| | | | | | | | Location unknown, 1956 © Estate of Vivian Maier, Courtesy Maloof Collection and Howard Greenberg Gallery, New York | | | | | | | 1 June – 13 September 2020 | | | On Earth - Imaging, Technology and the Natural World | | | | | | | ... until 2 September 2020 | | | | | | | ... until 29 June 2020 | | | Foam is open!
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| | | | | | | | | | | | | | | Chicago, 1975 © Estate of Vivian Maier, Courtesy of the Maloof Collection & Howard Greenberg Gallery. New York | | | | | | | 1 June – 13 September 2020 | | | This spring Foam presents the colourful works of Vivian Maier in the new exhibition Works in Color.
Mostly known for her black and white photography, Vivian Maier is an icon in American street photography. A genre mainly dominated by photographers such as Robert Frank, Joel Meyerowitz and Lee Friedlander. Maier’s observant eye as an unknown outsider and as a woman makes her work a significant addition to the canon of photography. This exhibition at Foam focuses on a lesser-known aspect of her work: over 60 colour photographs from the period between 1956 – 1986.
Works in Color shows street scenes in Chicago, - the city where Maier lived for much of her life - featuring people, objects, billboards and shop windows. Her work in colour seems altogether playful and tongue in cheek. | | | | | | | | | | Chicago, 1962 © Estate of Vivian Maier, Courtesy Maloof Collection and Howard Greenberg Gallery, New York. | | | | | | Vivian Maier (New York, 1926 – 2009) spent her entire life taking photographs, alongside her work as an au-pair. Her photographic work was not discovered until after her death when a box of negatives was offered for sale at a local auction. Maier spent a large part of her youth in France, giving her an outsider perspective on daily life in the United States. This exhibition follows the previous exhibition Vivian Maier – Street Photographer, which showed her black and white photographic work in 2014 at Foam.
After Maier moved in with a wealthy Chicago family in 1956, she was given her own bathroom which became her first darkroom. After the children grew up in the 1970s, Maier was forced to seek work with other families. As a result, she was no longer able to develop and print her film material, and her film rolls started to pile up. Financial concerns and the absence of a permanent address eventually forced Maier to put aside her cameras and to place her belongings in storage while she tried to keep her head above water. Her photographic archive gradually sank into oblivion, until her belongings were auctioned off to settle debts in 2007. It wasn’t until the archive came into the possession of the American collector John Maloof, who had it further investigated, that the incredible quality of her work was discovered.
The genre of American street photography is dominated by photographers like Robert Frank, Joel Meyerowitz and Lee Friedlander. As a relative outsider (Maier spent much of her youth in France) and as a woman, Maier’s observational approach forms an important complement to the photographic canon. | | | | | | | | | | Chicago, 1978 © Estate of Vivian Maier, Courtesy Maloof Collection and Howard Greenberg Gallery, New York | | | | | | The exhibition is compiled in collaboration with the Howard Greenberg Gallery in New York.
Vivian Maier – Works in Color is on display in Foam untill 13 September 2020.
Foam is open daily from 10.00 to 18.00 hrs, on Thursday/Friday from 10.00 to 21.00 hrs.
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, City of Amsterdam, Foam Members, Olympus and the VandenEnde Foundation. | | | | | | | | |
| | | | | | | | | | | | | | | Kenzie inside a Melting Glacier, Juneau Icefield Research Program, Alaska, 2016 © Lucas Foglia courtesy of the artist | | | On Earth - Imaging, Technology and the Natural World | | | | | | | ... until 2 September 2020 | | | | Photography enables us to observe the world and the effects of our existence in it. It can be used to document, eternalise and motivate events. Photography has also testified to the paradoxical relationship between man, nature and technology. As we use contemporary technologies to document and question our relationship with the natural world, we increasingly experience this world through the very same technologies used. | | | | | | | | | | Bird nest © Marten Lange courtesy of the artist | | | | | | | On Earth – Imaging, Technology and the Natural World unites the work of 27 contemporary artists who use innovative visual techniques to reflect on the evolving relationship between humans and nature. Besides photography, the artists make use of installation, sculpture, in-game photography and video. Their various visual approaches diverge and converge throughout the exhibition. These artists show they both seek to explore and reunite our technological, socio-economical, spiritual and political connection with the world. | | | | | | | | | | 'Progress Vs Sunsets, Re-formulating the Nature Documentary', 2017 full HD one-channel colour with sound, 48:20 minutes © Melanie Bonajo courtesy of the artist & AKINCI | | | | | | PARTICIPATING ARTISTS
Thomas Albdorf (1982), Jonathas de Andrade (1982), Jeremy Ayer (1986), Fabio Barile (1980), Matthew Brandt (1982), Melanie Bonajo, (1978), Persijn Broersen & Margit Lukács (1974 & 1973), Raphaël Dallaporta (1980), Mark Dorf (1988), Lucas Foglia (1983), Noémie Goudal (1984), Mishka Henner (1976), Femke Herregraven (1982), Benoît Jeannet (1991), Adam Jeppesen (1978), Anouk Kruithof (1981), Mårten Lange (1984), Douglas Mandry (1989), Awoiska van der Molen (1972), Drew Nikonowicz (1993), Mehrali Razaghmanesh (1983), Guillaume Simoneau (1978), Troika (1976 & 1977), Maya Watanabe (1983), Guido van der Werve (1977).
On Earth was curated by Foam and produced in collaboration with Les Rencontres d’Arles.
The exhibition is made possible by the Swiss Arts Council Pro Helvetia, MIAP Foundation, Goethe-Institut Amsterdam, Institut français des Pays-Bas and Kleurgamma Fine-Art Photolab.
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, City of Amsterdam, Foam Members, Olympus and the VandenEnde Foundation. | | | | |
| | | | | | | | | | | | | | | ARTIS Zoo, the Netherlands, 2019 © Sheng-Wen Lo | | | | | | | ... until 29 June 2020 | | | | For the first new Foam 3h exhibition of 2020, the floor has been given to the artist Sheng-Wen Lo (Taiwan, 1987) with his project Extendable Ears. In many of his projects Lo discusses the relationship between humans and non-humans in contemporary societies. In Extendable Ears he exposes himself to ultrasound waves, which have frequencies above the audible human range. In order to tackle the human-centric experience of noise, Lo created a wearable device that enabled him to hear ultrasound waves in the way that most pets do. Although it is proven that these waves can cause damage to animals, humans are unaware that they produce these ultrasound waves. For one month, Lo wore the device day and night, and captured his daily experiences as a test subject in videos, 360° photographs, and photographic scans of a dream diary he kept during his experience. | | | | | | | | | | sleep time recordings 2019 © Sheng-Wen Lo | | | | | | | Sheng-Wen Lo (Taiwan, 1987) is currently an artist-in-residence at Rijksakademie in Amsterdam. He obtained a MA in photography at the Academy for Art and Design St Joost in the Netherlands. He completed an MsC in Computer Science from the Computer Music Lab at National Taiwan University. Lo is creative director of Lightbox, a public photo library and a center of contemporary photography at Taipei. He was a nominee of the Foam Paul Huf Award (2019) and the Prix Pictet Photography Prize (2019), and a fellowship recipient of De Nederlandsche Bank and Prins Bernhard Cultuurfonds/Prince Claus Fund (2019). His recent works were shown in EYE Filmmuseum, World Press Photo, BredaPhoto, LhGWR and Fotofestival Naarden in The Netherlands. | | | | | | | | | | liuho night market taiwan 2019 © Sheng-Wen Lo | | | | | | unsubscribe here
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© 30 May 2020 photo-index UG (haftungsbeschränkt)
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