Exhibitions


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 Lalla Essaydi, Bullets Revisited #3, 2012 Three chromogenic prints mounted on aluminum, 66 x 150 in. overall; National Museum of Women in the Arts, Purchased with funds provided by Jacqueline Badger Mars, Sunny Scully Alsup and William Alsup, Mr. Sharad Tak and Mrs. Mahinder Tak, Marcia and Frank Carlucci, and Nancy Nelson Stevenson; © Lalla Essaydi

 REVIVAL, an exhibition of contemporary sculpture, photography and video by women artists, will be on view at the National Museum of Women in the Arts (NMWA) June 23-September 10, 2017. 

"Exploring how arresting aesthetics and intense subject matter can spur the viewer into a transcendent encounter with a work of art, the exhibition focuses on 16 artists, including Louise Bourgeois, Sonya Clark, Petah Coyne, Lalla Essaydi, Maria Marshall, Alison Saar, Beverly Semmes, Joana Vasconcelos, and Bettina von Zwehl. REVIVAL launches the exhibition schedule celebrating the museum's 30th-anniversary year."


There will be a gallery talk at midday on June 28th, 2017. Admission is free.

Located in Washington, D.C., The National Museum of Women in the Arts is the only museum in the world dedicated exclusively to recognizing the achievements of women artists.

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Anna Gaskell, untitled #104 (A Short Story of Happenstance), 2003; Chromogenic print, 71 ½ x 90 ¼ in.; National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection; © Anna Gaskell

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Deborah Paauwe, Tangled Whisper, 2004; Chromogenic print, 70 ⅞ x 70 ⅞ in.; National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection; © 2017 Artists Rights Society (ARS), New York / VISCOPY, Australia; Photo by Lee Stalsworth

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Charlotte Gyllenhammar, Fall III, 1999; Chromogenic print mounted on aluminum, 38 x 39 in.; National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection; © Charlotte Gyllenhammar

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Maria Marshall, Future Perfect, 1998; Iris print, 56 x 39 in.; National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection

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 Northern Soul, © Elaine Constantine

 Hosted at Spectrum in Brighton and part of Brighton Fringe, Behind the Beat is a group exhibition exploring the movements and scenes over the last 50 years that have been defined by the fashion, music and stories associated with them. Through Teds, Punks, Mods, Skins, Rudeboys, B Boys and Girls, Rave to Grime with plenty in between, the exhibition incorporates photographs from some of the UK's most celebrated documentarians, including Dean Chalkley and Harris Elliott, Derek Ridgers, Elaine Constantine, Ken Russell, Stuart Griffiths, Ali Tollervey, Gavin Watson, Olivia Rose and Paul Hallam. Behind the Beat is curated by Miniclick and Ali Tollervey.

In addition to the 9 artists, the exhibition will also incorporate images, memorabilia and unique audio recordings of stories on the scenes, all submitted by the public.

Behind the Beat will be open every weekend through May, from 10am to 6pm at Spectrum, 42 Frederick Place, Brighton, UK.

Read more and see loads more fab photos on the Miniclick website.

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Ethiopia. The Hamar, a semi-nomadic tribe of cattle herders, have a set of unique rituals surrounding the use of butter as a beauty product. Here, the women apply a mixture of butter and red ochre to their hair. © Terri Gold

 Terri Gold has been featured regularly in aCurator since 2010*. Nothing beats seeing a project go from strength to strength and witnessing a photographer stick to their dreams. With that, it pleases me to announce a new exhibition for Terri which opens on April 19th, 2017 at Salomon Arts Gallery in Tribeca, New York. 

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Namibia. A Himba woman by the firelight.

"Terri Gold is an award-winning international photographer who is known for her poetic infrared imagery of the remote corners of the globe and the indigenous cultures that inhabit them. Her ongoing project that examines cross-cultural truths, "Still Points in a Turning World," is on view at the Salomon Arts Gallery in Tribeca." April 19 - May 11, 2017, with an opening reception 5.30 - 8.30 on the 19th.

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Kenya. Maasai men making a fire.

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Ethiopia. Living in harmony with nature, the Suri daily adorn their bodies with materials from the world around them, using plants, animal hides, clay, and colorfully paint their bodies with these natural pigments.

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Kenya. The Samburu men, their faces painted red with crimson ochre and impressive sets of brightly colored feathers swaying atop their heads.

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Sossusvlei, Namibia. The winds blow across the land from east and west, forcing the sand upward like ocean waves, and mysterious shadows form.
Captions and all images © Terri Gold

*Terri's past features in aCurator

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© Gerhard Richter. Courtesy of Blah PR

 Words By Efrem Zelony-Mindell

Gerhard Richter is now a staple in artistic history, which is a strange notion given he's still hugely prolific in his making and production. In no short order he is significant in many places, to many people, to all kinds of making and mediums. I must declare my own admiration, especially now that I've seen Richter's 40 Tage. A collection of 40 graphite drawings that miraculously sketch a design of his abstract works that I would never thought possible to blueprint. The finesse of Richter's mark making is truly perplexing. The gesture is not nearly as random as it is wonderfully understood. Coercing possibilities of materials is a knowable craft and seeing the results of Richter's practician is subtle and monumental.

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An exhibition in conjunction with the release of this limited edition book is on now through April 9, 2017, at HENI, First Floor, 6-10 Lexington Street, London, W1.

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All images © Gerhard Richter

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Couple Grinding, Hollywood, 1970 © Anthony Friedkin/Courtesy Daniel Cooney Fine Art

"Daniel Cooney Fine Art is pleased to announce our first solo exhibition of photographs by renowned photographer Anthony Friedkin titled The Gay Essay. The exhibition consists of approximately 50 vintage black and white photographs documenting gay communities in Los Angeles and San Francisco between the tumultuous years of 1969 and 1973."

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Michelle Dancing, Hollywood, 1972

Here we are again, friends, fighting for our rights, 40+ years later.  

"We hope that this exhibition will serve as a reminder of the distance already traveled and as a source of strength to those facing similar challenges today. In conjunction with this show we will host a series of lectures and discussions on making meaningful artwork in a hostile society."

Still to come in the series: 
Saturday, February 11, 2017 at 3 pm, "Articulating the Opposition" Panel discussion
Tuesday, February 28th, 2017 at 7 pm, Artist's talk with Elle Perez.

The Gay Essay is on view now till March 4th, 2017. Contact Daniel Cooney Fine Art, NYC, for more info. 

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Vice Police Harassing Gays, Hollywood, 1970

The Gay Essay was first exhibited in its entirety at the de Young Museum in San Francisco and published as a book by the Fine Arts Museums of San Francisco and Yale University Press in 2014. Anthony Friedkin's work is in the permanent collections of the J. Paul Getty Musuem, the Museum of Modern Art, New York and the Los Angeles County Museum of Art.

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Divine, Palace Theater, San Francisco, 1972

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Brandy With Cat, Los Angeles, 1970. All images © Anthony Friedkin/Courtesy Daniel Cooney Fine Art

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Aerated Bread Company, 1981 © David Bailey

A newly curated series of David Bailey's quiet photos of the NW1 area of London taken in the early 80s is available in a gorgeously printed, small but perfectly formed, limited edition book from HENI Publishing in London. Cop a load of the blacks in these images and then, if you can, go see the prints which are on show through the end of January at HENI's gallery space, 6 - 10 Lexington Street, in the heart of London's Soho. 

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St. Pancras Station from Euston Road, 1981 © David Bailey

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Primrose Hill, 1981 © David Bailey

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440 Buck Street, 1982 © David Bailey

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Buy your signed, limited edition copy of NW1 from HENI. Thanks and props to Mark Best of Blah PR

And for my American friends who have never seen this - enjoy!

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The "Ruffle a Summer Soire" dress, à la kale. Tea-length, naturally. Accents include turmeric and quinoa belt, 
lime, and turmeric shades, and tomato and red quinoa corset heels to elevate the overall presentation.

Images © Evelina Reinhart

A fabulous new project from Evelina Reinhart, a photographer whose work with food brought us The Joy of Eating, a photo series-turned-book about food for acid reflux sufferers that she made as her thesis project at SVA. Next up is 'Our Appetite for Trends.'

"They come and go as quickly as the next runway show. Technically, perhaps, they're comestibles, but what we're devouring are trends. If it's not in Vogue it's not going into our mouths."

Read all the color stories over at Evy's website, and see prints this week at Gallery 128, as part of The Fun Food Show, opening December 1st, 2016. Private reception, December 9th, 2016, 6-9pm. 128 Rivington Street, NYC.

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Evy tells me it took about 30 hours to create one image. She's a fantastic food stylist. "The canvas was large, 30 x 35 inches, and it was filled with real food and then photographed." 
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 Cherry Lips © Pacifico Silano

 Contributing editor to this blog Efrem Zelony-Mindell is not only a great writer, and artist, he is also a great curator. Never doing anything by half, Efrem put together a fascinating group show that is running now through September 23, 2016 at the Rubber Factory down on New York's lower east side - 29 Ludlow to be precise.

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Untitled © Izaac Encisco

I credit Efrem for keeping me on my toes and making sure I don't get too comfy in my taste. There is such a variety of works here that the show feels huge but is in fact small and easily consumable. You can read a proper sensible interview on Humble Arts between Efrem and Stephen Frailey, head of SVA's photography program and founder of Dear Dave magazine, which is concurrently featuring the images from this show. 

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Marital Troubles © Ilana Savdie

The full list of exhibited artists is: Thomas Albdorf, Ellen Carey, Alli Coates, Joy Drury Cox, Dillon Dewaters, Izaac Enciso, Aaron Hegert, Nico Krijno, Namsa Leuba, Ryan Oskin, Signe Pierce, Ilana Savdie, Pacifico Silano, and Quinn Torrens.

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Untitled II, from the series "The African Queens" © Namsa Leuba

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A man holds a pro-vegetarian poster amongst the crowd, Woodstock Festival, August 1969 © Baron Wolman/ Iconic Images

You bought the book, now go see a new exhibition! "Woodstock by Baron Wolman" is at Proud Gallery in Camden, London, from July 28 to September 11, 2016. 

You can join us on opening night when you share this blog post and comment on my Facebook and Twitter, or Proud's. Just mention aCurator. See you there! 
#flares

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Crowd lying on the grass, August 1969 © Baron Wolman/ Iconic Images

Read about Baron's experiences photographing the crowds as well as the bands at Woodstock in The Guardian. "People had no idea what they were buying a ticket for. Now you know - you go to Glastonbury, and everything is planned, no question. The barriers, the tickets, everything that's typical of big modern festivals. At Woodstock, nobody knew how to plan a festival of this size, so things evolved organically. I saw it happening and it was magic... There was a spirit in the air, man. There was a spirit that was communicated, without stating it, that this thing was to be peaceful."


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Untitled, 2014 © Judith StennekenGalerie 5, 6


The last visit I made to AIPAD - in 2008 - was the first and last time I attended. I left that first time and didn't make a photograph for four years. 

Upon hitting the Armory floor that year I quickly took note of the many Minor Whites, Aaron Siskinds, and Harry Callahans there were on the floors leaning up against the walls of booths. I risked picking up a framed Minor White in a booth in which I felt particularly invisible. No one seemed to notice the 20-year-old cretin picking up and waving around the framed image. "That's how it's gonna be huh?" I thought to myself. 

I came around a corner to a well-established contemporary photography booth; a gallery, which will remain nameless, with a featured image of an artist, who will also remain nameless. The print was bigger than me; I'm six foot four. Shot, framed, and lit with the utmost perfection. The subject of this photo is something one would find at a local zoo. What you can't find at your local zoo is the best photography equipment and the most expensive flashes money can buy, which the photographer clearly used to achieve the photograph. Needless to say the creature's photographic impression was something to behold, every inch an idealized image of absolute perfection. "How could anyone, who doesn't want to make images like this but does want to work in this field, compete with something like this object?" was my bone-crushing thought.

And that's how I left my feelings for photography. For four years.

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I didn't know then what I realize now. The Armory's AIPAD is as much an antiques road show as it is the Fine Art Photography world's Comic Con. It's a chance for photo galleries and institutions, and people, from all over the world to gather in New York City. There's some good quick sales to be made and, if you take the time, a few new friends to make as well. With the right intentions and a good pair of eyes, it's not totally impossible to yield some meaningful experiences with the people and large display of very concisely and purposefully curated photos. After all there are some exquisite images.

So this time I decided I wanted to turn the experience around on itself. I spent over seven hours every day this year at AIPAD. I'd like to point out that doing this doesn't make me special - just stupid, crazy, and driven enough. The heroes of AIPAD are the gallerists, assistants, and Armory staff who dedicate their time, energy, and maybe even souls to this convention. I tip my hat to them. 

Their passion inspired me to play some part, so I kept a stream of conscious diary during and after everyday.

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Jack Ruby Shoots Lee Harvey Oswald © Bob Jackson, Gary Edwards Gallery

Opening Night:
Opening night is like chasing around after some semblance of cordiality and imagery. It's more social than photographic but the evening is hugely photogenic. Name tags and introductions, stumbling over hors d'oeuvres. It's great to sift through the confusion and endless stream of booze.

"Where on earth do they put all those empty glasses?" I wondered on my way out.

Day 1:
Standardized words flush the halls of the Armory - words like fresh and contemporary. There are things in those silly haphazard bins with far too many zeros. Like the Robert Frank I found for $80,000 with only a simple matting and plastic sleeve for protection. 

"You're not going to forget me," someone brightly beams at a gallery owner, "my last name's Art." There are joyous little words of amusement muttered by many different patrons. When you catch one it's like finding a diamond. "You're a craftsman! And I mean that in the best way I can mean that!" Such passion. It's hard not to laugh out loud. 

Rest becomes a commodity on the well-placed benches. The tax is worth the spectacle of the company of strangers and friends alike.

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Vandalism Series, 1974 © John DivolaLee Gallery

Day 2:
By now things seem much more solid. You're even starting to memorize where things are. Close your eyes and you can remember exact locations of your favorite images even though your head does nothing but spin from the sheer volume. There's no more casual strolling and looking; you can actually see the photos on the walls. This is no longer a convention, it's an endurance trial.

Day 3:
[I've written one word here. It's the same word I've written for day four.]
Gossip. 

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Dings & Shadows, 2013 © Ellen CareyM+B

The whole thing becomes too much and I certainly have to admit it may be because of the degree of my visits, but not totally the fault of my obsession. AIPAD is a lot of work! As a casual goer it's great to stroll through and give the time it deserves. Talk to people - there's no reason not to - they're surprisingly friendly, intelligent, and engaging. (Many attendees are actual working professionals; make friends, but don't ask for favors!) Maybe all that is actually not so surprising. After all, we're all at AIPAD for the same reason; we really feel passionately towards photography. Given my first interaction with AIPAD and this recent experience, I've come to realize in many ways that this crazy experience is what you make of it. If you let it put you on your ass it will. It's much more rewarding to make it yours. For me, I gave myself over to it. I'm eager to get back behind my camera.

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Barak Obama, The White House, Washington D.C., 2010 © Mark SeligerSteven Kasher Gallery

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Place (Series) #125, 2009 © Bill Jacobson, Julie Saul Gallery

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Chongqing I, Chongqing Municipality, 2006 © Nadav KanderFlowers Gallery

Editor's note: AIPAD will relocate next year from the Park Avenue Armory to the Piers. 

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