2014
Signed on label, verso
Unique archival pigment print
58 x 77 inches
Contact gallery for price.
Archives
140928 Painting 8719
2014
Signed on label, verso
Unique archival pigment print
30 x 33 inches
Contact gallery for price.
141220 Painting 807
2014
Signed on label, verso
Unique archival pigment print
24 x 24 inches
Contact gallery for price.
150120 Painting 235
2015
Signed on label, verso
Unique archival pigment print
30 x 40 inches
Contact gallery for price.
Yvette Marie Dostatni | “No Matter What You’re Into,” Slate
From Jordan G. Teicher’s article for Slate:
“That’s just the culture of the United States: People are looking for places they can fit in for two to three days, a pass to get out of their daily lives. They’re looking for people who are like them,” she said.
Wandering around with her 6-by-7 camera and “ginormous” flash, Dostatni is among the many sights to see at the conventions she attends. Usually, she asks attendees to pose and finds them eager to show off a side of themselves they don’t get to share in everyday life.
Pacifico Silano | “Against Nature,” Wall Street International
From the post on the website for Wall Street International:
“Against Nature” is a body of work that investigates the subjugated history of gay men living in Nazi Germany during World War II. Taking its name from “Paragraph 175,” part of the old German Criminal Code that made acts of homosexuality illegal, it also was the rallying cry of a homophile movement dating back to Oscar Wilde and Aestheticism in the 19th century. Employing the color scheme of red, black, and white—the same Prussian color combination relating to a large number of nationalistic move-ments (both left and right), in addition to much of the print culture of the day, but also Nazi propaganda specifically, of course—Silano’s project creates new meaning in found photographs juxtaposed with obscure portraits and still life imagery. Culled from a variety of sources—including World World II photographs, but also earlier naturist journals—Silano’s work highlights the link from German nationalism back to earlier body culture movements—which incidentally were the first to organize German youth into nationalistic cadres. And by alternating between images of single figures to groups, Silano considers the relationship of the individual to the collective as it relates to identity, memory, history, and the Holocaust.
View the exhibition
Browse all of Adam Ekberg’s work at ClampArt
Adam Ekberg | “Orchestrating the Ordinary,” Wall Street International
From the post on the website for Wall Street International:
Adam Ekberg is an artist who creates constructed still life photographs exploring ephemeral occurrences. As described by “Conveyor Magazine”: “Ekberg locates his process in the crosshairs of photography and performance.” These seemingly simple images often transform mundane objects through poetic visual associations. Ekberg’s humble events may exist for mere moments, but often require elaborate planning and production outside the photographic frame. The artist has wryly discussed his private, staged happenings in oxymoronic terms, calling them “minor spectacles.”
View the exhibition
Browse all of Adam Ekberg’s work at ClampArt
Exhibition image 2
Jeannette Montgomery Barron | “Adult of the Week,” Adult Magazine
From Adult Magazine‘s feature on Jeannette Montgomery Barron:
Jeannette Montgomery Barron moved to New York from Atlanta in 1979, the year Kathryn Bigelow graduated from Columbia film and began shooting “The Loveless” (co-directed with Montgomery Barron’s brother Monty, the Cowboy from “Mulholland Drive”), and Beatrix Ost married developer Ludwig Kuttner, and Bianca Jagger divorced Mick, flying home to Nicaragua to witness the beginning of the Sandanista revolution while near-simultaneously materializing in New York magazine’s conclusive list of Steve Rubell’s and Warhol’s famous friends and frequent “party favor” recepients in its takedown cover story, “Studio 54: The Party’s Over.” Montgomery Barron’s portraits boomed. . .: mostly, they were soft black-and-whites of ’80s East Village icons (including her own, Robert Mapplethorpe) that she took for “German Cosmopolitan,” or after meeting at Area or the Palladium, or just asking and then showing up, always on time, for subjects who almost never were. After her mother, formerly known as Atlanta’s “Best Legs,” began rapidly losing her memory to Alzheimer’s, Montgomery Barron published portraits of mirrors in “Mirrors” (2004) and later, the collection “My Mother’s Clothes” (2010), in which, as T Magazine wrote, “clothes become shorthand for experiences.” She lives in Rome and Connecticut, and is on Instagram.
Browse all of Jeannette Montgomery Barron’s work at ClampArt
Janet Delaney | “See San Francisco Before the Tech Boom,” Time Magazine
From Myles Little’s article for Time Magazine:
Once famous for its “factories, slums, laundries, machine shops, boiler works, and the abodes of the working class,” as writer Jack London noted in 1909, it changed dramatically in the 1960s when many businesses that called the district home moved out and a community of artists and gay men and women emerged in its place. In the late 1970s, in the face of then expanding dereliction and as part of efforts to remake the neighborhood, city authorities condemned many of the residential hotels that had become a hallmark of the area, displacing many residents and small businesses.
It was at this time that photographer Janet Delaney moved to the area, seeking cheap rent. Between 1978 and 1986 she captured a neighborhood at the cusp of change. One that was not salubrious — she was held up at knifepoint and had her camera stolen — but one where behind the rough edges, a small but strong community of families and businesses still thrived.
“In my first two years of college I spent a lot of time, like many people in the early 70s, thinking of formal issues, like structure, and how a photograph is constructed,” Delaney says, recalling the kind of aesthetically-driven photography she was making up until she moved to the area. ” [I was] responding to minimalism, and how photography addresses these concepts.”
View the original article
Browse all of Janet Delaney’s work at ClampArt
Janet Delaney has a solo show at the de Young Museum
Image: Copyright Janet Delaney, “Mercantile Building, Mission and 3rd Streets,” 1980, Archival pigment print
Janet Delaney has a solo exhibition on display at the esteemed de Young Museum in San Francisco from January 17 – July 19, 2015.
In an exhibition particularly relevant to the Bay Area, “Janet Delaney: South of Market” relates the complex history of a changing San Francisco neighborhood through a selection of more than 40 photographs from the 1970s and 1980s. Janet Delaney (b. 1952), an internationally recognized photographer and educator based in Berkeley, photographed the people and places in the South of Market district during a period when redevelopment was threatening to transform it irreversibly. Soon after moving to the neighborhood in 1978, Delaney witnessed the nighttime demolition of a residential hotel from which dozens of poor and elderly residents had been displaced, an event that prompted her to document the economic effects of urban renewal on her social environment. She used a large format camera and color negative film to create a slow and deliberate photographic document. Her pictures stand as a testament to the vitality of a vanished community of blue-collar workers, small-business owners, families, artists, and other denizens of the district. Her luscious color prints transcend the time and place in which they were produced. Collectively, they offer a unique perspective for today’s viewers, who may be bearing witness to a new citywide wave of gentrification in San Francisco brought on by the second Internet boom.
Organized by Julian Cox, founding curator of photography and chief administrative curator at the Fine Arts Museums of San Francisco, along with Erin O’Toole, associate curator of photography at the San Francisco Museum of Modern Art, South of Market includes a variety of street views, building interiors, and other portrayals of San Francisco’s shifting urban landscape.
The de Young Museum
Golden Gate Park
50 Hagiwara Tea Garden Drive
San Francisco, CA 94118
415.750.3600
http://deyoung.famsf.org/exhibitions/janet-delaney-south-market
Browse all of Janet Delaney’s work at ClampArt
Blog post by:
Brian Paul Clamp, Director
Exhibition image – Copyright Randhy Rodriguez
Exhibition image – Copyright Randhy Rodriguez
Exhibition image – Copyright Randhy Rodriguez
Janet Delaney | “80’s wave of upheaval for profit,” San Francisco Chronicle
From Kenneth Baker’s review for the San Francisco Chronicle:
Plans for what became the Moscone Convention Center provided the impetus for a juggernaut of redevelopment that mowed down nearly everything old or otherwise unexploitable in the vicinity. Delaney saw and felt this happening around her and began to document with photographs and interviews the churn in the surrounding architectural and social landscape.
To museum visitors positioned to benefit by parallel waves of gentrification that have swept other parts of the city more recently, Delaney’s pictures may look like foreshadowings of the brilliant urban future that Herb Caen used to decry as the “Manhattanization” of San Francisco, though he thought mainly of the disappearance of “view slots” to the bay between downtown buildings.
Delaney tried to evoke the fraying of the city’s social texture signified by its radically changing architectural profiles.
Stephen Wilkes | “Annenberg Space for Photography,” L’Oeil de la Photographie
From the article published by L’Oeil de la Photographie:
Work by Stephen Wilkes and Jonas Bendiksen is included in the exhibition “Sink or Swim: Designing for a Sea Change” at the Annenberg Space for Photography in Los Angeles.
For more than two decades Stephen Wilkes has been widely recognized for his fine art and editorial photography. His photographs have been exhibited in both galleries and museums and featured in “The New York Times Magazine,” “Vanity Fair,” “TIME,” “Sports Illustrated,” “London Sunday Times,” and “Condé Nast Traveler.” In 1999, Wilkes completed a personal project photographing the south side of Ellis Island. Through his photographs and video work, Wilkes helped secure $6 million in funding towards the restoration for the south side of the island and his monograph, “Ellis Island: Ghosts of Freedom” (W.W. Norton) published in 2006 received critical acclaim including “TIME”’s 5 Best Photography Books of The Year, 2006. Wilkes’ awards and honors include the Alfred Eisenstaedt Award for Magazine Photography, Photographer of the Year from “Adweek Magazine,” Fine Art Photographer of the Year 2004 Lucie Award, Adobe Breakthrough Award and the Epson Creativity Award. Wilkes’ work is in the permanent collection of the James A. Michener Art Museum, Snite Museum of Art, George Eastman House, Houston Museum of Fine Arts, Dow Jones Collection, Griffin Museum of Photography, Jewish Museum of New York, Library of Congress, The Historic New Orleans Collection, and numerous private collections.
Pacifico Silano | “Against Nature,” Musée Magazine
From the post concerning Pacifico Silano’s exhibition reception for Musée Magazine:
ClampArt presented last Thursday on the 8th of January “Pacifico Silano: Against Nature,” the artist’s first solo show in New York City.
“Against Nature” is a body of work that investigates the subjugated history of gay men living in Nazi Germany during World War II.
View the exhibition at ClampArt
Browse all of Pacifico Silano’s work at ClampArt
Jeannette Montgomery Barron | “The Energy of New York’s 80s Art Scene,” Vice Magazine
From Russell Dean Stone’s story for Vice Magazine:
Photographer Jeannette Montgomery Barron moved from Atlanta to New York in 1979. After graduating from the International Center of Photography and armed with her Hasselblad 2¼, she set about capturing New York’s art scene, fascinated with the energy of the individuals—Jean-Michel Basquiat, Robert Mapplethorpe, Cindy Sherman, Julian Schnabel, Andy Warhol, William S. Burroughs, Bianca Jagger, Willem Dafoe—who came to define the period.
“I wasn’t really going to tons of parties, though,” she says. “My goal was just to get the picture. I really wanted to record these people, it was like a game to me.”
View Jeannette Montgomery Barron’s Portraits from the 1980s
Browse all of Jeannette Montgomery Barron’s work at ClampArt
Aziz + Cucher’s work on display at the Children’s Museum
Aziz + Cucher’s work is featured in “Pixelated: Sum of Its Pieces” at the Children’s Museum of the Arts from January 22 – May 3, 2015.
“Pixelated: Sum of Its Pieces” brings together emerging and mid-career artists whose work explores different means of perception.
For better or worse, our lives are increasingly played out on a screen. From checking directions to playing a game on the latest bestselling app, digital technologies are a part of our everyday lives. This exhibition brings together visual artists whose works explore the intersection between art and technology. Just as individual “pixels” are pieced together to create a larger image or message, these artists break down the very materials they work with into individual parts. Visitors are encouraged to look carefully: what you see from far away may strongly differ from what you view up-close. Each artwork is intended to be examined from different distances and viewpoints.
Exhibiting artists: Aziz + Cucher, Omar Chacon, Christian Faur, Bradley Hart, Richard Klein, Daniel Rozin, Al Souza, and Devorah Sperber.
Children’s Museum of the Arts
103 Charlton Street
New York, NY 10014
212.274.1776
http://cmany.org/
Browse Aziz + Cucher’s work from “Scenapse”
Browse all of Aziz + Cucher’s work at ClampArt
Blog post by:
Brian Paul Clamp, Director
Adam Ekberg | “Orchestrating the Ordinary,” Musée Magazine
From the post concerning Adam Ekberg’s exhibition reception for Musée Magazine:
Adam Ekberg is an artist who creates constructed still life photographs exploring ephemeral occurrences.
These seemingly simple images often transform mundane objects through poetic visual associations. Ekberg’s humble events may exist for mere moments, but often require elaborate planning and production outside the photographic frame.
View the exhibition at ClampArt
Browse all of Adam Ekberg’s work at ClampArt