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© Erasmus Schröter, 1985, Leipzig
The Berlinische Galerie is to stage the world’s first comprehensive exhibition of art photography in the GDR. Twenty years after the Wall, “The Shuttered Society - Art Photography in the GDR 1949-1989” identifies traditions and trends while illustrating shifts in visual idiom and theme. Although the exhibition is devoted primarily to the medium itself, it also tells a great deal about daily life in the GDR. (read more)
The exhibition is running through Jan. 28, 2013.
Unknown photographer, undated, Man with bees
To celebrate the gallery’s 20 years, Michael Hoppen unveils the treasures of his extraordinary private photography collection in the gallery’s largest public exhibition to date. Presented over three floors, Finders Keepers brings to light 130 photographic gems, handpicked for their fascinating narrative, masterful technique and historical relevance, ranging from anonymous 19th century pictures to iconic post-war snapshots.
The exhibition offers a unique journey through hundreds of captivating photographs, full of beautiful and bizarre stories that reflect Hoppen’s personal interests and passions, and his extremely focused appreciation of the image.
On view at the Michael Hoppen Gallery through Jan. 31, 2013.
(via The Travelers Have Arrived ~ Kuriositas)
The Travelers Have Arrived - Gillie and Marc Schattner
(via goldenchopsticksmlw)
Guilt (by Jack Teagle)
Acrylic on canvas
Created for the Lost plot Exhibition at the Here Gallery, Bristol
© Jerry McMillan, ca. 1961, Ed Bereal in His Studio
The exhibition project Pacific Standard Time – Art in Los Angeles, 1950-1980 traces the development of the Los Angeles art scene during the post-war period, when the city on the Pacific hosted an impressively varied and versatile art scene, thus proving that it was more than Hollywood and a sprawling metropolis in the land of sunshine and palm trees.
Ed Bereal was born in 1937 in Riverside, California. While still a student at Chouinard Art Institute, his work was included in the controversial 1961 exhibition War Babies at Henry Hopkins’s Huysman Gallery. Bereal’s assemblages challenge the viewer, directly addressing identity politics and racial stereotypes prevalent in the U.S. in the 1960s and beyond. These works also engage with uncomfortable and complex moments in global history, such as Nazi-era Germany. Bereal has been a mentor to several generations of artists and has taught at universities throughout the United States. (source)
Exhibition dates:
Mar. 15 - Jun. 10, 2012 at Martin-Gropius-Bau in Berlin.
© Gjon Mili, 1939, High jumper Clarke Mallery
This photograph is part of ‘The Sports Show’ - on view at the Minneapolis Institute of Arts through May 13, 2012.
© Jakob Tuggener, 1943, Photobook ‘Fabrik’ (Rotapfel Verlag, Erlenbach-Zürich)
This is part of the exhibition ‘Swiss Photobooks from 1927 to the present – A Different History of Photography’ at Fotostiftung Schweiz in Zurich.
“In the history of photography the photobook plays a major role not only in publicising photographs, but also as an independent means of expression. The significance of many photographers’ works only emerges when presented in book form, in the coherent sequence or series of images. Content, design and printing quality combine to produce an intricate architectural whole.” (read more)
Exhibition dates: Oct. 22, 2011 – Feb. 19, 2012
© Giacomo Brunelli, undated, untitled (from ‘The Animals’)
Italian born Giacomo Brunelli is a photographer of animals, but he is not a ‘wildlife photographer;’ instead the animals he portrays in his haunting black and white photographs (see more here) are those domesticated creatures whose lives are intertwined with that of a human population, and of his own childhood memories — dogs, horses, pigeons and cats — that he would encounter during the idyllic days of play on his family farm. And unlike the ‘wildlife photographer’ his dramatic imagery is marked by a visual language which appears more akin to that of the photojournalist, than any form of natural history photography.
“Once I see an animal that I want to photograph, I try to ignore it then I run after it which usually gains a response; sometimes I just stare at it and see what happens,’ continuing, ‘Their reactions are different, sometimes they are curious about the camera and sometimes they get scared about the noise of the shutter. When I am dealing with dead animals I pick them up from the ground and place them where I think the setting works. In this case my interaction with the animal is a way to give purpose to something that it no longer has.” (read more)
Current exhibition:
‘Animals’ is at Tarquinia Galerie, Trouville Sur Mer, France, until the 31 March 2012.
The book ‘The Animals’ was published by Dewi Lewis Publishing in 2008.
© Charles “Teenie” Harris, 1930s-1940s, One Shot Teenie
#1: Two young women eating caramel apples, 1940-1945
#2: A woman outside Kay’s Valet Shoppe, 1938-1945
#3: Boys (possibly from Herron Hill School) playing brass instruments, 1938-1945
#4: A woman poses with a car on Mulford Street in Homewood, 1937In the days of film, especially in a controlled setting, photographers often made redundant shots to make sure they captured what they wanted. Not Charles “Teenie” Harris. A native of Pittsburgh’s Hill District, the city’s cultural center of African-American life, Harris was a semi-pro athlete and a numbers runner before he bought his first camera in the 1930s. He opened a photography studio and specialized in glamour portraits, earning the nickname “One Shot” because he rarely made his subjects sit for a second take. (read more)
Nearly 80 years later, a retrospective of the photographer’s work, “Teenie Harris, Photographer: An American Story” is on view at the Carnegie Museum of Art in Pittsburgh until April 7, 2012.
