LANDON NORDEMAN: Canine Kingdom with Curator Elisabeth Biondi

Handler with dog, Ploiesti, Romania, 2012

Photograph by Landon Nordeman

Borzois, 134th Annual Westminster Kennel Club Dog Show, 2010

Photograph by Landon Nordeman

Standard Poodle, 128th Annual Westminster Kennel Club Dog Show, 2004

Photograph by Landon Nordeman

Landon Nordeman’s series, “Canine Kingdom,” takes us inside the Westminster Kennel Club Dog Show, now running for 138 years. To mark the exhibit’s opening (March 12, 7:30pm) at The Half King in New York, Photography Curator Elisabeth Biondi and Nordeman will screen a slideshow, and talk about the stories and context of Landon’s images.

Landon Nordeman began shooting The Westminster Kennel Club Dog Show in 2004. The project is ongoing. In addition to photographing personal projects, Nordeman is a contributing photographer for The New Yorker and Saveur. He shoots for commercial and editorial clients around the world. His photographs have been exhibited at the Howard Greenberg Gallery, NYC; The Houston Center of Photography; The Ullens Center for Contemporary Art in Beijing; and are in the collection of The Museum of Fine Arts Houston.

Photography curator, Elisabeth Biondi, has influenced all of us through her powerful career at four of the most influential magazines in the world. Biondi joined The New Yorker Magazine as Visuals Editor in 1996, just a couple of years after photography had first been introduced into the 75-year-old magazine. From her background at Geo, Stern, and Vanity Fair, she brought her masterful eye to The New Yorker, helping to create their award winning use of photography.
 

I spoke with Elisabeth about working with Nordeman, her career and her little dog, Boris...read my full piece on L'oeil de la Photographie

 Canine Kingdom
Photographs by Landon Nordeman
March 12, 2014 - May 11, 2014
The Half King 505 West 23rd Street NY

 

Elisabeth Biondi's dog, Boris

Photograph by Matt Leifheit

"I’m definitely a dog person, and always knew that one day, when I did not spend the week in an office, I would have a wire-haired dachshund (Dachshund translates to “badger dog” in German. They were used for hunting badgers in their dens). After I stopped working at The New Yorker, I quickly got little Boris, a wire-haired dachshund, from a kennel in Woodstock. He was one of six born during Wimbledon Week and all the puppies got tennis player's first names. Mine is named after Boris Becker, so of course he had to be mine. He is funny, sweet, and stubborn; loves, children, other dogs and does not have a mean bone in his body." –Photography curator, Elisabeth Biondi

 Read my full piece on L'oeil de la Photographie

Join us. Become a friend of L’Oeil, and give what you can. L’Oeil de la Photographie is yours as well. http://www.loeildelaphotographie.com/en/2014/01/13/we-need-your-support

AMY ARBUS: Vintage Prints at NY Leica Gallery

“On The Street: 1980-1990,” Book Cover

Madonna (St. Marks Place) 

Photograph ©Amy Arbus

Fingernail Extensions

Photograph ©Amy Arbus 

 The Clash

 Photograph ©Amy Arbus

Amy Arbus: On The Street 1980 – 1990

February 28 - April 19, 2014

Leica Gallery, 670 Broadway, New York

 Artist reception February 27 from 6-8pm

Read my full Interview With Amy Arbus here

on L'oeil de la Photographie

"Arbus's style is so casual it feels effortless, and every picture has wit, soul, and graphic snap. Roaming the East and West Village streets, she found and recorded many of the era's most idiosyncratic icons, including....Madonna, whose stained camel-hair coat and scarily prescient bowling bag still look like the very definition of downtown chic. Arbus clearly understands the power of clothes to express personality, so the best of her work is a seamless blend of fashion and portraiture." –Vince Aletti for The Village Voice

JONATHAN BLAUSTEIN: The Mindless Consumption of Animals

 Cow Farts Cause Global Warming

"The Mindless Consumption of Animals" 

Photographs © Jonathan Blaustein

No One's Hands Are Clean

"The Mindless Consumption of Animals" 

Photographs © Jonathan Blaustein

People Feed This To Their Children

"The Mindless Consumption of Animals"

Photographs © Jonathan Blaustein

“I've lived in cities on both coasts, and have found that the man-made landscape leads people to over-consider the power of humanity.... When you're staring at skyscrapers all day, and traveling via underground train or high speed elevator, it's easy to overestimate our capabilities.”– Jonathan Blaustein

Read my Interview with Jonathan Blaustein

on L'Oeil de la Photographie here

Exhibition

Art for a Silent Planet: Blaustein, Elder, and Long

February 22 - May 4, 2014
The Harwood Museum of Art, Taos, New Mexico

Become a friend of L’Oeil, and give what you can. Join us. L’Oeil de la Photographie is yours as well. http://www.loeildelaphotographie.com/en/2014/01/13/we-need-your-support

NICHOLAS VREELAND: Travels with a Monk

 Offering a scarf to His Holiness the Dalai Lama.

Color Portrait by Ven. Nicholas Vreeland

RETURN TO THE ROOF OF THE WORLD, Photo Exhibition, Taipei

Khyongla Rato Rinpoche and Ven. Nicholas Vreeland, Photographer and Abbot of Rato Monastery in Southern India, traveled to Hong Kong and Taipei where Vreeland's exhibition, "RETURN TO THE ROOF OF THE WORLD: A Photographic Exhibition by Nicholas Vreeland," of color portraits and black and white photographs is showing through February 28.

 Nicholas Vreeland Photo Exhibition, Taipei, February 2014

RETURN TO THE ROOF OF THE WORLD
A Photographic Exhibition by Nicholas Vreeland

February 14-28 2014

Huashan 1914 Creative Park

1F, M2, No. 1, Sec. 1, Bade Rd., Taipei, Taiwan

We went to see Master Guo Ru, Dharma Heir of Master Sheng Yen

Follow @nvreeland on Instagram

Follow @elizabethavedon on Instagram

RICHARD BARNES: Murmur + Refuge at FOLEY

Murmur no. 1, 2005. 44 x 44 inches, Pigment print

Murmur no. 13, 2006. 44 x 44 inches, Pigment print

In Murmur, Barnes observes the flocks of starlings that cloud the skies of EUR, a suburb of Rome.  In this series, Barnes depicts nature as it behaves on it’s own, alive and breathing.  The photographs capture the birds’ aerial displays, which seem to take on the form of suspended mesh sculpture, and the uncontrollable fluctuation of nature as it moves on its own.

Green Leaf Nest, 2000. Pigment print

Refuge examines the complex architecture of bird nests, constructed from elements of the natural world and debris discarded by humans.  The nests are intricate structures, unique in shape and form. Murmur and Refuge are part of Barnes' larger series, Animal Logic.

 

Richard Barnes: Murmur + Refuge

FOLEY GALLERY
through February 23, 2014

+  +  +

Elizabeth Avedon: Is your work collaborative or do you work resolutely by yourself?

Richard Barnes: I enjoy working collaboratively. While in Rome, I entered into what was perhaps the most fruitful collaboration of my career to date. I produced “Murmur” with Alex Schweder, an architect and video artist, and Charles Mason, a composer. “Murmur” forms another chapter in my book (Animal Logic, Princeton Architectural Press) and is an investigation into the flocks of starlings which every winter fill the evening sky over Rome. No one is quite sure why the starlings stopover in Italy but before roosting for the night, they converge on the city from the countryside in flocks numbering in the hundred of thousands. This would be impressive enough in it’s own right, but they also do these incredible aerial displays that resemble drawings or computer animation written large overhead. The effect is awe-inspiring, though the Romans detest this “invasion of the starlings”.

Elizabeth Avedon: There is a surreal quality to these images. Do you regard yourself as a Surrealist or feel an affinity with the notion of the images as a kind of dream?  

Richard Barnes: I certainly have an affinity for surrealist imagery. I don’t see how it can be avoided as it’s so ubiquitous in our time, from movies and books to advertising. What sets my work apart is that it grows out of a documentary tradition and from this straight ahead or forensic approach I subvert the document through either juxtaposition or de-contextualization of an object from its surroundings, thereby rendering it hyper-real. I believe real life is strange and surreal enough if one looks a little longer and harder than to attempt to make something surreal on purpose, which usually comes off as contrived. As far as my images conjuring up the realm of a dream reality in someone, I would take this as an indication that they are working. 

My complete Interview With Richard Barnes here

Murmur Installation, 22 4th St at Market, San Francisco
Permanent installation commissioned by Jamestown LP

PAULA McCARTNEY: A Field Guide to Snow + Ice opens at KLOMPCHING Gallery

White Sands #4, 2009  © Paula McCartney 

Image: courtesy of Klompching Gallery, New York

 Black Ice #1 and Black Ice #2, 2011 © Paula McCartney

Image: courtesy of Klompching Gallery, New York

 Backyard Snow #2, 2010  © Paula McCartney 

Image: courtesy of Klompching Gallery, New York

“I see winter everywhere, in every environment, in every season and categorize it by pattern, shape, and line rather than merely by substance”– Paula McCartney

A Field Guide to Snow and Ice is a sophisticated set of photographs, continuing Paula McCartney’s visual exploration of truth and fabrication in the photographic image and natural world. The 29 artworks that make up the exhibit at KLOMPCHING GALLERY, are a sequential installation of modestly-sized photographs, interweaving natural elements and constructed environments—we see snowfalls, frozen waterfalls, stalagmites and snowdrifts.

McCartney’s representation of abstracted elements, reveal a nuanced ambiguity of scale and substance, causing what has been photographed, to transcend its origin. This is not an exhibition to take for granted, but one to explore carefully, particularly its use of a collapse between the creative and scientific languages.

Paula McCartney
A Field Guide to Snow and Ice
January 10 – February 15, 2014
Artist Reception: Thursday, January 9, 6m–8pm

KLOMPCHING GALLERY

111 Front Street, Brooklyn

Paula McCartney gained an MFA in Photography from the San Francisco Art Institute in California (2002). She has been the recipient of several awards including a 2013-2014 MCP/McKnight Artist Fellowship. McCartney’s photographs have been widely exhibited and her work is held in the collections of the Deutsche Bank, Walker Art Center, MOMA and Yale University amongst others. Accompanying the exhibition is On Thin Ice, In A Blizzard—a limited edition artist book, featuring a selection of photographs from A Field Guide to Snow and Ice. (Text: courtesy of Klompching Gallery)

BEN MARCIN: Last House Standing

 Silver Run, MD, 2009

Photograph (c) Ben Marcin
 

 Howard County, MD

Photograph (c) Ben Marcin

 Alamosa County, CO, 2013

 Photograph (c) Ben Marcin

New London, MD, 2013

Photograph (c) Ben Marcin

"One of the architectural quirks of certain cities on the eastern seaboard of the U.S. is the solo row house. Standing alone, in some of the worst neighborhoods, these nineteenth century structures were once attached to similar row houses that made up entire city blocks. Time and major demographic changes have resulted in the decay and demolition of many such blocks of row houses. Occasionally, one house is spared - literally cut off from its neighbors and left to the elements with whatever time it has left."

"My interest in these solitary buildings is not only in their ghostly beauty but in their odd placement in the urban landscape. Often three stories high, they were clearly not designed to stand alone like this. Many details that might not be noticed in a homogenous row of twenty attached row houses become apparent when everything else has been torn down. And then there's the lingering question of why a single row house was allowed to remain upright. Still retaining traces of its former glory, the last house standing is often still occupied." – Ben Marcin

Last House Standing (And Other Stories)

Photographs by Ben Marcin

Dec 18 - Jan 25, 2014

C. GRIMALDIS GALLERY  

523 N. Charles St., Baltimore, Maryland

JAMES WHITLOW DELANO: Mangaland: A Tokyo Retrospective in New York

Photograph (c) James Whitlow Delano

Photograph (c) James Whitlow Delano

Photograph (c) James Whitlow Delano

Mangaland: A Tokyo Retrospective, an exhibition marking photographer James Whitlow Delano’s twenty years working in Japan, opens at the Sous Les Etoiles Gallery December 12. Since he visited the city of Tokyo in spring of 1993 at a friend’s urging, James Whitlow Delano has become one of the most informed photographic eyes on Japanese culture. Delano’s photography, characterized by his ethereal use of vignette and partial defocus, present a complex tableau of a society at once jaded yet naive, resilient yet vulnerable.  Also presented are select images from the series Black Tsunami, recently published by FotoEvidence in the new photo "Black Tsunami: Japan 2011," depicting the aftermath of the 2011 tsunami and Fukushima meltdown. Together, the series presents not only the artistic merits of the photographer’s work, but also its journalistic imperative.

James Whitlow Delano, born 1960, is an American-born photographer based in Tokyo, Japan.  As one of today’s foremost photographers of Asia, Delano’s work is held in the permanent collections of  La Triennale di Milano Fine Arts Museum (Milano, Italy); Museum of Fine Arts (Houston, TX); Museo Fotografia Contemporanea (Milano, Italy); Museum of Photographic Arts’ Dubois Library (San Diego, CA); Noorderlicht Photography Festival (Groningen, Netherlands); and the Permanent Leica Book Archive (Solms, Germany). His work has appeared worldwide in numerous magazines and photo festivals, from Visa Pour L’Image to Rencontres D’Arles to Noorderlicht, and has been awarded internationally, including the Alfred Eisenstadt Award (from Columbia University and LIFE magazine), Leica’s Oskar Barnack, Picture of the Year International, NPPA, and PDN, among many others.

His newly released book, "Black Tsunami: Japan 2011" (FotoEvidence), received a 2012 PX3 Award. James Whitlow Delano is a grantee for the Pulitzer Center on Crisis Reporting.

Dec 12 – Jan 31, 2014

 Sous Les Etoiles Gallery

560 Broadway, NYC 

Text and Images courtesy Sous Les Etoiles Gallery

 

JAMES KARALES: Howard Greenberg Gallery

Rendville, Ohio, 1956

Gelatin silver print; printed c.1956. Signed, titled, and dated with "vintage 1-2" in pencil, photographer's stamps and "Life" in pencil on mount verso. Courtesy of the Howard Greenberg Gallery

 Untitled, date unknown

Gelatin silver print. Not For Sale. Courtesy of the Howard Greenberg Gallery

 Lower East Side, New York, 1969

Gelatin silver print. Signed in ink with photographer's stamps on mount verso. Courtesy of the Howard Greenberg Gallery

"James Karales (1930 - 2002) graduated from Ohio University with an M.F.A. in photography in 1955. His first job was as an assistant to W. Eugene Smith where he learned darkroom skills from the master. Early in his career, his work began to attract attention, most notably from Edward Steichen, the director of photography at the Museum of Modern Art in New York, who purchased two prints. Beginning in 1960, Karales was a photographer for LOOK magazine for 11 years, and became known for his landmark essays on Dr. Martin Luther King Jr., who granted him unprecedented access to his family. When LOOK closed in 1971, Karales became an independent photographer. His work is in the collections of The Museum of Modern Art and the International Center for Photography in New York." 

 +  +  +

"James Karales’ photographs of the Civil Rights movement put him on the photo world map, but some of his other major themes are the focus of an exhibition at Howard Greenberg Gallery to December 14, 2013. While his iconic image of the Selma to Montgomery march are on view, the exhibition delves deeper into his lesser-known surveys of the integrated mining community of Rendville, Ohio; logging in Oregon; and the aftermath of the Andrea Doria disaster. Many of the images were taken for LOOK magazine and are on public view for the first time. The exhibition includes work from 1956 to 1969."

James Karales

Exhibition: Nov 7 – Jan 4, 2014

Howard Greenberg Gallery
41 East 57th Street
New York, NY

Vietnam, 1963

Gelatin silver print; printed c.1963. Signed, titled and dated with "Vintage 1-2" in pencil, photographer's stamps on mount verso. Courtesy of the Howard Greenberg Gallery. "In 1965, Karales traveled to Vietnam to photograph the U.S. Special Forces, where he told the story of the war though faces of the people. A 1963 image shows a young Vietnamese boy carrying a baby on his back in a cloth sling."

 BOOKS

The exhibition of work by James Karales coincides with the publication of a new book by Steidl, with text by Vicki Goldberg, Howard Greenberg, and Sam Stephenson. The book, James Karales, aims to show that Karales’ stature as a photojournalist and social documentary photographer par excellence is based on much more than one image from Selma.

Another book published earlier this year, Controversy and Hope: The Civil Rights Photographs of James Karales (The University of South Carolina Press, April 2013), includes a forward by Civil Rights leader Andrew Young, who was Dr. Martin Luther King Jr.’s aide. He writes, Karales’ images reveal “the complexity of emotions intertwined with the hopes and hardships of the struggle.”

Text and images courtesy of Howard Greenberg Gallery

HOWARD GREENBERG GALLERY: Vivian Maier

Vivian Maier: Self Portrait Exhibition

 Photograph (c) Dina Regine

Vivian Maier: Self Portraits

 

Glass case with Vivian Maier's Rollei and small color prints

Curator Frances Vignola and Filmmaker Collector John Maloof

Also showing, Vivian Maier's unpublished work

An exhibition of self-portraits by recently discovered street photographer Vivian Maier made from 1950 – 1976 are on view at Howard Greenberg Gallery to January 4, 2014. The exhibition coincides with the publication of the book Vivian Maier: Self-Portraits (powerHouse Books, November 2013) that surveys Maier’s self-portraits, many of which are being shown and published for the first time.

The story of Vivian Maier has practically become a photography legend:  Born in New York City in 1926, she spent much of her youth in France. Returning to the U.S. in 1951, she worked as a nanny in Chicago and New York for 40 years. Reclusive and eccentric, she took pictures all the time, yet never showed them to anyone. From the 1950s to the 1990s, with a Rolleiflex dangling from her neck, she made over 100,000 images, primarily of people and cityscapes.

Maier’s massive body of work, which could have been destined for obscurity, was housed in a storage locker in Chicago for many years. Unbeknownst to her caretakers (three of the grown children she had looked after), the contents of her storage locker had been dispersed due to non-payment. Her negatives were discovered by Chicago-based realtor and historian John Maloof at an auction house in Chicago in 2007. Maloof pieced together the identity of the mysterious photographer, but Vivian Maier died in 2009, before Maloof was able to speak with her. In the years that followed, Maloof has brought her work to the attention of the art world and the general public; and since 2010, nearly 20 exhibitions of photographs by Vivian Maier have been mounted in the U.S. and Europe. Numerous critics have written that her work will be remembered as some of the best 20th-century street photography.

Vivian Maier: Self-Portrait at Howard Greenberg Gallery is the first exhibition to explore the photographer’s numerous self-portraits and the first U.S. gallery exhibition of her color work.  

Vivian Maier: Self-Portrait
Exhibition: Nov 7 – January 4, 2014

Howard Greenberg Gallery
41 East 57th Street
New York, NY

Vivian Maier: Self-Portraits
Photographs by Vivian Maier, Edited by John Maloof
Essay by Elizabeth Avedon. Published by powerHouse Books

(Text courtesy Howard Greenberg Gallery)

VIVIAN MAIER | SELF PORTRAITS: Exhibition and Book Signing at Howard Greenberg Gallery

Vivian Maier: Self-Portrait, September 10, 1955–Anaheim, California

Courtesy Howard Greenberg Gallery

Vivian Maier: Self-Portrait Exhibition
 

"An exhibition of self-portraits by recently discovered street photographer Vivian Maier made from 1950 – 1976 will be on view at Howard Greenberg Gallery from November 8 – January 4, 2014. The exhibition coincides with the publication of the book Vivian Maier: Self-Portraits (powerHouse Books, Nov. 2013) that surveys Maier’s self-portraits, many of which are being shown and published for the first time. Opening reception will be Thursday, November 7, from 6-8 p.m"

"The story of Vivian Maier has practically become a photography legend:  Born in New York City in 1926, she spent much of her youth in France. Returning to the U.S. in 1951, she worked as a nanny in Chicago and New York for 40 years. Reclusive and eccentric, she took pictures all the time, yet never showed them to anyone. From the 1950s to the 1990s, with a Rolleiflex dangling from her neck, she made over 100,000 images, primarily of people and cityscapes."

"Maier’s massive body of work,which could have been destined for obscurity, was housed in a storage locker in Chicago for many years. Unbeknownst to her caretakers (three of the grown children she had looked after), the contents of her storage locker had been dispersed due to non-payment. Her negatives were discovered by Chicago-based realtor and historian John Maloof at an auction house in Chicago in 2007. Maloof pieced together the identity of the mysterious photographer, but Vivian Maier died in 2009, before Maloof was able to speak with her. In the years that followed, Maloof has brought her work to the attention of the art world and the general public; and since 2010, nearly 20 exhibitions of photographs by Vivian Maierhave been mounted in the U.S. and Europe. Numerous critics have written that her work will be remembered as some of the best 20^th-century street photography." – Text courtesy of the Howard Greenberg Gallery

Vivian Maier: Self-Portrait at Howard Greenberg Gallery is the first exhibition to explore the photographer’s numerous self-portraits and the first U.S. gallery exhibition of her color work.

Vivian Maier: Self-Portrait 

Exhibition: Nov 7 – January 4, 2014

Howard Greenberg Gallery
41 East 57th Street
New York, NY

 powerHouse Books, November 2013

Photographs by Vivian Maier

Edited by John Maloof, Essay by Elizabeth Avedon

Vivian Maier: Self-Portraits
Howard Greenberg Gallery
41 East 57th Street
New York, NY

STEPHEN L. CLARK GALLERY, AUSTIN TEXAS: 20th Anniversary Exhibition

 

 Gus on the Porch

Photograph by Bill Wittliff

 Tufted Titmouse 

Photograph by Kate Breakey

Birthright Photograph by Keith Carter

Stephen L. Clark Gallery, AIPAD Booth 314, 2010

"Revelation 2004" by Sean Perry (left), Kate Breakey wall (right)

Revelation 2004

Photograph by Sean Perry

This weekend, the Stephen L. Clark Gallery in Austin, Texas marks 20 years with an extraordinary exhibition that includes Bill Wittliff, Kate Breakey, Keith Carter, and Sean Perry, respectively – "because they are all part of the history of this gallery, deeply threaded into its development, evolution, and success." – The Austin Chronicle, read more here

Stephen L. Clark Gallery

20th Anniversary Show / Oct. 19-Dec. 7
1101 W. Sixth, Austin, Texas

ARTHUR MEYERSON: The Color of Light

 

"The Color of Light"

 Front Cover: Red Hat, Wyoming

Buy The Book Here

Red Car, Blue Interior

"An Arthur Meyerson image is both original and classic. There is no more winning combination. Looking at his photographs one feels they have entered a world more beautiful than any they could have imagined" – Amy Arbus. Photographer, New York

 The Palio, Italy

"Powerful, elegant photographs by one of the most respected photographers working today. The world according to Arthur Meyerson, is one f enchanting color, deep beautiful, humor and hope." – Keith Carter, Photographer. Beaumont, Texas

 Blue Suede Shoes Salook, Memphis

 "Why in God's name would anyone believe anything good I say about Arthur Meyerson? After all, everyone knows he's one of my best friends. – Jay Maisel, Photographer

Exhibition: Colorful and exotic locales captured by award winning photographer, Arthur Meyerson on his photographic journeys to all seven continents. 

JOURNEYS: Photography by Arthur Myerson

The Grace Museum, Abilene, Texas

Now through February 18, 2014

"The Color of Light"

Buy The Book Here