Tag Archives: Gallery Exhibition

Susan Barnett

A number of years ago, I met Susan Barnett when she sat down at my table at Center’s Review L.A.  I was reviewing portfolios and knew that I was looking at a body of work that “had legs”.  Well, those legs have grown arms, a torso, and a head full of possibilities.  I am so thrilled to share the news that Not In Your Face has reached gallery walls with Susan’s first solo exhibition at the DeSantos Gallery in Houston.  The show opens on Saturday, June 16th, with an opening that begins at 5:30pm.  Susan also recently announced that the Library of Congress has purchased three prints from this project. And there is a lot more good news on the horizon.
This is a project that I often show in my classes because it is complex in it’s simplicity.  She shows us what we are communicating at this point in history, via the great leveler, the T-Shirt. Susan finds themes of self expression, explores the idea of personal advertisement, and ultimately, makes us look at our humanity with a sense of humor and a sense of reality.
This might be Susan’s first solo gallery exhibition but by no means has she been laying low.  Her work has been exhibited and published all over the world, and in 2013, she will have another solo exhibition at the Center for Fine Art Photography in Ft. Collins, Colorado. She lives in New York City and comes to photography after a career as a gallery director.

 In the series “Not In Your Face” the
t-shirt is starkly evident but these photographs are not about 
the t-shirt per se. They are about
identity, validation and perception. I look for individuals 
who stand out in a crowd by
their choice of the message on their back and  for those people willing to pose for me. The messages are combinations
of pictures and words that are appropriated from contemporary culture but have
the unique effect of mixing up meanings and creating new meanings.

On the streets these personalities create
their own iconography that explore the cultural, political and social issues
that have an impact on our everyday lives. The t-shirt “performs a function of
identifying an indvidual’s social location instantly”.  In the early months of 2012, the LA
Times ran a front page article describing the emergence of the t-shirt and
hoodie as a staple of the protest movement worn in support of Trayvon Martin, a
young man gunned down in Florida that became a cause célèbre throughout the

The Trayvon Martin protest T-shirt has become a
staple at rallies across the country, and it’s 
difficult to think of another item of clothing more
representative of the nation’s twitchy 
zeitgeist in April 2012. Sometimes it seems as
though the old-fashioned medium of the cotton t-shirt has done as much as the
Internet to spread the memes associated with the tragedy through the 
country — and the world.

In these photographs we witness a chronicle
of American subcultures and vernaculars which illustrate the current American identity.
These photographs demonstrate how these individuals wear a kind of “badge of
honor or trophy” that says “I belong to this group not the other”. T-shirts
speak to like-minded people; a particular t-shirt may be meaningful to those
with different views and affiliations.

Each one of these people reveal a part of
themselves that advertises their hopes, ideals, likes, dislikes, political views, and personal
mantras. “The t-shirt speaks to issues related to ideology, differences, and myth: politics, race,
gender and leisure”.

I believe the power of each portraitʼs
meaning becomes apparent from the juxtaposition of many images. It is a universe of individuals
but when seen in groups they 
create a picture of our time without the imposition of judgment. Is this
democracy at work? We may feel we know more about these individuals than we
really do. What is their story? Here their individual mystery is preserved and the power of
photography can celebrate our urge to unravel it.

Dedicated to my late Mother, Mary, whose faith in me made all this possible.”Dedicated to my late Mother, Mary, whose faith in me made all this possible.”

Photographer #449: Miti Ruangkritya

Miti Ruangkritya, 1981, Thailand, studied Photojournalism at the University of Westminster. His work is mainly documentary based yet he tries not to restrict himself in any way. He is currently working on an ongoing project that consists of a polaroid installation placed on the beach of Nongkhai in Thailand. A dining table displays the polaroids without placeholders, inviting the viewers to pick up the images and be involved. By adding mattresses and swimming rings he wants to create a relaxed atmosphere for the audience to enjoy the work outside of a typical gallery exhibition. In his series On the Edge he took a closer look at Siem Reap, a city he had visited in 1991 when there was only one hotel and one bar. Today the city has massively exploded in size consisting of 5 star hotels, restaurants and bars. Miti viewed the city from a distance “from the vantage point of someone approaching (or perhaps momentarily escaping) the city.” His work has been exhibited in London, Paris and Thailand and his portfolio will be featured in the May 2012 edition of the British Journal of Photography. The following images come from the series Imagining Flood, Northern Route and On the Edge.

Website: www.mi-ti.com

Photo Shows Preview London – Look out for Stan Douglas at Victoria Miro and Laura Pannack at Gallery One and a Half

“Working within film and photography as his preferred medium, Douglas constructs life-size, cinematic mise-en-scene, which immerse the viewer into a complex, unknown and unfolding story.” From the press release.

Courtesy David Zwirner, New York and Victoria Miro, London © Stan Douglas. Hair, 1948, 2010. Digital fiber print mounted on Dibond aluminum

© Laura Pannack from the series Young British Naturists.

Ooops, I did it again! I pressed publish before I was ready, a slip of the finger. So, if you visited the blog and there was nothing to see, apologies. Today there’s a quick preview of two very different, but equally interesting, photo shows worth checking out.

Canadian artist Stan Douglas first gallery exhibition Midcentury Studio opens at the Victoria Miro Gallery in London on 18 April until 26 May, while Laura Pannack‘s first solo show Young British Naturists opens on 3 May and runs until 29 June at the Gallery One and a Half, so there’s plenty of time to visit both.

“Since the 1980s Stan Douglas has reappropriated key moments from history, precisely examining political, social and racial shifts, in an effort to deconstruct and reimagine their presupposed and foregone outcomes. Douglas appropriates the fantastical and hyper-real from Hollywood; murder mysteries, Westerns and film noir.

“He frames these minutely researched narratives within the borrowed literary constructs of Samuel Beckett, Herman Melville and Franz Kafka. Working within film and photography as his preferred medium, Douglas constructs life-size, cinematic mise-en-scene, which immerse the viewer into a complex, unknown and unfolding story.

“North American post-war press photographic reportage, and the authenticity of spontaneous off-guard documentation, were the genesis of his research. Anonymity of the photojournalist, his use of authentic 50s era technologies, and authentically dressed actors to portray the characters, affords Douglas the chance to create a series which, whilst being rooted in the contemporary evokes the aura and preoccupation with melodrama of the mid-century through the guise of jugglers, actresses, magicians, carnival curiosities, paparazzi and crime scene reportage. Through these individual casts of characters, Douglas carefully choreographs the underlying tension of the era.”

Courtesy David Zwirner, New York and Victoria Miro, London. © Stan Douglas. Juggler, 1946, 2010. Digital fiber print mounted on Dibond aluminum

“In Juggler, a middle-aged, primly dressed, pearl necklace wearing woman stands alone, outside in a dramatically lit garden, mid-toss as she juggles three butcher knives whilst stood on a single foot. Both hands full with the hilt of a knife; the third hovers precariously in mid-air above her head. Douglas in his choice of suspending the image at that precise moment in time, leaves the viewer uncertain of the outcome, when gravity invariably takes hold.” Excerpts from the press release.

Since Pannack graduated from the University of Brighton in 2008, she’s gone from strength to strength. Early in her career, she was the winner of the Hotshoe International Next Perspective Award (the year she graduated) so she’s been on our radar for years. She has a number of prizes under her belt and works on editorial and commercial work as well as personal projects. Last year, she scooped First prize in the World Press Photo Portrait Singles category as well as being a finalist in this year’s Sony World Photography Awards. For her first solo show, Young British Naturists, Pannack  returns to her interest in youth culture and marginalised individuals.

© Laura Pannack from the series Young British Naturists.

© Laura Pannack from the series Young British Naturists.

“This project provides a mediation on the nature of portrait photography and highlights the traditional role nudity plays within art. What happens when we strip away the elements of personality that are tied to our perceptions of clothing and environment? We know nothing about those pictures – whether they are weathy, poor, educated, uneducated. Panack’s work liberates us from these limiting confines of judgement.

“Though unlike conventional representations, the images in this exhibition neither celebrate nor comment on nudity and human form, but rather on the body’s irrelevance when these strangers meet. Pannack’s subjects are connected and at peace with their identities. Their interest in naturism is not built on voyeurism or exhibitionism, but rather on the sensations their environments provoke; the cold water on their skin, the damp grass between their toes, the sun on their backs. These photographs challenge our assumptions, showing young people as who they are, removed from the trappings of contemporary life and expectation.” From the press release.

Filed under: Photographers, Photography Shows Tagged: Gallery One and a Half, Laura Pannack, Stan Douglas, Victoria Miro Gallery

Bye Bye American Pie

Nan as a dominatrix,
1973 © Nan Goldin / Matthew Marks Gallery

Exhibition on view:
March 29–June 4, 2012

Malba – Fundación Costantini
Avda. Figueroa Alcorta 3415
Buenos Aires, Argentina

Jean-Michel Basquiat, Larry Clark, Nan Goldin, Jenny Holzner, Barbara Kruger, Paul McCarthy, and Cady Noland. Seven controversial American artists are featured in Bye Bye American Pie, an exhibition exploring the ever-evolving facets of American culture: economics, politics, and America as an ideal.

Curated by Philip Larratt-Smith, the work resonates and critiques the changing state of U.S. culture from the 1970s to the present. With these world-renowned artists together in a single exhibition, a provocative survey of American cultural history is offered, celebrated, and gives way to analyze the deconstruction of multiple subcultures reinforced by television and Hollywood.

Nan Goldin’s Aperture published book, The Ballad of Sexual Dependency is available here and was most recently featured in Aperture issue 197. Barbara Kruger was featured in issue 138.

Boris Mikhailov: Salt Lake

Untitled, 1986, © Boris Mikhailov / Suzanne Tarasieve Gallery

Exhibition on view:
January 20–March 11, 2012

La Criée Centre D’art Contemporain
Place Honoré Commeurec
35000 Rennes
+33 (0)2 23 62 25 10

Murky waters, polluted landscapes, and heavyset ladies in bikinis illustrate Salt Lake, a series of 50 photographs taken by Boris Mikhailov. Traveling the south shores of Ukraine, he documented the happenings in and around a lake surrounded by factory chimneys, warehouses, and industrial-sized pipes which discharged waste into the water. Seemingly indifferent to the unkempt setting, locals sunbathe in the polluted terrain in this Soviet version of a German spa town.

Salt Lake depicts a clandestine Soviet Union, where life’s simplest amusements are uninterrupted by a lake divulged in industrial pollution, characterizing the transient freedom of its inhabitants.

Concurrent with Salt Lake, two additional series from Mikhailov; Tea, Coffee, Cappuccino and I Am Not I, are on view at Galerie Suzanne Tarasieve in Paris through March 10, 2012.

Mikhailov has appeared in Aperture issues 190 and 158.

She, Lise Sarfati

Sloane #68, 2009, © Lise Sarfati / Brancolini Grimaldi Gallery

Exhibition on view:
February 3–March 17, 2012

Brancolini Grimaldi
43-44 Albemarle Street
+44 (0)207 493 5721

Two pairs of American sisters are featured in the film-still like photographs of the series She by Magnum photographer Lise Sarfati. The women photographed become interchangeable as Sarfati investigates the sense of identity that a woman attempts to possess. Instead, the uniqueness of the characters becomes beautifully ambiguous. French-born Sarfati, living part-time in the U.S., photographed the inner lives of these young women, changing their environments every so often, moving them to various cities including Oakland, Los Angeles, San Francisco, and Phoenix. Sarfati prefers to shoot in small towns where life is slower and she has the chance to obtain intimate knowledge of her subjects.

Made between 2005 and 2009 the semi-choreographed photographs were influenced by film and theoretical thinkers. Sarfati’s interest in doubles and reflections adds an extra layer to the banality offered by the American backdrops; ordinary living rooms, shops and streets. Using Kodachrome slide film, synonymous with family snapshots of the 1960s and 70s, her quiet compositions bathed with rich color heighten the intensity of the women she photographs.

Sarfati talks about her subject’s environments, the perception of color in her work and her intention behind She in a recent interview with Elizabeth Avedon. A retrospective of this work and more of Sarfati’s photographs will be featured in the Bibliothèque Nationale in Paris in 2014.

Sarfati has appeared in Aperture issues 194, 180, 146, and 142.

Edward Burtynsky’s View From Above

Edward Burtynsky while on location in Spain, 2010.

“I’m always interested in how humans shape the landscape,” says photographer Edward Burtynsky, a master at documenting the effects of industry on the nature for more than 20 years. “All my work is really about the pristine landscape being pushed back as a result of the expanding human footprint. And I kept thinking of farming as one of the largest terraforming events that humans have exercised on the planet.”

That interest is the inspiration behind Dryland Farming—on view at Bryce Wolkowitz Gallery—one of two exhibitions paying tribute to Burtynsky’s career in New York City this fall. The other, on display at Howard Greenberg Gallery, takes a broader, retrospective look at the photographer’s 25-year career.

Dryland Farming features topographic landscape images from the Monegros region in northeastern Spain that the photographer shot from a helicopter about 2,000 feet above. “The colors and the shapes were like nothing I’d ever seen before,” Burtynsky says. “It reminded me of the abstract paintings of the 20th century, like [Pablo] Picasso’s Guernica.”

Burtynsky photographed the series in 2010, and the work is part of a larger project called Water, which the lensman began in 2008 and expects to complete in 2013. “I like to take a theme and start building ideas around it and trying to find the visual correlations to those ideas,” Burtynsky says. “Water was an interesting one to try to capture visually, especially if you look at agriculture in all its different forms as a subject that relates to water. The incredible farms and farming methodology in the Monegros region in Spain were certainly a huge part of that.”

Dryland Farming will be on view at Bryce Wolkowitz Gallery in New York from Oct. 26-Dec. 10. The Howard Greenberg Gallery exhibition in New York is on view from Oct. 27-Dec.10.

Feifei Sun is a reporter at TIME. Find her on Twitter at @Feifei_Sun or on Facebook. You can also continue the discussion on TIME’s Facebook page and on Twitter at @TIME.


VERVE Gallery of Photography Presents




Opening Reception: Friday, September 16, 2011, 5-7pm

Exhibition is on view Friday, September 9 – through Saturday, October 29, 2011

Conversations with the artists: Saturday, September 17, 2011, 2pm

Location: VERVE Gallery of Photography

VERVE Gallery of Photography is pleased to present an exhibition of three gallery artists working in visual poetic interpretations in three different black and white photographic mediums. Santa Fean, Laurie Archer, will present her new solar plate etchings combined with the sewing of thread into the paper inspired by a William Stafford poem, The Way It Is. Ryuijie, from Monterey, California, will present Poems in Platinum and Silver, contemplative and serene platinum palladium and gelatin silver prints. New Orleans artist, Joséphine Sacabo, will be exhibiting photogravures from Óyeme con los Ojos, a new series inspired by the life and work of Sor Juana Ines de la Cruz, a 17th century Mexican nun, who was one of the greatest poets and intellectuals of the American continent.

The public reception for this exhibition takes place on Friday, September 16, 2011 from 5-7pm. There will be a conversation with all three artists at VERVE Gallery on Saturday, September 17 beginning at 2pm.

The exhibition is on view from Friday, September 9, 2011 through Saturday, October 29, 2011.


In Ms. Archer’s second VERVE gallery exhibition she debuts her latest body of work entitled, There’s a thread you follow…, the opening line from William Stafford’s poem, “The Way It Is.” In this new work she makes use of the solar plate etching process and combines the meticulous and careful placement of thread into the paper. The series is then divided into three sub-sections, giving the images their individual titles; AT THE RIVER; ON THE ROAD; and, IN THE WOOD.

The “thread” metaphorically and physically follows the line where water meets a bank, a weed, a rock – either at the river, on the road, or in wood. Archer explains, “It follows the line of the road I walk every morning, where I pick up detritus that transformed and became an etching…the pieces of wood in my house that have the most exquisite calligraphy under the bark, thanks to beetle larva.”

There’s a thread you follow. It goes among

things that change. But it doesn’t change.

People wonder about what you are pursuing.

You have to explain about the thread.

But it is hard for others to see.

While you hold it you can’t get lost.

Tragedies happen; people get hurt

or die; and you suffer and get old.

Nothing you do can stop time’s unfolding.

You don’t ever let go of the thread.

– William Stafford

Does the poet suggest that the thread can be time – the one thread that follows everyone, everywhere – no matter what may change? For the artist, it is the thread that connects all of her artistic work such as how she learned to sew on an old-fashioned treadle sewing machine, and has been sewing ever since. The treadle sewing machine led to weaving on a four-harness loom for eighteen years. That led to using the resulting weavings over a wooden frame to make freestanding sculptures.

Now, Archer is aware that the thread throughout her life has been the arts. She has been an artist in one form or another since childhood working in the performing arts, book arts, and the visual arts, including the past few years working with solar plate etchings. She was graduated in 1959 with a BFA in Fine Arts from the Colorado College. She is the recipient of two major awards including the Fulbright for Dance & Art in Peru (1958) and the John Hay Whitney Fellowship in NYC to continue her studies in Theater, Acting and Dancing (1959). She was in the original cast of Camelot on Broadway in 1960. In addition, Archer has shown her visual work in New Mexico including the Palace of the Governors, Stables Gallery in Taos as well as exhibiting at the Gran Palais in Paris, the El Paso Fine Arts Museum in Texas, and the Taller Boricua Gallery in New York City.


Poems in Platinum and Silver, are serene poetic moments in time, images from two bodies of work – Ice Forms in gelatin silver and P2 in platinum palladium. Ice Forms are photographs of botanicals specimens frozen in blocks of ice. The ice acts as a filter for viewing these abstract yet familiar and sensual flower forms. In recent years the artist’s approach for the Ice Forms has been to photograph them in the Spring and then spend the rest of the year printing in the darkroom.

“Like most of my photography projects this one started with the thought: “what would happen if”… I couldn’t have predicted that the ice would become as important as the flower it encased. Each block was filled with bubbles and fractures, and the glow of light through the frozen water was magic. Discovering the always new combinations of textured ice, translucent petals and twisting stems continues to be one of my favorite preoccupations.”

P2 was titled for the square format of the artist’s platinum prints. This series includes landscapes, nudes, and abstract forms with the common theme—– the quiet and contemplative moment. The resulting photographs are small square 5×5” prints that allows the viewer to get up close and see every detail that the photographer intended.

While the subject matter remains the same as in the artist’s earlier work, the process itself is a hybridized approach to traditional photography.

“These photographs have echoes of my earliest work. Those first images taken in the mid 1970’s with a 4×5 camera; they depicted landscapes, plants, nudes and abstractions, and were printed in the best traditions of classic black and white photography [through gelatin silver prints]. The P2 photographs begin as 2 ¼ film negatives, but from there, everything changes. The film is scanned, adjustments are made in Photoshop, a digital negative is made and then it is printed in the darkroom as a platinum palladium print.”

Ryuijie was born in Otaru Japan in 1950. He moved with his family to the US as a young child. Over the years, Ryuijie has lived in many places. It was in Monterey that an exhibit of Jerry Uelsmann’s Photographs inspired him and propelled him to do fine art black and white photography. Ryuijie has pursued his photographic vision for twenty-eight years, and during that time has acquired a reputation for exquisite platinum-palladium prints. His work has appeared in View Camera, Photovision, Camera and Darkroom, Black & White and Lenswork. He has published three books, Ryuijie: Photographs, Time and Place, and Fragments of Time. Works by Ryuijie can be found in collections worldwide.


Joséphine Sacabo will be exhibiting new work entitled, Óyeme con los Ojos [Hear Me With Your Eyes], inspired by the life and work of Sor Juana Ines de la Cruz, a 17th century Mexican nun who was one of the greatest poets and intellectuals of the American continent. Sor Juana lived in Mexico City in the late 1600’s and was very active in defending women’s rights in Mexico through her writing and poetry which centered on freedom.

“She created the most renowned salon of her time from behind the bars of her cloistered cell. And in that cell she studied science and philosophy, wrote poems, plays and music, and championed women’s right to intellectual and spiritual freedom. In the end, after resisting valiantly for over twenty years, she was silenced by the Inquisition. It is my hope that these images will help break that silence so that we may once again “hear her with our eyes”. This work is dedicated to women everywhere who, whatever their confines, prevail. They are our hope.”

Joséphine Sacabo lives and works mostly in New Orleans, where she has been strongly influenced by the unique ambience of the city. She is a native of Laredo, Texas, and was educated at Bard College, New York. Before mobbing to New Orleans, she lived and worked extensively in France and England. Her earlier work was in the photo-journalistic tradition, influenced by Robert Frank, Josef Koudelka, and Henri Cartier-Bresson. She now works in a very subjective, introspective style. She uses poetry as the genesis of her work and lists poets as her most important influences, among them Rilke, Baudelaire, Pedro Salinas, Vincente Huiobro, and Juan Rulfo, Mallarmé, and Sor Juana Ines de la Cruz. Sacabo, has published four books of her work including “Une Femme Habitée” in Paris in 1991 by Editions Marval; award winning “Pedro Paramo” in 2002 by the University of Texas Press; “Cante Jondo” in 2002 and “Duino Elegie” in 2005 both by 21st Publishing. Sacabo has had solo shows in Paris, London, Madrid, Toulouse, Buenos Aires, Mexico City, New York, Chicago, Los Angeles and other major U.S. cities. Her work has also been widely published in magazines in the United States and Europe and is in numerous Museum collections including the Whitney Museum of American Art; The Museum of Modern Art – N.Y.; The Smithsonian – Washington D.C.; The Library of Congress; among many others. Joséphine Sacabo has taught at a number of highly acclaimed workshops: the Center for Photography at Woodstock, the Rencontres Internationales de la Photographie in Arles – France and at the Santa Fe Workshops.


(low resolution images viewable in attached pdf)


Email: [email protected]

Phone: 505-982-0894


Email: [email protected]

Phone: 831-277-0045


Email: jose[email protected]

Phone: 504-352-9101


Jennifer Schlesinger, Director

219 E. Marcy Street, Santa Fe, NM 87501

Email: [email protected]

Phone: 505-982-5009 Fax: 505-982-9111

See images and exhibition info on our Website here.