that guard the art in Russian museums, won Photolucida’s Critical Mass book award and was published in 2010. The Guardians will be on view at the Cantor Museum at Stanford University through January 2013. His series, Art Fare, documenting another side of the art world, will open at Kopeikin Gallery in Los Angeles in September 2012. Freeberg’s work is in many public and private collections including the Museum of Fine Arts Boston, The Portland Art Museum, the George Eastman House, and the Museum of Fine Arts Houston.

Art Space Tokyo

Art Space Tokyo

Tokyo is not an easy place to get to grips with, especially for those of us who are used to the structure and scale of most European cities. Its multi-layered sprawl and labyrinthine underground transport network can make it feel like a never-ending maze. Like the city itself, Tokyo’s art scene can feel impenetrable to an outsider. The fluctuations of the art world make it difficult to keep up with the art landscape in any big city, but Tokyo more than most as the contemporary art market is not as developed and established as in the US or Europe. This doesn’t mean fewer galleries, but rather more of them and a constant ebb and flow of relocations, openings, and closures too. As a regular visitor to the city over the last decade, I still feel as if I have only seen the tip of the art scene iceberg. Galleries are often small, tiny even, and difficult to find, rarely at street level but tucked away in a basement or on the 4th floor of an anonymous building in a non-descript neighbourhood. Part of the charm if you’re gallery hopping, but if you actually have to get to a meeting, it can be a little more stressful. I often rely on Tokyo Art Beat, a kind of online art events guide (in both Japanese and English) including exhibition reviews that tells you what is on in Tokyo. A very useful tool, in its attempt to be comprehensive it also ends up being a little overwhelming and is probably more useful when you know what you are looking for.

Thankfully there is now another online English-language resource to turn to. Art Space Tokyo has existed as a physical book since 2008, but it has now been launched on digital platforms and as a website including three major sections: spaces, interviews and essays, as well as a timeline of some of the major art events in Tokyo over the last 60+ years. Rather than going for a comprehensive picture of the Tokyo art scene, Art Space Tokyo limits itself to a couple of handfuls of spaces and art world ‘players’, providing the essential info but also going into some depth and analysing current trends. The essays included also tackle interesting questions such as the nature of Japanese street art or the state of art journalism and criticism in Japan, making this much more than a guidebook to the Tokyo art world. The authors, Ashley Rawlings and Craig Mod, have also clearly given a lot of thought to translating all the content from a paper book to digital platforms (iPad, Kindle) and to a website. They have been generous too, putting up the entire contents of the book online for free, even holding on to Nobumasa Takahashi‘s great illustrations, rather than treating the site as a sneak preview promotional tool. This one is bound to come in handy on my next visit to Tokyo.


Andy Freeberg, Spinello, New York Pulse 2010, Artist: Zachari Logan

Andy Freeberg, Spinello, New York Pulse 2010, Artist: Zachari Logan

Andy Freeberg

Spinello, New York Pulse 2010, Artist: Zachari Logan,
New York, 2010
From the Art Fare series
Website – AndyFreeberg.com

Andy Freeberg was born in New York City where he learned at an early age to be a critical observer of the world and the people in it. He studied at the University of Michigan, began his career as a photojournalist and now concentrates primarily on fine art projects. Freeberg has recently emerged on the contemporary art scene as a wry commentator on the art industry itself. Long fascinated with the gallery and museum worlds, he often turns his camera on the dealers, gallery patrons, artists, museum guards, and their interplay with the works of art on view. His project Guardians, about the women that guard the art in Russian museums, won Photolucida’s Critical Mass book award and was published in 2010. The Guardians will be on view at the Cantor Museum at Stanford University through January 2013. His series, Art Fare, documenting another side of the art world, will open at Kopeikin Gallery in Los Angeles in September 2012. Freeberg’s work is in many public and private collections including the Museum of Fine Arts Boston, The Portland Art Museum, the George Eastman House, and the Museum of Fine Arts Houston.

Photoville: Established 2012; Population Growing

Photography doesn’t usually have the problem that it’s too noisy an art form, but that was exactly the challenge that faced the organizers of Photoville, a new photo festival that will open in Brooklyn, New York, on June 22. One of the major components of the show is an exhibit inside a warren of industrial shipping containers. Forty-two of them, to be exact, laid out in a maze carefully planned with both exploration and safety in mind.

Sam Barzilay

Viewers check out photography in a shipping container at a past United Photo Industries event.

“Getting a container is simple. Getting 42 of them placed in an intricate pattern is complicated. The most complicated thing is they’ll show up, they’ll dump it and they’ll drive away. I’ve learned that their preferred hour of doing that is 4:30 in the morning,” says Sam Barzilay, formerly of the New York Photo Festival, who is one of the three minds behind the festival. “Dumping a container as it grinds off the truck onto cobblestone is about the loudest thing I’ve ever heard.”

But when the festival opens, the containers will be there, full of photos. And that won’t be all: Photoville will also include about 1000 feet of fencing covered with community-centric photography, presentations from organizations like the Magnum Foundation and Photo District News, a number of workshops and even a beer garden and a dog run with a dog photo booth. And it’s all completely free.

Photoville is the product of United Photo Industries, a year-old cooperative comprising Sam Barzilay, Laura Roumanos and Dave Shelley. Barzilay says that the idea behind the event, and United Photo Industries’ other projects, is the realization that New York real estate affects the art scene. Empty storefronts have meant that small pop-up galleries have been relatively accessible during the last few years, but that won’t last forever. “The writing on the wall was sooner or later the economy would pick up again and people will be back in business, opening the stores,” says Barzilay. “Those spaces weren’t going to last.” They wanted to figure out a way to continue to present artwork without the overhead needed for a giant space. And once the shipping-container idea struck, the ideas just kept coming.

The end result is meant to appeal to photographers and civilians alike. “Even though it’s the most easily relatable art medium at this point, because everybody carries a camera, I think a lot of the time people are afraid of photography exhibitions,” says Barzilay. “We’re trying to cater to a full spectrum of people. I want people to come and enjoy it.” That’s why the free and open model is so important to the organization.

Barzilay and Shelley have both worked for the New York Photo Festival in the past, but Photoville is not meant to be competition for the more established festival. New York is big enough and “art-loving enough” to support many festivals, says Barzilay—and, besides, Photoville isn’t even meant to be a festival in a traditional sense of the word. “We’re trying to build a destination, trying to build a place where you go and spend a day listening to lectures and participating in a workshop, probably having a beer, to bring your dog to the dog run,” he says. “It’s a place to spend physical time with the photography, not so much as a passive viewer.”

Photoville will be held in Brooklyn from June 22 through July 1. More information about the event is available here.

See more work from Bruce Gilden, one of Photoville’s featured photographers, here.

Art Platform-Los Angeles

The Lucie Foundation will have an exhibit booth at Art Platform-Los Angeles this weekend, Oct. arizona lawyer . 1-3, 2011 in Downtown Los Angeles, with images showing off the contemporary L.A. art scene. A preview will be held on Sep. Home Security Systems Valencia, CA . 30 from 3-5 p.m. and will be followed by a benefit party for HAMMER Museum, LACMA, and MOCA.

Art Platform is an art fair that is designed to show the culture of Los Angeles through contemporary art and hopes to recognize the L.A. art scene by bringing together all art enthusiasts locally and internationally. Art Platform-Los Angeles and Pacific Standard Time: ART in LA 1946-1980 are launching together this weekend with 60 other cultural institutions as a collaboration to tell the story of the birth of the L.A. art scene

Please visit Art Platform for more information, including times, directions, and how to purchase tickets.

Photo news – Tri-pod vs Contact Editions at StudioStrike photo print sale and slide slam

This Saturday photography collective Contact Editions has teamed up with Tri-pod for the 1st birthday celebrations of the new creative hub studioSTRIKE.

As the South London art scene continues to grow, studioSTRIKE will be hosting this free event, which is a bit more than the normal Contact Editions sideshow.

For a summer special, Contact Editions will be presenting a day-long feast of photography and fine art with print sales, projections, artist Q+As, accompanied by studioSTRIKE’s open studios, BBQ and live Brazilian bands.

VS evenings feature opposing photographic projections selected by Contact and a guest, on Saturday it will be slide slamming with the Tri-pod group who I have been working with and it promises to be a fun evening.

I will be attending and will host the battles and Q&A with represented artists. Please RSVP to [email protected] if you wish to attend the event so numbers can be gauged.

To fins out more and see who is participating, see over for the full programme running from 3pm till late…

3pm onwards: Open studios, with affordable photography print sales from Contact Editions and Tri-pod.

5pm: Curated film screening by The Kitchen Sink Collective

6pm: BBQ in the garden

7pm: Photo VS and artists in conversation, led by me, featuring Melanie Stidolph, Natasha Caruana, David Axelbank and Mona Simon.
10pm: Live bands

The curated projections by Contact and Tri-pod, will show contemporary photography projects featuring the work of:

Contact Editions
Antonia Zennaro
Ben Roberts
Chloe Dewe Mathews
Mona Simon
David Axelbank
Seba Kurtis
Hin Chua
Tereza Zelenkova

Natasha Caruana
Zoe Childerly
Ellie Davies
Karen Grainger
Dean Hollowood
Judith Lyons
Wendy Pye
Melanie Stidolph

Contact Editions aims to support and promote contemporary photography by showcasing new work in fresh and interesting ways.

Entry is always free and usually with a discounted bar so that photographers and photography lovers can spend a whole evening discovering exciting new work in an informal setting.

As well as events, Contact is an online gallery selling affordable edition prints of emerging artists’ work. We aim to show new photography from both emerging and more established artists, both in the online gallery, on our blog and through events.

Tri-pod is developing a creative model for the realisation of photographic and lens-based projects and exploring ways of working using an informal group structure. Its first initiative was set up to support emerging and established artists and photographers create a personal project in the context of a closed research and development group. Established in April 2010, the group continues to meet once a month at The Hotshoe Gallery in London. Tri-pod members will be exhibiting Nine-Point Perspective: Ways of Seeing at Hotshoe Gallery this August.

studioSTRIKE is a small and friendly creative space for emerging and established artists. It lives on the top floor of the Bread and Roses in Clapham, a former coach house now owned by the Workers Beer Company. The building takes its name from a line in a James Oppenheim poem, later sung by female textile workers on strike in Massachusetts 1912.

studioSTRIKE took over the disused top floor of the building in July 2010. It’s now a professional community of 15 artists from a variety of disciplines. Together they host and run events, live music, talks and screenings.

Filed under: Photographers, Photography Shows, Visual Artists, Women Photographers Tagged: Contact Editions, emerging photography, london, photography event, print sale, slide slam, studioSTRIKE., Tri-pod


Interview by Kristen Lorello
. . .

goldiechiari, controcorrente (against the tide), video , 2005

I spent much of last year in Rome, studying the city’s contemporary art scene and focusing on how the city’s landscape, replete with historic monuments, might provide a meaningful backdrop for critical intervention, particularly on feminist and environmental issues. Both Italian duo goldiechiari (Sara Goldschmied and Eleonora Chiari) and the temporarily Rome-based American artist Kate Gilmore create works that challenge the values implicit in a variety of social situations, each using the city’s landscape as a source of both content and materials for their art. During their ten-year collaboration, Rome-based duo goldiechiari have often used Rome’s historic center and outskirts as the setting for photographs treating issues related to sexual politics and the consequences of industrialization and capitalism. Recipient of the 2007-08 Rome Prize, Gilmore creates videos in which she interacts with constructed sculptural sets, often confronting physically challenging situations that must be endured or overcome, including taking an axe to a sculpted wooden heart, throwing domestic furniture from the second to first story of a building, and clawing her way up an incline on roller skates to take a cake. Destroying the intended function of common objects or revealing the ridiculous extents to which women go to achieve role that society prescribes, Gilmore places the values of the roles and objects in flux. Drawn to the common threads in their work, I interviewed these three artists this spring.

goldiechiari, pic nic, 2002, c-print
(courtesy of elaine levy project)

Kristin Lorello: For your most recent work, Dump Queen, you have created a musical in which performer Lotta Melin sings Carmen Miranda’s “Chica, Chica, Boom, Chic” among piles of trash in the Guidonia garbage dump outside of Rome. Why did you choose this performer and this setting?

SARA GOLDSCHMIED: In previous works, we have always appeared as the performers. But in reality, neither of us knows how to dance the samba! This was a fundamental problem. So, we decided to collaborate with the Swedish performer Lotta Melin. She generally doesn’t do this type of work, but she is a friend, understood the project, and took the role on. Working with Lotta was stimulating because she hit on what we had in mind. We researched Miranda’s films, her dances, her expressions, and Lotta was very good at reproducing the character. We have always worked with people to help us produce works, with artisans or professionals from other industries, so cooperation is often part of the work. With regards to the chosen setting, the garbage dump, we’re interested in refuse as the consequence of a certain lifestyle in a particular environment and as a material that has consequences for the future. We’re interested in the notion that refuse is something removed from its original context. Objects of consumption that once had a very strong aura of interest completely lose their captivating aspect and become trash that we don’t want to regard as part of our life. This is interesting to us as a metaphor. The way that we choose to live in the West is hypocritical, and we want to spotlight those places that people do not acknowledge. There is a parallel reality that we do not know about. The garbage dump is fascinating and has its own way of functioning and a totally different economy. In the morning, the sparrows go there to eat, at lunchtime the seagulls, in the evening the crows. And there are people who work among the accumulation of the city.

ELENORA CHIARI: Doing this behind-the-scenes research on the garbage dumps, we realized that they are everywhere around us, but they are never pointed out. They are always in gated and hidden places but just around the corner.

Lorello: Have you been interested in refuse in past works?

CHIARI: You can see this interest in our earlier series, “Bucoliche” (“Bucolics”), in which we upset the bucolic aspect of nature with a view that is totally artificial, making panoramas from what we have in front of our eyes each day in Trastevere, Rome. We made images of nympheas from our plastic bags or those of the garbage dump of Malagrotta near Rome. The idea was to allow the viewer to recognize an iconic image from French Impressionist painting, Claude Monet’s water lilies, in the trash and then to create a paradox from it. The images from Impressionism are recognizable to a large audience, and using this framework, we create a way for the viewer to access the work. Then, within the work, there are many avenues for meaning. We often work with immediately recognizable symbols or images. There’s this emphasis on that which is hidden from view in everyday life. Here, it becomes reevaluated, put in the foreground, and inserted into a language of an institutionalized form of art.

goldiechiari, dump queen, 2008, video still triptych

Lorello: How did the two of you meet, and how did you arrive at making work along these lines?

GOLDSCHMIED: We met in 1997 at the University of Sociology of Rome in the group Orma Nomade that began as a political group and a study group of Donna Haraway’s essay, “A Cyborg Manifesto.” After some time, we began to try out a visual arts project together that aspired to the texts that we were reading. The work was tied to an imagination of the corporal, performance, and a series of themes tied to the intimacy of the body.

Lorello: The purpose was to experiment together, not to create a project tied to a contemporary art exhibition. Afterwards we began to produce works, but the experimentation lasted a couple of years as we developed our language.

GOLDSCHMIED: Initially, the influence of feminism was strong, both from the point of view of textsâ€critical theory by authors like Judith Butler, Teresa de Lauretis, and Rosi Braidottiâ€and from the point of view of theoretical experimentation. The texts led us to contemplate notions of subjectivity and boundaries between feminine and masculine, natural and artificial. recycled glass jars . Regarding the concept of institutional critique, we’re interested in underlining paradoxes or creating short circuits through irony so that the spectator has the possibility of putting both that which is taken at face value and the system of art itself into question.

Lorello: How does the choice to live in Rome influence your work?

CHIARI: In Rome, there’s antiquity, this eternity. But antiquity is also one of the reasons that has not allowed the contemporary to develop as it has in other countries, even though there are artists, critics, curators, and museum directors here who work at a very high level. The problem is that so much money from the state goes to the restoration and maintenance of ancient artworks, and we very much live from tourism. There is little sensitivity on the part of the institutions for the contemporary. They don’t realize how we are stuck and how we cannot remain that way.

GOLDSCHMIED: The choice to live in Rome is very important. We have a lot of material that we are working on that is tied to the political contradictions that characterize Italy, the fact that Rome is a center of power because it is the political capital of Italy and at the same time is a historical city also tied to the power of the Vatican.

goldiechiari, pic nic, 2002, ninfee, panoramiche #15, lambda print
(courtesy of elaine levy project)

Lorello: You have shot many works on the outskirts of the city. What interests you in these places?

CHIARI: Rome is quite large, and there are a number of different parts of the city. Walking around, you realize that you can be transported to any other place in the world and you’re no longer in Rome. This recognition, however, is more behind the scenes. It’s fun to discover places, and it’s also a kind of metaphor that there is always a behind the scenes. In some way, we’re searching for this.

GOLDSCHMIED: It’s also the fact that the periphery renders many cities similar to one another. The work can then be applicable to other contexts and not just Rome. This idea can even be seen in works shot in the historic center of Rome. For example, both Controcorrente and Nympheas were shot at the Tiber River, and yet, there is no way of establishing this. We eliminated every reference to history, every architectural reference that could portray Rome in its more classical image. This is because the classical imagery would have distracted attention from other elements. We were more interested in the idea of the Tiber as a polluted river that could be in Rome just as it could be in any other place in the world at this moment.

. . .

kate gilmore, cake walk, 2005, video

Lorello: Can you discuss what you are currently working on in Rome?

KATE GILMORE: I’m working on pile pieces that are based on destruction and construction. I’m looking at the architecture of the city, how it’s built on top of itself, and how contemporary society exists within the realm of this ancient place. I’m working with that history in these piles, thinking about breaking and making. Take the Roman Forum, for example. It was a thriving place, was destroyed, and now exists in a whole other realm and has created something that has a totally new definition. I am working in new materials as well. In New York, I work with a lot of wood because it is a plentiful material, especially near my studio in Long Island City. In Rome, wood is very expensive, so I have had to adjust the way that I make my sets and use materials that are cheap and plentiful in Rome. Here, I have been using plaster construction blocks, so the piles appear to be made from marble or stone. I try to use the place where I’m working as inspiration. It doesn’t make sense for me to replicate my exact New York studio practice in Rome. The challenge is to try to figure out what is here in Rome and do something new and interesting with that information.

kate gilmore, heart breaker, 2004, video still

Lorello: How did you arrive at making videos in which you interact with constructed sets?

GILMORE: When I was in school, I had professors come by my studio to look at my sculptures, but they were more interested in my personality, the way that I worked, my process, and the things that were left over from the sculptures than the actual objects. I started thinking about why the sculptures weren’t working and how I could combine all of these elements to make something more successful, and I started to put myself into the actual objects and then photograph them. I made pieces that focused on the idea of displacement. Used Cars Denver . I would build installations in which a female character would interact with an environment that was completely foreign to the environment that one would expect her to be in. For example, I would build a mud hut and dress up as Hillary Clinton or play a prom queen building Ted Kaczynski’s shack. I then started thinking about the process of moving through time as opposed to the end result being an object. This eventually led me to video.

kate gilmore, higher horse, 2008, video still

Lorello: In your performances, you often reshape constructed environments, renegotiating your own relationship to the sets, dismantling the original values implicit in them. As a female artist, do you feel a responsibility to do so?

GILMORE: Inevitably my work is about being a woman because I am in my work, and I am often doing these physical tasks. My outfits are usually quite female, with heels or dresses, so inevitably that’s part of it. As for whether female artists have a responsibility to address these issues, I don’t think it’s necessarily an obligation, but I’m interested in it. I looked at people like Marina Abramović, Valie Export, Hannah Wilke, Carolee Schneemann, Louise Bourgeois, and Kiki Smith when I was growing up. Those are the people who probably made me an artist. I’m interested in taking those ideas and making them applicable to what’s going on right now. There are many artists now who unfortunately don’t want to have anything to do with feminist art. For me, that’s almost offensive since so many women artists and women in general did these things so that we don’t have to worry as muchâ€even though we do have to worry in a different way.

Lorello: Is the work Star Bright, Star Might an example of this interest?

GILMORE: Star Bright, Star Might was very much about the art world. It was made specifically for the Armory Show, and that piece is about the idea that artists are supposed to fit into a specific star mold. This can also be interpreted more generally as well. How do you negotiate an environment or situation that is basically rejecting you? There are several solutions. You can back off, you can mold yourself so you can fit, or there’s the solution that I usually take, which is to say: “No, I’m not going to do that, I’m going to break it.”

kate gilmore, star bright, star might, 2007, video still

Lorello: In many of your works, there is a physical obstacle that you set to overcome. Do you feel a sense of relief when you achieve a goal?

GILMORE: In Cake Walk, yes. That was physically the hardest piece I have ever done, and it was the only piece that I almost gave up on because it was so difficult. Ductless Air Conditioner . I knew that I could get out of Main Squeeze because I built it around my body, and it was a question of putting my body in the exact position. After I do a video, there is always a sense of relief. At the same time, the situation never turns out the way that I expect. I’m constantly spontaneously reacting to an environment. I’m not an actor. I’m just dealing with this life situation on camera. There are also several instances in which I don’t achieve, and the performance goes on. For instance, in Cake Walk, I finally get the cake and I throw it away, so the cake is a form of motivation, but it doesn’t matter if I get it or not. Cake Walk still could have ended even if I didn’t get it. It’s nice to have that moment, but the piece still would have worked if I hadn’t gotten it. You wouldn’t have gotten that same sense of relief as a viewer, so I’m actually being nicer to the viewer by achieving. That’s why I think a lot of people react strongly to My Love is an Anchor, in which I’m stuck in a bucket and will be for the rest of the life of the video. Now I’m working a little more with loop-based videos, thinking about the idea of continual struggle.

Lorello: Why do you subject yourself to discomfort in your work?

GILMORE: I think that the misconception about my videos is that they’re masochistic, and they’re not. They’re about pushing my body to a limit and trying to achieve something, using the physical to express an inner conflict. My physical relationship to objects is the most important thing to me, and making it through these challenges is what makes the “discomfort” worth it.

Lorello: Have you ever imagined working with other performers in your works?

GILMORE: I’ve been thinking about it more and more now, even though it’s never worked before. I’m working on a couple of pieces that actually have men in them, and the works deal with the idea of hyper-masculinity. I’ve been thinking more about machismo in Rome. You can’t turn your head without seeing a large male sculpture that’s dominating something. You go to the Capitoline Museum, and it’s all about male power in there. It’s also interesting to notice how these male figures even define being a woman.

. . .

Thomas Ruff on JPEGS and Previous Key Series

In this clip, Thomas Ruff goes through several key bodies of work following his professor Bernd Bechers advice to always reflect on the photographic medium. Ruff speaks about his Portraits series he started at the Düsseldorf Academy and explains how large scale has emancipated photography on the contemporary art scene in the 1980’s. Ruff also touches on the matter of objectivity versus subjectivity as well as on the notion of authorship with his Stars series. intranet software . portal server software . He finally speaks about the spirit of the Jpegs series, focusing on the structure of images he finds on Internet and their distribution. By enlarging them, Ruff also plays with the perception of these images when the pixel patterns becomes sublime geometric displays of color. The full version of this talk is available on vimeo and on our multimedia section, divided in four different clips. Aperture and the photography department in the School of Art, Media, and Technology at Parsons The New School for Design presented this conversation between artist Thomas Ruff and writer, former picture editor, Philip Gefter, on February 12, 2010 at Aperture Gallery. philadelphia web design . Thomas Ruff is among the most important international photographers to emerge in the last fifteen years, and one of the most enigmatic and prolific of Bernd and Hilla Bechers former students, a group that includes Andreas Gursky, Thomas Struth, Candida Höfer, and Axel Hutte.