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| PHOTOGRAPHY INTERNATIONAL | | 15 - 22 February 2017 | |
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| | Gus (September 2016) | Lovebite (July 2014) | Sebastian (June 2012)
each Print size: 8,5 x 10,8 cm / framed 28,3 x 24,4 cm
Unique pieces
Original polaroid, walnut frame, museum glass | | | | | | | 18 February – 1 April, 2017 | | | | Opening: Friday 17 February, 5-7pm | | | | | | | | | | | | | Dutch photographer Ferry van der Nat, formerly known as Mr. Polaroid, has done it all. He’s been a chef, makeup artist to a touring drag queen show, made wigs for Viktor & Rolf, and is a celebrated fashion editor, stylist and photographer. The word polymath doesn’t begin to describe the energy he has for life. Like Andy Warhol before him, it’s his intimate and provocative Polaroids of male muses, turned into a book Mr. published by MENDO, that define him as a true artist. For the first time, some of the most iconic of these Polaroids, in original form, will be exhibited at The Ravestijn Gallery in Amsterdam. Before there was Instagram there was Polaroid. Artists that defined their eras, from Warhol and Hockney to Maplethorpe, used the medium to express their creativity and to provoke. For Warhol, it was the perfect vehicle for his obsesssion with celebrity. Long before the Kardshinan’s discovered hashtags, Warhol used his Polaroid Big Shot (the same camera beloved by Ferry) to snap the rich, famous and beautiful at their most raw. And even today, we still can’t get enough of these candid images. We want to be there with them sipping champagne and swinging from chandeliers with all the beautiful people. Fast forward decades and Polaroid’s aesthetic is more powerful than any app filter – it baths its subjects in an otherworldly glow. | | | | |
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| | | | | | | | Omar Victor Diop, "Dom Nicolau," pigment inkjet print on Hahnemühle paper, 2014. Courtesy of the artist and MAGNIN-A, Paris. |
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| | Tomas van Houtryve, Students are seen in a schoolyard in El Dorado County, California. From the series, Blue Sky Days.
© Foto: Tomas van Houtryve | | | Watching You, Watching Me | | | | A Photographic Response to Surveillance | | | | | | | 17 February – 2 July, 2017 | | | | Opening: Thursday, 16 February, 7pm | | | | | | | | | | | | | What right do governments, corporations, and individuals have to collect and retain information on your daily communications? What tools – both today and in the past – have been used to monitor your activities? What are the immediate and far-reaching effects? As governments and corporations around the world expand their efforts to track the communications and activities of millions of people, this not only threatens our right to privacy, but also opens the door for information to be collected and used in ways that are repressive, discriminatory, and chill freedom of speech and expression. It is in this context of massive information gathering that Watching You, Watching Me – the 22nd installment of the Open Society Foundations – explores how photography can be both an instrument of surveillance and a tool to expose and challenge its negative impact. In tackling the inherent difficulty of visualizing something that is meant to be both omnipresent and covert, the artists in this exhibition employ a dynamic range of approaches. | | | | |
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| | "The big horn antenna, weighing 380 tons, at the earth station at Andover, Maine (…)", 30.03.1965, Silbergelatinepapier
© Sammlung Idylle + Desaster, Bogomir Ecker | | | The Field has Eyes | | | | Images of the Surveillant Gaze | | | | 17 February – 2 July, 2017 | | | | | | Kunstbibliothek at the Museum für Fotografie
Staatliche Museen zu Berlin
www.smb.museum/mf | |
| | | | | | Surveillance is not only a current topic, but also a historic phenomenon. This exhibition turns to history and addresses the particular sense of unease that surveillance has always caused, whether it was religiously or politically motivated. The title of the exhibition is based on an anonymous woodcut from 1546. This image sends a warning message from the distant past, "Beware, you are seen and heard!" Before the now-ubiquitous cameras, people were once controlled by other looks. In the age of the Enlightenment the all-seeing eye, which stood for the clear gaze of reason, symbolized the state and the law. This secular iconography drew on the religious symbol of the eye of God. This eye, a mystical, invisible entity with the power to observe a Christian’s every thought and deed, had a powerful psychological effect on believers. Be it God, the state, or technology, in this genealogy the oppressive psychological power exercised by an entity that is itself not open to scrutiny remained constant. | | | | |
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| | | | | | | Paolo Cirio: Overexposed. 2015
from a series of unauthorized photos of NSA, CIA and FBI of cials found on social media © Paolo Cirio |
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Surveillance Art & Photography | | | | | | Fri 17 Feb 19:00
18 Feb – 23 Apr 2017 | | | | | | |
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| | | | | | | | | | | | | VIDEONALE.16 Festival für Video und zeitbasierte Kunstformen | | 17 Feb – 2 Apr 2017 | | | | | | | |
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| | | | | | | | Claus Goedicke: Seife, 2008 © Claus Goedicke |
| | | | | | | | Fotografien 2007 - 2015 | | Sun 19 Feb 11:30
19 Feb – 7 May 2017 | | | | | | |
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| | | | | | | | | | | | | The Collection Series Works from a private photography collection & Alan Dimmick's studio archive, 1977-2017 | | 18 Feb – 9 Apr 2017 | | | | | | | |
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| | Ich bedrückt, 1-20, 1977/2013, Photo-etching on baryt paper, 24 x 30 cm each / framed installation 137 x 137,5 cm
© Annegret Soltau und Galerie Anita Beckers | | | | | | Das Konstrukt ICH. Das ge-zeichnete Selbst | | | | – 18 March, 2017 | | | | | | | | | | | | | Annegret Soltau is a pioneer in the field of feminist art and Body Art, however, her works still generate controversy today. Again and again her artworks are considered offensive, are censored or pulled from exhibitions. In the digital age where the internet offers an anyonymous platform to users, such concrete and physical images seem disconcerting. Today, her work boasts an unbroken authenticity. In her work, Soltau draws her I. However, she does not need pencil and paper for this. Instead she needs a camera, a thread and her body. For over 40 years, the artist has occupied herself with her physical and mental identity. In doing so, she utilizes her environment, her family and children over and over in her work. | | | | |
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| | | | | | | Frankfurt (Main) DE | MMK 1 | |
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| | | Sergei Parajanov. Tarkovsky Night Bird. 1987 © Sergei Parajanov Museum | | | To All The Former Angels | | | | | | | – 4 March 2017 | | | | | | | | | | | | | White Space Gallery in collaboration with Cultural Dialogue presents a unique exhibition of photographs and collages by three great film directors: Andrey Tarkovsky, Wim Wenders and Sergei Parajanov. The title of this exhibition is a reference to the closing title of Wim Wenders’ film Wings of Desire (Der Himmel über Berlin): "Dedicated to all the former angels, but especially to Yasujiro, François and Andrej." Andrey Tarkovsky (1932 – 1986) is widely considered to be one of the greatest filmmakers the world has ever known. He made just eight feature films before his life was cut tragically short by cancer, at the age of 54 in 1986. The show pairs Tarkovsky’s polaroids and Wim Wenders large-scale photograph “In Germany I” from the Places Strange and Quite series starting 1983 to 2011. Director Wim Wenders (born 1945), one of the most successful contemporary filmmakers, has been documenting his global wanderings since the early 80s. Sergei Parajanov (1924 – 1990) is one of the most daring and visionary directors to emerge from the former Soviet Union. Fellini, Antonioni and Tarkovsky hailed him as a “genius”, “magician” and without doubt “a master”. | | | | |
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| | | © Herb Ritts Foundation, Courtesy of Hamiltons Gallery | | | | | | | - 10 March 2017 | | | | | | | | | | | | | Following the popularity of ‘Herb Ritts: Super’, Hamiltons will present ‘Herb Ritts: Super Part II’ until 10th March 2017. Hamiltons is the sole representative for world-renowned American photographer Herb Ritts in the UK. This exhibition celebrates the enduring legacy of Ritts’s photography and the gallery’s longstanding relationship with the Herb Ritts Foundation, with a selection of rare vintage gelatin silver prints of supermodels from the Foundation’s archive. Ritts was largely self-taught with no formal training in photography, yet by the late 1980s he had become a celebrity, just like the people he photographed, “a testament to his natural talents and likeability... Some people are born visually sophisticated – they don’t have to be taught composition.” (David Fahey) Ritts played an important role in ushering the era of the supermodel, “he made the models ‘super’”, and he captured images of some of the most noted individuals in film, fashion, music, politics and society. Ritts’s big break came in 1979 with portraits of the budding actor Richard Gere, which were published by Vogue, Esquire and Mademoiselle all in the same month. Ritts’s lack of formal training is partially the reason his style became so distinctive. Ritts, unlike many of the studio based photographers of the time, preferred to work outdoors and had very simple equipment requirements, often working without a tripod. The “anti-glamour” photographer, Ritts photographed his supermodels outside to make use of the natural afternoon Los Angeles light, often at the beach or in the desert. As Naomi Campbell said: “You just fall in love with that light – it’s Herb’s light”. Ritts was drawn to elemental places, where he could use the sea, sand and sky as backgrounds, and so his hometown of Los Angeles would become inextricably linked to his success, due both to the people living there and its outdoorsy lifestyle. “Herb lived that light, he grew up with that light, with that sun, with that water, with those elements, with the sand…” (Steven Meisel) | | | | |
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RUSSELLS MODERN EUROPE, HOURS OF DEVOTION Series
2007 © Veronica Bailey |
MEMOIRES 1886-1962, 2 WILLOW ROAD Series, 2003
© Veronica Bailey |
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| | | | | | | MEMORIES WITHIN THE ARCHIVES | | | | - 13 April 2017 | | | | | | | | | | | | | British art photographer Veronica Bailey’s work specializes on photographic series resulting mainly from visiting archives. Her focus is on examining the nostalgic and traditional means of furthering knowledge, revealing the charm and lure of handwriting and the feel of paper in our monotonous digital age. Her works show carefully arranged everyday life objects. In her compositions she turns books, newspapers and letters into geometrical sculptures. Faint traces of texts may be read, yet the context of each work remains enigmatic. The spectator must fully absorb the photographs in order to find his own personal interpretation. | | | | |
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| | | | | | | | | | | | | Cámara y modelo Fotografía de maquetas de arquitectura en España, 1925-1970 | | 16 Feb – 14 May 2017 | | | | | | | |
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| | Valérie Belin
Miss Marvel, 2016 | Carol, 2016
Archival pigment print
each 68 × 51 in; 172.7 × 129.5 cm
Edition of 6 + 2AP | | | | | | | - 4 March 2017 | | | | | | | | | | | | | Edwynn Houk Gallery is pleased to announce an exhibition of Valérie Belin’s newest series, All Star. The exhibition of eleven large-scale color photographs will be on view 19 January - 4 March 2017. For this series, Belin utilizes the fantastical world of vintage comic books as the inspiration for multilayered portraits that are both visually and psychologically complex. To create the works, Belin first styles and photographs her models in dramatic lighting reminiscent of film noir. Then, selecting from an extensive collection of vintage comics, she overlays the image with the chosen comic cover before further abstracting the pictorial surface with her own graphic patterns. Bursting in from the background, the worlds of the comics interweave with the texture of the portraits to create a sophisticated composition in which variations of movement, line, depth of field and scale are all combined within one surface. The series continues Belin’s investigations of the ideas of surface, beauty, artifice, and disorder that have become consistent themes in her practice; however, in this new body of work she takes her considerations further to explore the disarray of not only the physical but also a mental world that is chaotic, saturated, and obsessive. | | |
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| | Fashion Model in Chains, Paris, 1976, signé
Image : 24 x 36,7 cm, Papier : 30 x 40 cm
Gelatin Silver Print
© Estate of Helmut Newton, courtesy galerie SAGE Paris | | | NIGHTS IN WHITE SATIN | | | | | | | – 8 April, 2017 | | | | | | | | | | | | | What connects the lascivious intimacy in the pictures made during the 1940’s by Carlo Mollino, baroque genius and free spirit, and the modern amazons glorified by Helmut Newton in their provocative eroticism during the 1980’s? The woman, muse in all the splendour of the naked body she offers to the world. Through eighteen vintage prints, SAGE Paris proposes a quick history of nude and of its evolution, from confidential images made in the 1940’s Italy, to cold stylized shots, inspired by fashion photography in the 80’s. Carlo Mollino is one of the most fascinating artistic spirit of his time. Known in his days for his designs and his architecture, as well as his sporting achievements, the public discovers after his passing in 1973 hundreds of photographs he made and hid throughout his career. This discovery pleased and stunned amateurs, and revealed another facet of both the man and the artist. Helmut Newton is a major photographer, whose style overwhelmed fashion imagery like no other before. Portraits, nudes, fashion photograph, are the main focus of his works, and the three themes interweave, fashion photography mingling with nudes and erotic portraits. For Newton, moreover, the nature of fashion photography itself is to produce something else than fashion photography “I still believe that the perfect fashion photograph is a photograph that does not look like a fashion photograph. It’s a photograph that looks like something out of a movie, like a portrait, maybe a souvenir shot, maybe a paparazzi shot, anything but a fashion photograph”. | | | | |
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| | | | | | | | Lindsay Lohan, New York, 2007 © BRYAN ADAMS |
| | | | | | | | | | | Sun 19 Feb 15:00
19 Feb – 20 May 2017 | | | | | | |
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| | | Romania, 1968 © Josef Koudelka/Magnum Photos | | | | | | | – 15 April 2017 | | | | | | | | | | | | | As the very last panel of ‘The official program of the Korea-France Year 2015-2016’, The Museum of Photography, Seoul organizes a solo exhibition of Czech-born French photographer, Josef Koudelka to celebrate the program’s closing. He is known best in both Korea and abroad for his black-and-white images of Europe’s itinerant Roma, or gypsies people. Another acclaimed series is Invasion 68 Prague, which he photographed the night of August 21st, when Warsaw Pact tanks invaded the city of Prague. In 1970, he sought asylum in England and continued the series Exile(1970~1994), and Wall, which reflects well his delicate views and sensibilities, while being stateless. From 1971, he becomes the member of Magnum Photos. Koudelka’s very first exhibition in Korea introduces the early work Gypsies, representative of the pure sensitivity of the artist. The book Gypsies, first published in 1975 in cooperation with Robert Delpire, published by Aperture, proclaimed the emergence of “Josef Koudelka” in the world which immediately acknowledged his novel and distinct vision. It was not a traditional reportage, nor was it documentary. It was his personal vision, which doesn’t fit into any category. | | | | |
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| | | | | | | FORMAT International Photography Festival,
Book Signing: Saturday 25th March 3.30pm Photo London, Somerset House.
Book Signing: Friday 19th May 12.30 – 1pm | | | | | | | In ‘The Act’, acclaimed fine-art photographer Julia Fullerton-Batten portrays the lives and skills of women who voluntarily engage in the UK sex industry as their career. All of them chose a markedly different path in life to the usual one, wittingly challenging social stigma. Julia investigated why this is with imagery and videoed interviews. | | | | | | ‘The Act’ by Julia Fullerton-Batten
ISBN 978-0-9934199-1-1
Published: February 2017
Book size: 410 mm x 305 mm
Content: 100 pages, 30 images, 16 pages of images and text
Hard Cover - Soft touch embossed pink with a decorative lace restraining band
Designed by: Studio Sutherl Printed & bound by: Boss Print Standard limited edition, with DVD,
300 copies | £90 plus shipping (first 50 copies); thereafter £130 plus shipping Collector’s Limited edtion, with DVD,
signed print and mounted in a clamshell box, print size: 11 x 14 inches
10 copies | £ 770 plus shipping www.juliafullerton-batten.com | | | | |
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| | | | | | | | | | | | | 17 Feb – 19 Feb 2017 | | | Cape Town Art Fair showcases a diversity of work that represents the forefront of contemporary art from Africa to the world, and the world to Cape Town. The city boasts a vibrant arts scene, driven by the top galleries on the African continent. | | |
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| | | | | | | | | | | | | 16 Feb – 19 Feb 2017 | | | art KARLSRUHE 2017 will offer a wide variety of art, ranging from classical modern to contemporary art to around 50,000 expected visitors. More than 200 international galleries will present their gallery program and one-artist-shows accompanied by a varied framing programme and the special presentation of a private collection. | | |
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| | | | | | | | | | | | | 22 Feb – 26 Feb 2017 | | | ARCOmadrid is the international meeting point for exchange between Europe and Latin America. The 36th edition of ARCOmadrid, organized by IFEMA, will be held from 22 to 26 February in Madrid. This edition brings together 200 international galleries, including 12 exhibitors from Argentina, the Guest Country for 2017. | | |
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| | | Preliminary research image for Delicate Cycle, 2016 © Aki Sasamoto | | | Yebisu International Festival for Art and
Alternative Visions 2017 | | | | www.yebizo.com/en/ | | | | | | | – 26 February 2017 | | | |
| | | | | The Tokyo Photographic Art Museum Yebisu Garden Pl. 1-13-3 Mita Meguro-ku, Tokyo
T +81-3-32800099
topmuseum.jp
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| | | | | | | The Yebisu International Festival for Art & Alternative Visions is a unique event that offers a multiplicity of exhibitions and screenings of moving images, live events, talk sessions, and more. Held annually in Tokyo’s Ebisu (Yebisu) district, the festival aims to become a widely shared venue for ongoing dialogue and inquiry into the question of how to stimulate creative activity in the moving-image arena, develop excellence in moving-image expression and media, and carry our rich inheritance from the past into the present, and forward into the future. | | |
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| | | | | | | | © The Laboratory of Manuel Bürger |
| | | | | | | | | | | – 5 Mar 2017 | | | Encompassing around 50 events, including a conference and screening program, workshops and performances, transmediale 2017 explores how information systems and hybrid techno-ecologies have worked to destabilize the centrality of the “human.” The program presents new notions of subjectivity as well as of accounting for the increasing role of the “nonhuman.” | | |
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| | | | | | Festival de la jeune photographie européenne | | | | | | – 5 Mar 2017 | | | The Circulation(s) festival is the most original and ambitious project in contemporary photography. It is dedicated to the European photographic diversity and it aims to discover new talents. Since its creation in 2011, more than 225 artists have been exposed and the festival welcomed about 250 000 visitors. Both a springboard for young photographers and a laboratory of contemporary creativity, the festival occupies a specific place in the French and international photographic field, attracting a constantly growing audience. It is the only photo festival in Paris! | | |
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| | © Christian Patterson, Gong Co.
2015/2016 Grand Prix Images Vevey-winning project | | | GRAND PRIX IMAGES VEVEY &
IMAGES VEVEY BOOK AWARD 2017/2018 | | | | Registrations until 26 February on www.images.ch | | | | | | | | | | | | | Over CHF 50,000 in creation-support grants: Images Vevey’s international photography competition and photo book award return! Professional artists and photographers as well as those in training have until 26 February 2017 to enter the competition for the Grand Prix Images Vevey and the Images Vevey Book Award 2017/2018. Grand Prix Images Vevey is a creation-support grant for photography projects. The award, worth some CHF 40,000 (approx. EUR 37,000), enables one artist to develop an original project over a year that will be presented at the next Festival Images Vevey 2018. The competition represents unique support for contemporary creation, with complete freedom of choice over subject and genre, and leads to various other prizes and awards. The Images Vevey Book Award is a grant worth CHF 10,000 (approx. EUR 9,000) that supports the creation of a book project which showcases an optimal and original balance between publication format and photographic content. It provides a financial contribution that aims to encourage artists to take risks and to innovate, in order for them to develop a suitable and sophisticated publication format for their photography project. | | | | |
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| | | | | Call for applications | | | FC BARCELONA PHOTO AWARDS | | | | Awards theme: Positive intrinsic values of sports, shown through non-professional sports practiced anywhere in the world. | | | | | | | | | | | | | There are two prize categories:
Photo Award prize (single picture): 40.000 € for the winner and 1000 € for 29 finalists
Project Award prize (project idea to be developed): 40.000 € The FCBARCELONA PHOTO AWARDS are sports-themed awards, aimed at world-class artists who use photography as a creative vehicle, as well as professional photographers and photojournalists who see sports as a means of artistic expression. The Awards are not about sports performance photography, but about the positive values related to the practice of sports. This allows the participation of not only sports photographers, but of all professional photographers, photojournalists and artists, who may demonstrate high quality photographic works that depict these values. More details about the awards: here How to apply: here | | | | |
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© 15 February 2017 photography-now.com
Ziegelstr. 29 . D–10117 DE . Berlin . Editor: Claudia Stein + Michael Steinke . contact@photography-now.com . T +49.30.24 34 27 80 |
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