jack goldstein . . .

Jack Goldstein x 10,000” consists of thirty-plus years of work. The early films that put Goldstein on the map as a member of the Pictures group are there (including “The Jump,” 1978, and “MGM,” 1975), as are several immersive sculptures, text works, and records—not to mention the enormous, black-and-white paintings of the ‘80s and the paintings that followed.

andy freeberg . . .

In Andy Freeberg's series Art Fare, the art on display becomes a frame, creating an accidental "living diorama."


"Gallery owners and their staff are usually hidden behind large entry desks and closed office doors. But at the major art fairs I've visited, like New York's Armory Show and Art Basel in Miami and Switzerland, they're in plain view in their booths. As if on stage, you can see art dealers meeting with collectors, selling and negotiating, talking on cell phones, working on laptops, and manipulating touch screens in 21st century postures newly adapted for the latest electronic devices. I found the lighting, costumes, and set design excellent for photographing these living dioramas, where the art world plays itself." Andy Freeberg


To see more of Andy Freeberg's work click here.

Sean Kelly

Spinello

Andrea Rosen

Gagosian

Leonard Ruethmueller

Rokeby

dinh q le . . .

Dinh Q. Le is known for his technique of weaving photographic images together; he continues in this tradition with this new series. Le investigates two highly intelligent cultures of the past: one of ancient Sumer, the other of 12th century Cambodia. Both cultures are remembered in his work through their remnants and ruins. 

To read more about this work click here.

Empire #2, 2012

6 C-prints and linen tape, 53 x 78 1/4 inches (framed)

Installation view

Sumerians #3, diptych, 2012

2 C-prints and linen tape, 77 1/2 x 53 inches each (framed)

The Headless Buddha of Angkor, 2012

15 digital prints, 129 3/8 x 153 3/4 inches each (framed), Edition of 5, 2AP

magnum contact sheets . . .

Magnum Contact Sheets reveals how Magnum photographers have captured and edited their best shots from the 1930s to the present. The contact sheet, a direct print of a roll or sequence of negatives, is the photographer's first look at what he or she has captured on film, and provides a uniquely intimate glimpse into their working process. It records each step on the route to arriving at an image—providing a rare behind-the-scenes sense of walking alongside the photographer and seeing through their eyes. Including both celebrated icons of photography and lesser-known surprises, the exhibition functions as an "epitaph" to the contact sheet, now rendered obsolete by digital photography. Through these fascinating and usually private images, the exhibition celebrates what and how photographers saw for nearly a century. Coinciding with the publication of Magnum Contact Sheets (Thames & Hudson), edited by ICP Curator Kristen Lubben, the exhibition includes a selection of some of the 139 contact sheets in the book.

This exhibition was made possible with public funds from the New York City Department of Cultural Affairs in partnership with the City Council. It is organized in association with Magnum Photos.

photographers in the frame . . .

Another twist on frames . . . from Flickr members . . .

John Howell, an Indianapolis newsboy, makes $.75 some days. Begins at 6 a.m., Sundays.

(Lives at 215 W. Michigan St.)  LOC

Photographers shooting Cherry blossoms, Washington, DC. 4/7/22 LOC

Portrait of Billie Holiday, Downbeat (?), New York, N.Y., ca. June 1946 LOC

Frances Benjamin Johnston on a balcony of the State, War and Navy Building with a tripod-mounted camera, photographing an unidentified man. LOC

Farm Utilities Corp.. window, LOC

Two photographers taking each others' picture with hand-held cameras while perched on a roof, LOC

Frances Benjamin Johnston, three-quarter length portrait, holding and looking down at camera, facing slightly left, LOC

Itinerant photographer in Columbus, Ohio, LOC

michelle given . . .

Moving On is an installation that is contingent upon audience participation. The piece is comprised of a 16mm projector and a paper shredder plugged into a timer set to thirty seconds. A viewer must start the timer to see the old family movies, thereby committing themselves not only to thirty seconds of footage, but also to the permanent destruction of thirty precious seconds of the same film, someone else’s memories, which glitter in the light as they are spat out of the shredder. The nostalgia traditionally associated with viewing old family films is undermined by the shredder’s jarring sound. I am intrigued by causality and responsibility; those that choose to fully experience the piece are also complicit in the destruction of its key component. The title can refer to the act of forgetting or destroying the past and/or memories, as well as the unromantic advancement of audio-visual technology.


To see more work by Michelle Given click here.

zoe strauss . . .

Strauss’ I-95 project is a ten year long endeavor for which Strauss displayed her photographs by affixing them to the pilasters supporting the overpass of Interstate-95 in South Philadelphia. For a single day each May (from 2001-2010), Strauss revitalized and transformed a derelict and unused public space into a site for art, facilitating community and social interaction through her installation. At the end of the exhibit, the laminated installation photographs were free for the taking. As an artist, Strauss prioritizes accessibility and she enthusiastically promotes discourse regarding her work and artistic process via her well-known and widely followed blog. She describes her work as an effort to create an “epic narrative that reflects the beauty and struggle of everyday life.” While her chosen subjects and scenes of the American urban landscape can seem unflattering, troubling or blighted, they reflect the artist’s interest in confronting and depicting life in America—not in a manner of pure social journalism, but as a method of exploring her interests in visual abstraction as well as the self-reflexive nature of the medium.

Click here to read more.

angelica dass . . .

Humanae  is a chromatic inventory, a project that reflects on the colors beyond the borders of our codes by referencing the PANTONE® color scheme.(PANTONE® Guides are one of the main classification systems of colors, which are represented by an alphanumeric code, allowing to accurately recreate any of them in any media. It is a technical industrial standard often called Real Color)The project development is based on a series of portraits whose background is dyed with the exact Pantone® tone extracted from a sample of 11x11 pixels of the portrayed’s face. The project’s objective is to record and catalog all possible human skin tones.
Click here to read more about this project.

walter plotnick . . .

Walter is a photo-based artist who lives and works in the Philadelphia area. He received his MFA from University of the Arts and BFA from Tyler School of Art. Currently, he is an instructor in the Fine Arts Department at Penn State Abington, as well as Montgomery County Community College. He recently completed a film, featuring a Fine Art Department colleague and a classroom of art students engaged in an end-of-year assignment that Walter wanted to document in a creative way. It's a testament to the power of collaborative artistic expression and how art inspires. Read more . . .