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Nancy Burson’s work included in a show at the Art Gallery of Ontario

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Nancy Burson’s work included in a show at the Art Gallery of Ontario
Image: Copyright Nancy Burson, “Warhead I (Reagan 55%, Brezhnev 45%, Thatcher less than 1%, Mitterand less than 1%, Deng less than 1%),” 1982, Gelatin silver print from computer-generated negative (Edition of 15), 14 x 11 inches, sheet.

Nancy Burson’s work is included in “Camera Atomica” (curated by John O’Brian) at the Art Gallery of Ontario (AGO) from July 8 – November 15, 2015:

Photographs have played a crucial role in shaping perceptions of nuclear weapons and nuclear energy. “Camera Atomica”—guest-curated by writer, curator, and art historian John O’Brian—is the first substantial exhibition of nuclear photography to encompass the entire postwar period from the bombings of Hiroshima and Nagasaki in 1945 to the triple meltdown at Fukushima Daiichi in 2011.

The election of President Ronald Reagan in 1980 accompanied an intensification of the Cold War, and artists and photographers responded in large numbers to the escalating risk of a nuclear confrontation. The politics of the Cold War also coincided with a cultural debate around photography and its claims to represent what is “true” or “real.” Much post-1980 nuclear photography reflects altered understandings of the limitations of photography and the dangers of the nuclear arms race.

Art Gallery of Ontario (AGO)
317 Dundas Street West
Toronto, Ontario, M5T 1G4
Canada
1.877.225.4246, T

For more information on the exhibition:
http://www.ago.net/camera-atomica#

Browse all of Nancy Busron’s work at ClampArt


Blog post by:
Brian Paul Clamp, Director

Seventeen Strangers, Subjugation (Detail.07)

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2001

Signed and numbered, verso

Gelatin silver print (Edition of 4)

14 x 11 inches, sheet
4.875 x 3.875 inches, image

Contact gallery for price.

For this project, each stranger wears the artist’s jacket. In turn, Ovelman kneels wearing the jacket of each stranger. The photographs were shot using a tripod and timer in The Ramble in Central Park in New York City during Thanksgiving weekend in 2000.

James Bidgood | “James Bidgood,” Gleichlaut Magazin

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From the fourteen-page spread in Gleichlaut Magazin:

James Bidgood became known for his film, “Pink Narcissus,” which is still regarded as a landmark of gay artistic cinema.

Once Bidgood’s name was finally associated with the cult classic he created, his photographic work was reevaluated on terms of its aesthetic merit and historical impact. No longer regarded as simply lowbrow commercial pornography, Bidgood’s oeuvre is now recognized as a harbinger for gay aesthetics that followed. In 1999, Taschen printed a major monograph on Bidgood’s work, and “Pink Narcissus” was released on VHS in 2000 and DVD in 2003.

View the original issue of the magazine (see pp. 30-43 for the article on James Bidgood)

Browse all of James Bidgood’s work at ClampArt

Drew Ludwig | “Daybook: RISD MFA@ClampArt,” Collector Daily

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From Loring Knoblauch’s “Daybook” post on the RISD 2015 MFA Photography Show for Collector Daily:

Airplane travel with a rock briefcase. Drew Ludwig in the RISD MFA show at ClampArt.

See the original post

Browse the Rhode Island School of Design 2015 MFA Graduate Show, “Six Degrees” at ClampArt
Browse all of David Ludwig’s work at ClampArt

Paolo Morales | “Daybook: RISD MFA@ClampArt,” Collector Daily

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From Loring Knoblauch’s “Daybook” post on the RISD 2015 MFA Photography Show for Collector Daily:

Mirrored gestures amid a nest of wires. Paolo Morales in the RISD MFA show at ClampArt.

View the original post

Browse the Rhode Island School of Design 2015 MFA Graduate Show, “Six Degrees” at ClampArt
Browse all of Paolo Morales’ work at ClampArt

Chuck Samuels | “Interview,” Ciel Variable

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From Chuck Samuels’ interview with himself for Ciel Variable:

CV: What do you hope to achieve by “becoming photography?”

CS: When I’m in the midst of a project I’m not thinking about achieving anything specific; in fact the experience feels like becoming possessed by an idea, or a few ideas, and the ideas speak through me. It’s not exactly channelling a spirit, it’s more like I’m a ventriloquist’s dummy; my mouth opens but it’s not my voice you hear.

Read the full interview
Purchase the article
Purchase the magazine

Browse all of Chuck Samuels’ work at ClampArt

Brian Finke | “Who’s the Girl in the Video?,” New York Magazine

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From Allison P. Davis’ piece for New York Magazine‘s “The Cut”:

What do you call the women in hip-hop videos? The often nameless ones who are featured dancing or posing, whose presence signals baller status for the usually male rapper they are there to support—are they hip-hop honeys, video vixens, video girls, video hos, models, dancers? Are they revered, over-sexualized, demeaned, or empowered? Are they stars or set pieces? Who are the women you see in videos?

Photographer Brian Finke spent three years hanging out at backstage music-video shoots, getting to know these “hip-hop honeys,” as he calls them. He’s traveled from Las Vegas to New York, Miami to Los Angeles, compiling robust portraits of the women who appear in videos for artists like Busta Rhymes and Kanye West. The series will soon be released as a book of photos and interviews.

View the original article

Browse the series “Hip Hop Honeys” at ClampArt
Browse all of Brian Finke’s work at ClampArt

Frank Yamrus | “Surviving AIDS with art & defiance,” The Bay Area Reporter

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From Sura Wood’s article in The Bay Area Reporter:

Thirty years ago, an AIDS diagnosis was a death sentence. But thanks to the tenacity of vociferous activists and the life-saving treatments whose development they helped expedite, many, though not all, people with the virus are currently living with what has come to be regarded as a manageable disease. The phenomenon of and fallout from surviving an epidemic that took a tremendous toll, psychic and physical, on the gay community has been filtering into the sensitive, tuning-fork psyches of artists who have begun to interpret and address issues and emotions surrounding AIDS in their work. The latest iteration, “Long-Term Survivor Project,” now at SF Camerawork’s minimalist, white-walled space in mid-Market, includes thoughtful images and varied approaches by three gay photographers: Hunter Reynolds, Frank Yamrus, and Grahame Perry, who grapple with the subject.

View the original review

Browse the series “A Sense of Beginning” at ClampArt
Browse all of Frank Yamrus’ work at ClampArt