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Artist Pacifico Silano takes over the SVA MFA Instagram account
Image: Copyright Pacifico Silano, “Kiss,” 2012, Chromogenic print, 30 x 40 inches.
Artist Pacifico Silano is taking over the School of Visual Arts MFA Photo/Video Instagram account, shaking things up from March 23-29, 2015. Follow Pacifico Silano @pacifico_photo and the SVA MFA Photo/Video program @mfaphotovideo.
Pacifico writes:
Hey there, @pacifico_photo here. Going to spend the next week queering up the @mfaphotovideo Instagram. Follow along! #pacificotakeover #alumni
For more of Pacifico Silano’s work:
http://clampart.com/2012/06/pacifico-silano-b-1983/
Blog post by:
Brian Paul Clamp, Director
Chuck Samuels | “Before the Camera,” aCurator.com
From Julie Grahame’s post concerning Chuck Samuels’s exhibition at ClampArt:
You see now this is how to pay homage to the Greats in my opinion: in marvelously good taste, and with a statement to make about gender. . .
For this early body of work being presented at ClampArt, Samuels created twelve astonishingly faithful reconstructions of portraits of nude women from the history of photography by such modern masters as Paul Outerbridge, Man Ray, Edward Weston, and Richard Avedon, among others. However, in place of the female subjects, Samuels has staged himself “before the camera.”
See the exhibition
View all of Chuck Samuels’ work at ClampArt
Lane Coder | “Photographer We Love,” IDOL
From IDOL’s interview with Lane Coder:
IDOL: Describe some of your sources of inspiration? What inspires you in everyday life and what turns your head?
LC: I surprise myself with what inspires me sometimes, it can come from anywhere. I especially like finding inspiration and beauty in unexpected places. Sometimes it’ll be the expression on someone’s face, sitting in a car as I walk by them, and then a narrative is born and I either document it at that moment or I will recreate it and continue the narrative on my own. I am also very inspired by environments and how people react to them or interact within them.
Marc Yankus | “Interview,” PhotoWhoa
From Freddy Martinez’s interview with Marc Yankus for PhotoWhoa:
FM: All the images in this series have been digitally edited: you’ve erased buildings, added textures, or soften your backgrounds. I read that you don’t like talking about the exact process to your work, but could you give us a general approximation of your editing process? For example, in this one, what compelled you to add the sandy texture?
MY: Actually, not all the images have been digitally edited but a large number have been. Sometimes I use this sandy texture to isolate a building. With everything in the background faded, the structure that I want to emphasize is brought into focus. But I will often keep parts of the background in the image but fade them for the same reasons. Because of that, my work lies between documentation and fiction.
View Marc Yankus’ “Buildings” series
Browse all of Marc Yankus’ work at ClampArt
Jill Greenberg | “Top 10 Photo Events in NYC,” Feature Shoot
From Ellyn Kail’s story for Feature Shoot:
Renowned portraitist Jill Greenberg blurs the lines between painting and photography in this collection of paintings, which are then lit and photographed expertly. Here, she calls into question notions of originality and artistic reproduction.
See the exhibition at ClampArt
Browse all of Jill Greenberg’s work at ClampArt
Chuck Samuels | “‘Before the Camera’ @ClampArt,” Collector Daily
From Loring Knoblauch’s review of Chuck Samuels’s exhibition for Collector Daily:
Even after feminist theorists identified (and named) the dominance of the “male gaze” over the long arc of art history, getting out from under its pervasive and often quietly invisible influence hasn’t always been easy. While we have all come to identify the aesthetic hallmarks of a heterosexual male artist looking at a female subject, and also to be aware of the visual and emotional differences implicit in a female gaze, we don’t often get a crisply logical proof of the concept like the one found in this small show. Especially for a critic like myself (who by definition sees the world through a set of heterosexual male eyes, however much I might try to be more neutral and open), this tightly edited exhibit of the early 1990s work of Chuck Samuels provides a thoroughly engrossing refutation of the male gaze, using a parade of thought provoking inversions to dismantle an often implicit perspective.
See the exhibition
View all of Chuck Samuels’ work at ClampArt
George in the Water, Provincetown
Provincetown, MA
1977
Signed, titled, dated, and inscribed, verso
Gelatin silver print
24 x 20 inches, sheet
Sold.
Literature:
Walter Keller and Hans Werner Holzwarth, eds., A Double Life: Nan Goldin/David Armstrong (New York City: Scalo Publishers, 1994), p. 30, full-page illus.
Bruce and George, Provincetown
1977
Signed and titled, verso
Gelatin silver print
20 x 16 inches, sheet
Sold.
Literature:
Walter Keller and Hans Werner Holzwarth, eds., A Double Life: Nan Goldin/David Armstrong (Scalo Publishers: New York City, 1994), p. 55, full-page illus.
Lia Gangitano, ed., Boston School (The Institute of Contemporary Art/Primal Media: Boston, Massachusetts, 1995), p. 28, illus. (another example)
Andrew at the Bowery
New York City
1993
Signed, titled, dated, and inscribed, verso
Gelatin silver print
24 x 20 inches, sheet
Sold.
Literature:
Nan Goldin and Hans Werner Holzwarth, eds., David Armstrong: The Silver Cord (Germany: Scalo, 1997), p. 116, full-page illus.
Yanis, Bed Stuy
1998
Signed, titled, dated, and inscribed, verso
Gelatin silver print
24 x 20 inches, sheet
Sold.
Sean, East River Park, NYC
1993
Signed and numbered 3/5, verso
Gelatin silver print
24 x 20 inches, sheet
Sold.
Literature:
Walter Keller and Hans Werner Holzwarth, eds., A Double Life: Nan Goldin/David Armstrong (New York City: Scalo Publishers, 1994), p. 166, full-page illus.
Kevin at Elizabeth Street
New York City
1978
Signed, dated, and titled, verso
Gelatin silver print
24 x 20 inches, sheet
Sold.
Literature:
Nan Goldin and Hans Werner Holzwarth, eds., David Armstrong: The Silver Cord (Germany: Scalo, 1997), p. 60, full-page illus.
Genaro and Costas, New York City
1980
Signed and titled, verso
Gelatin silver print
20 x 16 inches, sheet
Sold.
Literature:
Walter Keller and Hans Werner Holzwarth, eds., A Double Life: Nan Goldin/David Armstrong (New York City: Scalo Publishers, 1994), p. 71, full-page illus.
Jeff Kresser
Provincetown
1977
Titled, verso
Gelatin silver print
20 x 16 inches, sheet
Sold.
Selected exhibitions:
“Boston to New York: David Armstrong (1954-2014), Nan Goldin (b. 1953), and Mark Morrisroe (1959-1989),” ClampArt, New York City (Curated by Brian Paul Clamp), 2015
“Under a Dismal Boston Skyline,” Stone Gallery/Boston University Art Galleries, Boston (Curated by Lynne Cooney, Evan Fiveash Smith, Leah Triplett Harrington), 2018
Sydney Chandler Faulkner as the Butler in Charles Ludlam’s “Camille”
c. 1970s
Signed, l.r.
Vintage gelatin silver print
20 x 16 inches, sheet
NFS
“Camille” was not only Charles Ludlam’s signature performance, but also the trademark production for The Theatre of the Ridiculous. Steve Turtell ran the lights for the show for several months. In “Ridiculous!: The Theatrical Life and Times of Charles Ludlam,” David Kaufman writes: “Turtell had been introduced to Ludlam by Sydney Chandler Faulkner, a Greenwich Village eccentric who reportedly had an impassioned affair with Ludlam. . . Faulkner’s terraced apartment on West 11th Street [in New York City] was the equivalent of an open house.”
Chuck Samuels | “Second-Hand Nudes,” The New York Photo Review
From Ed Barnas’ story for The New York Photo Review:
Photographers’ using self-portraits to explore identity and gender roles is nothing new. Claude Cahun, Cindy Sherman, and Francesca Woodman spring to mind. Chuck Samuels offers the viewer a nice variation in “Before the Camera.” Based in Montreal, he has exhibited internationally since 1980 but this is his first solo show in the U.S., even though this particular body of work was done several decades ago.
Walking into the back room at ClampArt, I had a sense of déjà vu. The dozen images on the wall “looked” familiar to me, as they would be to anyone familiar with the history of the nude in photography. Samuels has recreated a number of classic images, from Bellocq, Weston and Man Ray through to Avedon, Newton and Mapplethorpe. The twist is that Samuels’ own average male body has replaced the women in the original images, inverting the viewer’s expectations and subverting the “male gaze” in images of the female nude.
View Chuck Samuels’ exhibition “Before the Camera”
Browse all of Chuck Samuels’ work at ClampArt
Jill Greenberg |”Beautiful 80MP Images,” Fstoppers
From David Geffin’s review of Jill Greenberg’s exhibition for Fstoppers:
Greenberg has paid her dues. She has spent decades as a successful portrait and commercial photographer, and pioneered the use of Photoshop and digital manipulation when Photoshop first launched.
But she’s had enough.
Frustrated with the appropriation of her work and technique, her new body of work is not just a beautifully abstract, visual collection of still life images—[it] has clear meaning behind it aimed at those who think copying, or using the photographic work others have produced, is ok.
See the exhibition
View all of Jill Greenberg’s work at ClampArt
Lindsay Morris | “Meet the New Generation of Gender-Creative Kids,” Time Magazine
From Eliza Gray’s article for Time Magazine:
Raising a child who doesn’t conform to gender roles is a minefield, for even the most supportive parents. How do you let your children be themselves while also protecting them from bullies? That question led a number of parents to organize an annual four-day camp in the wilderness for their kids.
The result was an annual long-weekend camp that serves nearly 30 families, many of whom met several years ago through a therapy group for gender-nonconforming children in Washington, D.C. It started in a few hotel rooms in D.C. and evolved into a real camp usually held at religious retreats in various rural settings around the country. The children, ages 6 to 12, attend with their parents and siblings.
In 2007, Sag Harbor photographer Lindsay Morris began attending camp. She took pictures of the children and their families to document their camp experience. But as the years passed and her photo library grew, Morris thought about doing something more with the pictures. In 2012, thanks to the courage of some of the families, Morris’ photographs appeared in a cover story for “The New York Times Magazine.” The book, titled “You Are You,” is an expansion of that project.
View the exhibition
Browse all of Lindsay Morris’ work at ClampArt
Jill Greenberg | “‘Paintings’ @ClampArt,” Collector Daily
From Loring Knoblauch’s review of Jill Greenberg’s exhibition for Collector Daily:
As the appropriation tactics of various artists have become more daring and widespread and more photographs that have been inkjet printed on canvas are being categorized as paintings, it’s not surprising that some photographers are becoming annoyed by the increasingly loose mashup culture that is taking hold. Jill Greenberg’s newest works are a provocative inverted response to this trend—instead of turning borrowed photographs into paintings, she’s made her own paintings into massive photographs, and done so with a sly poke in the eye to those on the other side.
See the original review with images
See the exhibition
View all of Jill Greenberg’s work at ClampArt