1994
Signed, titled, and dated, verso
Unique dye destruction print
39 x 30 inches
Contact gallery for price.
This is a portrait of artist Adam Fuss.
Archives
Guest [24.312]
1997
Signed, titled, and dated, verso
Unique dye destruction print
39 x 30 inches
Contact gallery for price.
Guest, 10.51 am, March 18
1998
Signed, titled, and dated, verso
Unique dye destruction print
39 x 30 inches
Contact gallery for price.
Guest, 3.43 pm, August 25
2000
Signed, titled, and dated, verso
Unique dye destruction print
39 x 30 inches
Contact gallery for price.
Guest [N.V.]
1998
Signed, titled, and dated, verso
Unique dye destruction print
39 x 30 inches
Sold.
Jill Greenberg | “‘Paintings,'” NYC Gallery Openings
Marc Yankus included in Mascot Studio’s “Annual Dog Show”
Image: Marc Yakus, “Dogs in Front of the Taj Mahal,” 2014, Archival pigment print, 22 x 17 inches.
Marc Yankus’ work is included in the “Annual Dog Show” at Mascot Studio through March 28th, 2015.
Since 1999, the “Annual Dog Show” opens during the week of the Westminster Kennel Club Show in New York City in honor of our canine friends.
Mascot Studio was founded in the East Village by owner and artist Peter McCaffrey in 1982. Mascot Studio was originally a painting space, and is now well established at its present location for the past 26 years.
Mascot Studio
328 East Ninth Street
New York, NY 10003
Tuesday – Saturday, 1.00 pm – 7.00 pm
http://mascotstudio.com/
Browse all of Marc Yankus’ work at ClampArt
Blog post by:
Keavy Handley-Byrne, Gallery Assistant
Jill Greenberg | “Moving Back to New York Inspired Greenberg to Create a New Medium,” Complex
From Cedar Pasori’s article for Complex
Jill Greenberg has continually maintained the difficult career balance of commercial and fine art photography, finding great success in both realms. Rarely are contemporary artists able to create their own definitive style with as much grace, technical precision, and imagination as she has. And though many photographers have tried to illegally replicate her work (she has applied for a process patent for the new work), she remains a constant innovator. Her new series, “Paintings,” is not only a brilliant new direction in her work, it’s essentially the invention of a new medium—one that relies on timing and site-specificity to capture light reflecting on wet paint. Paintings are typically based on photographs, but Greenberg instead takes photographs of paint.
View the exhibition “Paintings” at ClampArt
Browse all of Jill Greenberg’s work at ClampArt
Chuck Samuels | “Chuck Samuels Inverts Gender,” The WOW Report
From Trey Speegle’s post on WorldOfWonder.net:
Chuck Samuels frequently photographs or films himself. While his work has been exhibited internationally quite extensively since 1980, this is the artist’s first solo show in New York City. His work often touches upon art history, feminism, and psychoanalysis. For this exhibit, “Before The Camera,” Samuels recreated twelve astonishingly faithful portraits of nude women from the history of photography by modern masters like Paul Outerbridge, Man Ray, and Richard Avedon, among others.
“Chuck Samuels: Before The Camera” opens at ClampArt tonight in Chelsea and runs through March 28, 2015.
View the exhibition
Browse all of Chuck Samuels’ work at ClampArt
Aziz + Cucher | “Alt Art History,” Artspace
From Karen Rosenberg’s article on groundbreaking work from the 1990s for Artspace:
This image of a heroic yet neutered male nude with an early Mac laptop tucked under his arm graces the entrance to “Come As You Are” [at the Montclair Art Museum] and the frontispiece of the catalog. The work of digital-imaging pioneers Aziz + Cucher, it was made in collaboration with a Silicon Valley photo lab. “Large-scale photography was so important at this time, and was becoming more and more enmeshed with digital technology,” says Schwartz. Although the work appears to celebrate innovation, it has a wry critical touch: the figure’s gesture, a nod to the fascist salute. The erased genitalia, meanwhile, anticipate Matthew Barney’s gender transformations (some two years in advance of the first “Cremaster” film) while also prefiguring the sci-fi speculations of today’s DIS Magazine collective.
Browse Aziz + Cucher’s work from “Faith, Honor and Beauty”
Browse all of Aziz + Cucher’s work at ClampArt
“Chuck Samuels: Before the Camera”
ClampArt is proud to present “Chuck Samuels: Before the Camera.” While his work has been exhibited internationally quite extensively since 1980, this is the artist’s first solo show in New York City.
View the exhibition photos and press release in full
PDF of the press release
“Chuck Samuels: Before the Camera”
Jill Greenberg | “10 sites to buy ART,” Architectural Digest Spain
From Ianko Lopez’ article for Architectural Digest Spain:
For February, we are obsessing about art. We are presenting websites that every collector should know. Contemporary and classic, established and emerging, and prices to suit all budgets.
If today almost everything can be bought and sold in three clicks, why not art? The question is not so easy to answer, because there are not only preferences involved for how to buy different items, but also more fundamental questions about the nature of art and its somewhat complicated relationship to the market. In any case, as in any field, there are some more reliable options than others when buying art online.
View the exhibition “Paintings” at ClampArt
Browse all of Jill Greenberg’s work at ClampArt
Aziz + Cucher | “The grungiest art of the 90s,” The Guardian
From the article on the exhibition at the Montclair Art Museum for The Guardian:
Rewind to a hazy, grungy time when women had green hair and obsessively wore bindis, and yuppies got laptop fever… “Come as You Are: Art of the 1990s” is the first major survey of US art made between the fall of the Berlin wall and 9/11.
Browse Aziz + Cucher’s work from “Faith, Honor and Beauty”
Browse all of Aziz + Cucher’s work at ClampArt
Aziz + Cucher at the Montclair Art Museum
Image: Copyright Aziz + Cucher, “Untitled (Man with a Computer),” 1992, Chromogenic print (Edition of 3), 86 x 38 inches
Aziz + Cucher’s work is featured in “Come as You Are: Art of the 1990s” at the Montclair Art Museum from February 8 – May 17, 2015. The show will travel to the Telfair Museum of Art, Savannah, Georgia from June 12 – September 20, 2015; the University of Michigan Museum of Art, Ann Arbor from October 17, 2015 – January 31, 2016; and the Blanton Museum of Art, University of Texas at Austin from February 17 – May 15, 2016.
This exhibition marks the first major American museum survey to examine the art of this pivotal decade in its historical context. Showcasing approximately 60 works by 45 artists, it includes installations, paintings, sculptures, drawings, prints, photography, video, and digital art. “Come as You Are” offers an overview of art made in the United States between 1989 and 2001—from the fall of the Berlin Wall to 9/11—and is organized around three principal themes: the “identity politics” debates, the digital revolution, and globalization. Its title refers to the 1992 song by Nirvana (the quintessential ’90s band, led by the quintessential ’90s icon, Kurt Cobain); moreover, it speaks to the issues of identity that were complicated by the effects of digital technologies and global migration. The artists in the exhibition came of age during and reflect the increasingly heterogeneous nature of the art world during this time, as artists of color, women artists, and LGBTQ artists attained increased prominence.
The exhibition is curated by Alexandra Schwartz, MAM curator of contemporary art, with Kimberly Siino, curatorial assistant. Following its premiere at MAM, the show will embark on a national tour.
Montclair Art Museum
3 South Mountain Avenue
Montclair, NJ 07042
212.274.1776
https://montclairartmuseum.org/content/come-you-are-art-1990s
Browse Aziz + Cucher’s work from “Faith, Honor and Beauty”
Browse all of Aziz + Cucher’s work at ClampArt
Blog post by:
Brian Paul Clamp, Director
Adam Ekberg | “A beautifully imagined moment,” The Week
From Lauren Hansen’s post for The Week:
“To create the image, ‘A disco ball on the mountain,’ I needed a disco ball, smoke machine, power inverter, car battery, and flashlight that makes two million candles of luminosity in addition to my camera equipment,” Ekberg says. “Everything had to be set up for the photograph to be made at dusk in order for there to be enough light for the exposure, but not too much light so that the effect of the disco ball couldn’t illuminate the forest at dusk.”
View the exhibition
Browse all of Adam Ekberg’s work at ClampArt
Bill Armstrong solo show at the Houston Center for Photography
Image: Copyright Bill Armstrong, “Mandala #450,” 2003, Type-C print
Bill Armstrong’s work will be featured in a solo exhibition titled “Buddha and Mandala” at the Houston Center for Photography from February 27 – April 26, 2015.
The Mandala photographs are loosely based on Buddhist paintings known as mandalas. Mandalas are concentric circles of images that depict central themes in Buddhism, such as the Wheel of Life or the Map of the Cosmos.
The Buddha series is made from images appropriated from books and the internet that are collaged against different backgrounds and then photographed out of focus. The photographs remind us that the Buddha figure is an imagined being not a real likeness, and they address the idea of mutability versus permanence. Their soft luminosity suggests transcendence and the auras around them supports the legend that there was an emanation around the Buddha figure. The Buddhas are meant to be meditative pieces in themselves.
Opening Reception: February 27, 2015, 5.30 – 8.00 p.m.
“Thinking in Color” Lecture with Bill Armstrong and W.M. Hunt: February 28, 2015, 6.00 p.m.
“Principles of Color” Workshop with Bill Armstrong: March 1, 2015, 3.00 – 7.00 p.m.
Houston Center for Photography
1441 West Alabama
Houston, TX 77006
(713) 529-4755
http://www.hcponline.org/exhibits/exhibitions/view/41/bill-armstrong
Browse all of Bill Armstrong’s work at ClampArt
Blog post by:
Brian Paul Clamp, Director
Lori Nix | “‘Post-Mankind’ Vision,” Newsweek
From Abigail Jones’ extensive article for Newsweek:
While most kids were playing on swing sets or watching The Flintstones, Lori Nix spent her childhood traipsing through the woods looking for lawn chairs in trees and clothes hanging from branches. She grew up in 1970s Norton, Kansas, a small, rural town in the belly of Tornado Alley. Every winter brought snow and hailstorms. Summers meant infestations of grasshoppers, caterpillars and June bugs. Tornadoes were almost constant, as was the deluge of debris, cars and homes Mother Nature flung across the wide-open plains like cigarette butts.
The first word that comes to mind when I look at Nix’s rural and urban landscapes is ‘postapocalyptic.’ “I would actually say ‘post-mankind,’” Nix corrects me. “But other people have assigned ‘apocalyptic’ to it, so it always enters the conversation.”
Adam Ekberg | “Orchestrating the Ordinary,” Aperture
From Gabriel H. Sanchez’ review for Aperture‘s blog:
Adam Ekberg’s first solo exhibition in New York, “Orchestrating the Ordinary,” presents a collection of sixteen recent photographs that depict surprising, brief moments in time rendered in vivid large format. He stages what he describes as “minor spectacles,” by pointing mirrors toward mirrors, flashlights to flashlights, to create a variety of hypnotic lighting situations in otherwise mundane spaces. Cool and calculated, the images also wear a thin lining of humor.
View the exhibition
Browse all of Adam Ekberg’s work at ClampArt
Adam Ekberg | “Orchestrating the Ordinary,” L’Oeil de la Photographie
From Severine Morel’s review for L’Oeil de la Photographie:
“Orchestrating the Ordinary” is the first solo exhibition from Adam Ekberg in New York, presented by ClampArt. His staged scenes of everyday objects are at the border between photography and performance art—with a touch of Dada—subverting common sense to create “ephemeral occurrences.”
“In calculated performances that intersect with photography’s documentary potential, I explore ephemeral occurrences. Making such humble events happen is alchemy of sorts, the transformation of the mundane into the poignant. Within the constructed images, I reposition specific celebratory iconography to create minor spectacles. My process requires detailed and elaborate production outside the photographic frame so that what appears within the frame implies simplicity and straightforwardness. It is important to me that these constructions actually exist in the world, if only for the moment in which the photograph is made.”—Adam Ekberg
View the exhibition at ClampArt
Browse all of Adam Ekberg’s work at ClampArt
Palmer Davis | “Interview,” Mull It Over
From Jonathan Cherry’s interview with Palmer Davis for Mull It Over:
JC: What did you want to be growing up?
PD: As a child, I liked spending time alone, lost in a fantasy world of my own making. I’d while away the hours on our backyard swing set, singing songs like Moon River, dreaming about being an artist, a writer, an actor or a singer—not a rock star, but a schmaltzy crooner like Andy Williams or Perry Como—the kind I watched on television variety shows back in the early 1960’s. It never occurred to me that those were unlikely professions for a boy growing up in New Britain, Connecticut.
JC: Where are you based right now and how is it shaping you?
PD: I divide my time between New York City, where I teach and Larchmont, NY, where I live. It’s the perfect balance between urban stimulation and the peaceful calm of small town life. I’m also a born and bred New Englander who has spent much of his life in Connecticut, Massachusetts, Vermont and Martha’s Vineyard. I’ve always appreciated the sense of place this natural, timeless landscape provides. It’s fundamental to who I am and informs my image-making process. On a broader scale, I’m often told that many of my images feel uniquely American.