Tag Archives: Saatchi Gallery

Filter Photo Fesitival Week: Ursula Sokolowska

This week, I am sharing a few of photographers that I met at the Filter Photo Festival in Chicago….


Born in Krakow, Poland, Ursula Sokolowska studied photography at Columbia College and compled her BFA at the School of the Art Institute of Chicago. I first saw her Constructed Family images a year ago at Filter and I was happy to see the continued progression of the series. Ursula will be exhibiting her work at the JDC Fine Art Gallery in San Diego, opening on December 7th, running through February 23rd, 2013. I am featuring work from two series, both incorporate projection, are deeply personal,  and both explore the idea of separation of the body from consciousness and objectification.


Her photographs can be found in many public and private collections, including the Art Institute of Chicago, the Museum of Contemporary Photography, the University of Illinois at Chicago, and Tanqueray. Selected exhibitions include The Travelling Gallery, Edinburgh, Scotland, Saatchi Gallery, Zoo Art Fair, the Royal Academy of Arts, London, United Kingdom, Minnesota Center for Photography, and Schneider Gallery, Chicago, IL. Her work has appeared in CameraArts magazine, Light & Lens: Photography in the Digital Age, and featured in the Chicago Tribune.


The Constructed Family series  examines the trauma and uncertainty carried from childhood. In particular, I am referencing my own upbringing as a Polish immigrant. There is an undercurrent of helplessness and misdirection linked to a sort of schizophrenic parenting, excommunication, and constant movement. Typically, the perception of children handed down by my elders was that children did not have a choice. Frequently, I heard a Polish equivalent of the phrase “Children should be seen not heard”. I am attempting to give these children voices.

These photographs are projection-based installations. 

The models are mannequins and their faces are projections. The faces of the children are slides that my father took of me when he was still involved in my life. The other slides are present day images that I have shot of my mom, my dad, and myself. My goal is to reconstruct my own childhood, empowering the past for better or for worse. The result is a troubling recreation of events that may seem disturbing but are far less in context to the real events that transpired. 

Untitled Series:The images presented pose several questions towards the societal view of gender as related to the biological roles that exist. By using the flower as the reference point, we see the inequality and the taint that is applied to a supposedly natural and beautiful inevitability. These human plant-life carry their own baggage that spews out of every orifice and drips moistly from their painted skin. Their reproduction is marred by the inner psychological turmoil as related to the divisions between sexual identity and biological reality, quite unlike their floral counterparts. 

The flower represents a self-sustaining sexual organism, one of which is free from divisions of sexuality and role yet forced by design biologically. When we admire what we see, staring at its naked form, we are free from imposing predisposed notions of sex and gender. Yet when we see human form, we cognitively associate our own psychological issues with role, gender and biological fulfillment subconsciously. With the flower there is no revolt against being more than what it was created to be. It exists to be seen and to reproduce year after year. It is perfectly content being an object to be admired on a singular level. 

The question remains why are we any different? By combining a seemingly natural and innocent vision of a flower and juxtaposing it with provocative cues, we explore the seemingly inevitable chain to biology that humans fight consistently. The fight to be more than just a sexual being content with reproducing itself and the psychological frustration that ensues. Each subject has his or her own issues with their design. These hopes and fears are explored by facing the possible truth that we may be nothing more than pretty flowers, waving their prospective parts in the open for all to see.

1000 WORDS WORKSHOP WITH BORIS MIKHAILOV IN FEZ, MOROCCO, 5-9 NOVEMBER 2012

© Boris Mikhailov

1000 Words is greatly honoured to announce our next workshop with the Ukrainian artist/photographer Boris Mikhailov in Fez, Morocco (5-9 November 2012). This is a very rare occasion to learn from one of the most highly-regarded contemporary photographers from the field of art and documentary.

“As a photographer with unofficial authority I discover, I observe, I clandestinely stalk.” Boris Mikhailov
BORIS MIKHAILOV:
Born in 1938, Boris Mikhailov is one of the most important photographers to have emerged from the former USSR. Starting photography in the 1960’s his work transgressed the moral and political dictates of the Soviet Regime. Although often engaged in the social disintegration affecting his country his work is subjectively rooted, dealing with the profound concerns of vulnerability and mortality. He has exhibited in numerous galleries and museums around the world notably the Tate Modern, Saatchi Gallery, MOMA, and The Photographers’ Gallery, London. His projects Case History, The Wedding, Unfinished Dissertation, Look at Me I Look at Water, have been published as books. Boris Mikhailov was the recipient of the prestigious Hasselblad Award in 2000 and the Citibank Photography Prize in 2001.


ABOUT THE WORKSHOP:
The 1000 Words Workshop takes place in an authentically restored riadsituated in the medieval medina, at the heart of the beautifully evocative city of Fez, Morocco. The workshop will be an intense experience lasting five days between 5-9 May 2012 and will consist of 12 participants. The medina is a vibrant labyrinth that will permeate all the senses. Surrounded by the Atlas Mountains, it offers a visually stunning backdrop for this truly unique workshop.

We are looking for a diverse range of participants who understand the work of Boris Mikhailov and feel that their own art will benefit from his guidance. 

PRACTICAL INFORMATION:
The cost of the workshop will be £1250 for 5 days. Once participants have been selected they will be expected to pay a non-refundable deposit of £500 within two weeks. Participants can then pay the rest of the fee according to deadlines (see below). Participants are encouraged to arrive the day before the workshop begins for a welcome dinner. The price includes:

-tuition from Boris Mikhailov (including defining each participants project; shooting; editing sessions; creating a coherent body of work; creation of a slide show; projection of the images of the participants.)
-a welcome and farewell dinner
-lunch everyday and snacks during the afternoon
-24 hour help from the 1000 Words team and an assistant/translator with local knowledge.

Participants will be expected to make their own travel arrangements and find accommodation, which in Fez can range from £150 upwards for the week. We can advise on finding the accommodation that best suits you. Remember that most of your time will be spent either at the riad or shooting. For photographers using colour film we will provide the means for processing and a scanner. Photographers shooting digital will be expected to bring all necessary equipment. Please note that for the purposes and practicalities of a workshop, digital really is advisable. All participants should also bring a laptop if they have one. Every effort will be made to accommodate individual technical needs.

ABOUT US:
The organisations flagship is 1000 Words, an online magazine dedicated to contemporary photography in the UK and beyond. It reviews exhibitions and photobooks and publishes interviews, essays alongside carefully curated imagery, often around a particular theme. We are committed to showing the work of lesser-known but significant photographers alongside that of established practitioners in the aim of bringing their work to a wider audience. Often incredibly diverse in terms of subjects, concepts, styles and techniques, yet whilst always foregrounding the subjectivity of documentary art photography, 1000 Words intends to explore the limits and possibilities of the medium.

Released quarterly, the magazine attracts over 140,000 unique visitors from more than 120 countries every month. In May 2010 the 1000 Words Blog was ranked at number 3 in The Top 25 UK Arts & Culture Blogs as part of a survey carried out by Creative Tourist and was also named as the winner of Arts Media Contacts Photography Blog of the Year Award, 2010.

Yet 1000 Words is much more than just an online magazine. 1000 Words also operates a programme of exhibitions and events including workshops, artist talks, portfolio reviews, prizes and awards. 

1000 Words is governed by its board of directors who play an active role in the direction of the organisation. They are: Camilla Gore, Nicholas Barker, Simon Baker, Aron Morel, Louise Clements, Tim Clark, Michael Grieve and Norman Clark. The 1000 Words Workshops are organised by Tim Clark, founder and editor-in-chief at 1000 Words and Michael Grieve, 1000 Words deputy editor, senior lecturer at Nottingham Trent University and a photographer represented by Agence Vu. 


TESTIMONIALS:
“I have had the most profoundly moving, fascinating, difficult, wonderful week of my life. Thank you 1000 Words. Words can not describe. I have been continuing with my project. It feels different here, of course. And much slower progress. But still shooting with the same or similar mindset. All connected to what I did in Morocco. Really, really missing everyone. I feel privileged, truly, to have been part of it. Have been in the countryside with my parents since getting back and finally showed my mum the slideshow, with music that had been spinning around my head. She cried.” Laura 

“The Erik Kessels workshop in Fez has been a fantastic and motivational experience that I will carry with me my whole life.” Andy

“The choice of city (Fez) to develop such an educational and inspirational workshop is amazing, since the immersion begins as soon as you arrive. You are induced to leave your comfort zone and search for new references and perspectives, and given that the culture and language are so unique they also become great ingredients in this creative quest. The whole infrastructure offered during the workshop and also the specific venue where the meetings and tutorial activities took place were all part of the environment, serving to create a peaceful and harmonic atmosphere that continuously inspired us all during the workshop.” Alan

Antoine DAgata workshop in Fez was a mind shaking experience, and for me that was just what I needed! Antoines repeated question to me was, “but what do you want?” What a simple question it may seem but to truly honestly answer this was one of the hardest things. Antoine struggled with me daily to be truthful to the process of shooting and to my work. Trying to do this as a white woman in a muslim foreign country seemed scary at first. But soon enough this fear pushed me to go farther than I had before. To take more risks and be more bold. In the end, I had allowed myself to befriend men and women who were at first just strangers on the street. My once beautiful but safely intimate portraiture became more real for me, evoking not only the fear of letting myself leap in a strange place but in the process of doing so, being able to see so much more in others.

The workshop venue was such a treat and incredible place to be able to go to every day. A sanctuary to rest and to edit and collect your thoughts. A place to run into your fellow work shoppers and bounce around ideas. The food was more than I had expected and in fact pretty much the best food I ate in Morocco in my three weeks travel. Tim and Michael were so on top of the workshop; they were there managing every detail from accommodations, food, coordinating the class meetings, running film to labs, scanning, and even just being sweet and kind pals to talk with about your day or have a beer with and brainstorm about your project.

All in all, this workshop could not have been better and I feel so lucky to have had such an opportunity. Antoines phenomenal out of the box thinking and honesty is one of a kind. 1000 Words workshops fall into the ‘do not miss this’ category!” Katie

HOW TO SUBMIT:
We require that you send 10 images as low res jpegs and/or a link to your website, as well as a short biography and statement about why you think it will be relevant for you to work with Boris (approx. 200 words total). Submissions are to be sent to [email protected] with the following subject header: SUBMISSION FOR 1000 WORDS WORKSHOP WITH BORIS MIKHAILOV.

01 October 2012: Deadline for applications
03 October 2012: Successful candidates contacted
12 October 2012: Deposit due (£500)
31 October 2012: Second installment due (£750)
04 November 2012: Arrive in Morocco for welcoming dinner
05 November 2012: Workshop begins
09 November 2012: Workshop ends

Удачи!


1000 WORDS WORKSHOP WITH BORIS MIKHAILOV IN FEZ, MOROCCO, 5-9 NOVEMBER 2012

© Boris Mikhailov

1000 Words is greatly honoured to announce our next workshop with the Ukrainian artist/photographer Boris Mikhailov in Fez, Morocco (5-9 November 2012). This is a very rare occasion to learn from one of the most highly-regarded contemporary photographers from the field of art and documentary.

“As a photographer with unofficial authority I discover, I observe, I clandestinely stalk.” Boris Mikhailov
BORIS MIKHAILOV:
Born in 1938, Boris Mikhailov is one of the most important photographers to have emerged from the former USSR. Starting photography in the 1960’s his work transgressed the moral and political dictates of the Soviet Regime. Although often engaged in the social disintegration affecting his country his work is subjectively rooted, dealing with the profound concerns of vulnerability and mortality. He has exhibited in numerous galleries and museums around the world notably the Tate Modern, Saatchi Gallery, MOMA, and The Photographers’ Gallery, London. His projects Case History, The Wedding, Unfinished Dissertation, Look at Me I Look at Water, have been published as books. Boris Mikhailov was the recipient of the prestigious Hasselblad Award in 2000 and the Citibank Photography Prize in 2001.


ABOUT THE WORKSHOP:
The 1000 Words Workshop takes place in an authentically restored riadsituated in the medieval medina, at the heart of the beautifully evocative city of Fez, Morocco. The workshop will be an intense experience lasting five days between 5-9 May 2012 and will consist of 12 participants. The medina is a vibrant labyrinth that will permeate all the senses. Surrounded by the Atlas Mountains, it offers a visually stunning backdrop for this truly unique workshop.

We are looking for a diverse range of participants who understand the work of Boris Mikhailov and feel that their own art will benefit from his guidance. 

PRACTICAL INFORMATION:
The cost of the workshop will be £1250 for 5 days. Once participants have been selected they will be expected to pay a non-refundable deposit of £500 within two weeks. Participants can then pay the rest of the fee according to deadlines (see below). Participants are encouraged to arrive the day before the workshop begins for a welcome dinner. The price includes:

-tuition from Boris Mikhailov (including defining each participants project; shooting; editing sessions; creating a coherent body of work; creation of a slide show; projection of the images of the participants.)
-a welcome and farewell dinner
-lunch everyday and snacks during the afternoon
-24 hour help from the 1000 Words team and an assistant/translator with local knowledge.

Participants will be expected to make their own travel arrangements and find accommodation, which in Fez can range from £150 upwards for the week. We can advise on finding the accommodation that best suits you. Remember that most of your time will be spent either at the riad or shooting. For photographers using colour film we will provide the means for processing and a scanner. Photographers shooting digital will be expected to bring all necessary equipment. Please note that for the purposes and practicalities of a workshop, digital really is advisable. All participants should also bring a laptop if they have one. Every effort will be made to accommodate individual technical needs.



ABOUT US:
The organisations flagship is 1000 Words, an online magazine dedicated to contemporary photography in the UK and beyond. It reviews exhibitions and photobooks and publishes interviews, essays alongside carefully curated imagery, often around a particular theme. We are committed to showing the work of lesser-known but significant photographers alongside that of established practitioners in the aim of bringing their work to a wider audience. Often incredibly diverse in terms of subjects, concepts, styles and techniques, yet whilst always foregrounding the subjectivity of documentary art photography, 1000 Words intends to explore the limits and possibilities of the medium.

Released quarterly, the magazine attracts over 140,000 unique visitors from more than 120 countries every month. In May 2010 the 1000 Words Blog was ranked at number 3 in The Top 25 UK Arts & Culture Blogs as part of a survey carried out by Creative Tourist and was also named as the winner of Arts Media Contacts Photography Blog of the Year Award, 2010.

Yet 1000 Words is much more than just an online magazine. 1000 Words also operates a programme of exhibitions and events including workshops, artist talks, portfolio reviews, prizes and awards. 

1000 Words is governed by its board of directors who play an active role in the direction of the organisation. They are: Camilla Gore, Nicholas Barker, Simon Baker, Aron Morel, Louise Clements, Tim Clark, Michael Grieve and Norman Clark. The 1000 Words Workshops are organised by Tim Clark, founder and editor-in-chief at 1000 Words and Michael Grieve, 1000 Words deputy editor, senior lecturer at Nottingham Trent University and a photographer represented by Agence Vu. 


TESTIMONIALS:
“I have had the most profoundly moving, fascinating, difficult, wonderful week of my life. Thank you 1000 Words. Words can not describe. I have been continuing with my project. It feels different here, of course. And much slower progress. But still shooting with the same or similar mindset. All connected to what I did in Morocco. Really, really missing everyone. I feel privileged, truly, to have been part of it. Have been in the countryside with my parents since getting back and finally showed my mum the slideshow, with music that had been spinning around my head. She cried.” Laura 

“The Erik Kessels workshop in Fez has been a fantastic and motivational experience that I will carry with me my whole life.” Andy

“The choice of city (Fez) to develop such an educational and inspirational workshop is amazing, since the immersion begins as soon as you arrive. You are induced to leave your comfort zone and search for new references and perspectives, and given that the culture and language are so unique they also become great ingredients in this creative quest. The whole infrastructure offered during the workshop and also the specific venue where the meetings and tutorial activities took place were all part of the environment, serving to create a peaceful and harmonic atmosphere that continuously inspired us all during the workshop.” Alan

Antoine DAgata workshop in Fez was a mind shaking experience, and for me that was just what I needed! Antoines repeated question to me was, “but what do you want?” What a simple question it may seem but to truly honestly answer this was one of the hardest things. Antoine struggled with me daily to be truthful to the process of shooting and to my work. Trying to do this as a white woman in a muslim foreign country seemed scary at first. But soon enough this fear pushed me to go farther than I had before. To take more risks and be more bold. In the end, I had allowed myself to befriend men and women who were at first just strangers on the street. My once beautiful but safely intimate portraiture became more real for me, evoking not only the fear of letting myself leap in a strange place but in the process of doing so, being able to see so much more in others.

The workshop venue was such a treat and incredible place to be able to go to every day. A sanctuary to rest and to edit and collect your thoughts. A place to run into your fellow work shoppers and bounce around ideas. The food was more than I had expected and in fact pretty much the best food I ate in Morocco in my three weeks travel. Tim and Michael were so on top of the workshop; they were there managing every detail from accommodations, food, coordinating the class meetings, running film to labs, scanning, and even just being sweet and kind pals to talk with about your day or have a beer with and brainstorm about your project.

All in all, this workshop could not have been better and I feel so lucky to have had such an opportunity. Antoines phenomenal out of the box thinking and honesty is one of a kind. 1000 Words workshops fall into the ‘do not miss this’ category!” Katie


HOW TO SUBMIT:
We require that you send 10 images as low res jpegs and/or a link to your website, as well as a short biography and statement about why you think it will be relevant for you to work with Boris (approx. 200 words total). Submissions are to be sent to [email protected] with the following subject header: SUBMISSION FOR 1000 WORDS WORKSHOP WITH BORIS MIKHAILOV.

01 October 2012: Deadline for applications
03 October 2012: Successful candidates contacted
12 October 2012: Deposit due (£500)
31 October 2012: Second installment due (£750)
04 November 2012: Arrive in Morocco for welcoming dinner
05 November 2012: Workshop begins
09 November 2012: Workshop ends

Удачи!


Go See – New York: Ivan Navarro at Paul Kasmin through April 2nd, 2011

Ivan Navarro - Twin Towers - Paul Kasmin
Ivan Navarro Twin Towers (2011) and Desert (Columbia Center) (2011). Via Paul Kasmin Gallery

Chilean-born artist Ivan Navarro‘s “Heaven or Las Vegas” will be on view at Paul Kasmin Gallery through April 2nd, 2011. The exhibition directly follows Navarro’s recent Armory showcase, where his aptly titled work, “The Armory Fence,” was shown through Paul Kasmin. Navarro is currently based in Brooklyn, and “Heaven or Las Vegas” is his first solo exhibition at Paul Kasmin Gallery.

Ivan Navarro - Armory Fence - Paul Kasmin
Ivan Navarro, Armory Fence (2011) site specific installation at the 2011 New York Armory Show. Via L. Streeter, Art Observed

more images and story after the jump…

Ivan Navarro - Shelter - Paul Kasmin
Ivan Navarro, Shelter (2011). Via Paul Kasmin Gallery

Navarro selected twelve internationally recognizable skyscrapers to model his florescent light sculptures, thusly alluding to the global manifestation of Western ambition and expansion. Inspirations for the walled light sculptures include the Jumeriah Emirates Towers in Dubai, the Center in Hong Kong, and the Flatiron Building in New York.


Ivan Navarro, Surrender (Flatiron) (2011). Via Paul Kasmin Gallery

Each work additionally incorporates words or phrases to enhance metaphorical and aesthetic dimensions of architectural simulation. In addition to the use of mirroring and lighting techniques, the words substantiate the illusion of an elevation of over 1,000 feet high.

Ivan Navarro - Homeless Lamp, the Juice Sucker - Paul Kasmin
Ivan Navarro, Homeless Lamp, the Juice Sucker (2005). Via The Saatchi Gallery

In this exhibition, Navarro incorporates his repeated platform of political discontent, utilizing the tools of an everyday society to allude to underlying danger and violence. At Paul Kasmin, the macabre merits of previously showcased work have literally taken on a new dimension, with the illusion of three-dimensionality suggesting that even ideological structure is illusory.

Ivan Navarro - Pink Electric Chair - Paul Kasmin
Ivan Navarro, Pink Electric Chair (2006). Via Phillips de Pury

Navarro has used florescent lights in previous works, which arguably “illuminate”  symbolic contradictions. However, his Armory piece prior to the current Kasmin exhibition used structure rather than light to represent entrapment. The fence does not flash or glow, but its confining and linear structure sends a silent message. The work is a chronological precursor to the current exhibition at Paul Kasmin, and also introduces a new element of structural integrity to the traditional themes Ivan Navarro has used in the past.

Related Links
Press Release [Paul Kasmin Gallery]
Artist’s Bio [The Saatchi Gallery]
AO On Site photoset/news summary – New York: Armory Show – The Day One Preview, March 2nd, 2011 [Art Observed]

A. Bregman

View full post on AO Art Observed™