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The gallery explains: “Since it now exists only in memory, Crow’s Field is impossible to document, yet Kaur accesses it by subverting the traditional photographic genres of still life, landscape, and portraiture. Through the process Crow’s Field serves as a metaphor for creating a new type of photograph, one that partially embodies both the real and the surreal. As they subtly dislocate time and space, these ephemeral images de-center classical narrative structures. The results are a group of atmospheric pictures that invite the viewer to participate in finishing each story.
Permeated by everyday natural elements, almost too strange to believe, Kaur creates an otherworldly stream-of-consciousness meditation on memory through the uncanny nature of photographs. A freshly caught octopus on a fishing boat becomes a still life; a girl and her dog morph into a chimera at rest; a sunflower transforms into a baroque abstraction. Underneath these familiar and lush exteriors a sense of uneasiness gnaws away at Kaur’s most cherished attachments. It’s not that she can’t go home again; it’s that home was never exactly what she thought it was.”
About – Siri Kaur received her MFA in Photography from California Institute of the Arts in 2007, and an MA in Italian Studies (2001) and BA in Comparative Literature (1998) from Smith College. Kaur was the recipient of the Portland Museum of Art’s Biennial Purchase Prize in 2011. She has participated in numerous exhibitions, including solo shows at Blythe Projects and USC’s 3001 galleries in Los Angeles, and group shows at the Torrance Museum of Art, California Institute of Technology, and UCLA’s Wight Biennial. Her work has been reviewed in Artforum, art ltd., The L.A. Times, and The Washington Post, and is housed in the permanent collections of the National Gallery in Washington, D.C. and the University of Maine. She lives and works in Los Angeles, where she also serves as Assistant Professor at Otis College of Art and Design.
Siri Kaur "Crow's Field" . 11 March – 22 April, 2017 . 2766 S La Cienega Blvd, Los Angeles, CA 90034, USA. kopeikingallery.com
28.03.2017 // show complete article
New York Team Gallery is pleased to present you early works by Ryan McGinley which are still on display thru 1 April. The photos were created in the years from 1999 to 2003 in New York, a period of hopelessness for many Americans – synonomous with the beginning of the Bush era, 9/11 and its aftermath.
The press release from the gallery on the exhibition: "These vérité images, which pre-date his famed “road trip” series, capture the exploits of the artist’s social circle, members of an outlaw creative community based in New York’s Lower East Side. This body of work – a significant addition to the legacy of American subculture photography forged by the likes of Peter Hujar, David Wojnarwicz, Philip-Lorca diCorcia and Nan Goldin – is characterized by McGinley’s idiosyncratic admixture of hopefulness and self-awareness, as well as his unembarrassed disclosure of the melodrama of youth, its inextricably intertwined joy and heartbreak: the artist shows us his debauched, frequently naked friends, laughing and weeping, taking drugs and having sex, tagging walls and pissing off roofs.
Most of McGinley’s subjects are themselves artists, many of them highly recognizable: his childhood friend, the painter Dan Colen; Kunle Martins, better known by his graffiti moniker Earsnot; the late photographer and multi-media collagist Dash Snow, a close compatriot and frequent subject. The photographs vibrate with the synergistic charge of creative community, occupying the interstices between artists and their output; Early illuminates the multi-discursive genesis of much art-making.
Photos from this period of McGinley’s career appeared in his now-iconic handmade book The Kids Are Alright, as well as the 2003 Whitney show of the same title. That exhibition propelled the 25-year-old McGinley – at the time the youngest artist to have a solo show at the museum – to international notoriety. His fame roughly coincided with the advent of image-oriented social media platforms, the Internet quickly serving as the primary means of dispersal and consumption of his pictures. Editions of the book were sold at premiums on eBay, their authenticity dissected and debated on message boards. Blogs arose dedicated to McGinley, both as an artist and person. The artist’s project at this stage in his career was the obsessive documentation of his own life, its most intimate and debased moments, to the degree that the distinction between the image and its referent reality is blurred, the photos and experiences extensions of one another. While the photos themselves were made with a Yashica T4 point-and-shoot camera, hardly novel technology at the time, the particular confluence of their content and context was unprecedented: the widely shared images anticipated our modern moment, in which private and public life are merged, posted online for all to see."
The majority of the photos shown in New York have never before been printed or on display in galleries. Those who are not in New York at the moment can enjoy the Ryan McGinley exhibition 'The Kids Were All Right' in Denver, which is on thru 20. August, 2017, in MCA Denver. There is catalogue for it co-published with Skira Rizzoli. mcadenver.org/ryan-mcginley-kids-were-alright
Ryan McGinley - Early . 2 Mar – 1 Apr, 2017 . 83 Grand Street, New York . teamgal.com///early
28.03.2017 // show complete article
Anja Niemi works in her new series again with self-portaits and self-identity. After 'The Woman Who Never Existed' already appeared this January at Photo San Francisco, gallery exhibitions in Paris, Oslo and London are soon to follow (shoot at Gallery Oslo, 9 March – 30 April, Galerie Photo 12 Paris, 16 March – 22 April, The Little Black Gallery London, 4 – 27 May).
The photographer was inspired from Italian theater actress Eleonora Duse, who is often seen as a pioneer of method acting. Several American acting schools refer to The Duse as the protagonist of the purist stylist device of expressing herself using only her body and without unnecessary props. The actress was very reserved and hardly gave any interviews. She once told a New York journalist, ‘away from the stage I do not exist.’
'The Woman Who Never Existed' tells the storyof an actress who lives only for her audience and vanishes when no one is looking.
Norwegian photographer Anja Niemi is considered ‘one of the most compelling modern artists working today’. (British Journal of Photography). Niemi always works alone. Photographing, staging and acting out the characters in all of her photographs. She has published two books: Photographing In Costume (The Little Black Gallery, 2015) and Short Stories (Jane & Jeremy, 2016). Her third, The Woman Who Never Existed, will be published by Jane & Jeremy in February 2017. Niemi (b. 1976) studied at the London College of Printing and Parsons School of Design in Paris and New York, and now lives in Norway.
23.03.2017 // show complete article