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Brian Finke | “Brian Finke Documents U.S. Marshals in Action,” Beautiful/Decay

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From Ariane Fairlie’s article for Beautiful/Decay:

The photographs are not surprising in what they portray – men and women in uniform and bulletproof gear – but there are moments of intrigue. I’m definitely interested to know what the story is behind the pink cuffs when all of the other gear in the photographs is so much more severe. I’m also curious to know what’s going on with the shirtless and shoeless man in nothing but a bathing suit being escorted away by a marshal.

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See the exhibition at ClampArt
Browse all of Brian Finke’s work at ClampArt

Robert Voit | “Picture This,'” The WOW Report

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From Trey Speegle’s post on WorldOfWonder.net:

At first glance, these photographs from Robert Voit’s series “New Trees” seem to show us everyday foliage and plants, set apart only by their oversized proportions. But on closer inspection you can see that these are in fact cell phone towers camouflaged to blend in with both urban and rural surroundings. Voit’s “New Trees” are really the perfect intersection of the natural world and the technology that we keep inserting into it. I love these images and can see a HUGE print in your Palm Springs mid-century modern getaway.

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View the exhibition, “New Trees” and “The Alphabet of New Plants”
Browse all of Robert Voit’s work at ClampArt

Marc Yankus | “The Space Between,” Interalia Magazine

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From Interalia Magazine:

Marc Yankus writes: “I’ve always been drawn to the majestic details and materials of classical historical buildings, many of which are hidden from view, tucked behind new architecture, or simply overlooked. Often discovered from rooftops or accessible from private views, I feel compelled to capture the slivers of the old, recreate the buildings to make them whole, and restructure them in place and history. ‘Somewhere in the West 30s,’ 2013, is the result of catching a partial glimpse and constructing the rest of the building from my imagination. It turns out that when I walked around the corner and looked up I realized it was The New Yorker Hotel, which is not at all what I saw and rebuilt in my mind’s eye.”

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View Marc Yankus’ series, “Buildings”
Browse all of Marc Yankus’ work at ClampArt

Brian Finke | “U.S. Marshals, Style & Subject,” Alexia Foundation

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From the Alexia Foundation’s interview with Brian Finke:

Brian Finke: For years, I’d wanted to do a project about how we as a country police ourselves. That was the original, very broad motivation. My buddy, Cameron, who I was friends with in high school and then reconnected with many years after, had become a US Marshal. That’s how the project originally started.

For me it was amazing, putting on bullet proof vests and riding in right behind them. I had total respect for what they do. The pictures in the beginning almost felt too propaganda-like. It was just such an amazing experience–being there with them and being in awe of what they do.

I love being a storyteller with pictures. That’s why I love working on these longer term things and then having the opportunity to do a book where you just show so many pictures and are able to tell a story. I love to take pictures that touch on different sensibilities. Some that are very heroic. But also some that have a sense of humor or can be a little more heartfelt or sentimental or funny. When pictures touch on those different emotions, I think that’s what makes for a successful story. I think it’s very easy just to go do all one type of thing and be sarcastic about it.

View the original interview in full

View the series “U.S. Marshals”
Browse all of Brian Finke’s work at ClampArt

Marc Yankus | “Urban Geometry in New York,” Casa Vogue

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From Paul Clemence’s article for Casa Vogue:

With its unique architectural ensemble−that crosses eras and diverse styles−New York is undoubtedly one of the most photogenic cities in the world. But for professionals who live there, the difficult task is to stand−and find a new angle−amidst a sea of photographers.

For Marc Yankus, a finalist of the “Avant Guardian” competition organized by “Surface” magazine, what matters are not the iconic buildings, such as the classic Empire State Building. What attracts him most are the historic buildings which are often by anonymous architects−and are a fundamental part of the nature of the city. “These buildings are often overlooked,” says Marc, “and with this series, I wanted to show that, even not being an architectural highlight, they have a strong presence in the city.”

View the original article in Portuguese

View Marc Yankus’ series “Buildings”
Browse all of Marc Yankus’ work at ClampArt

Vadim Gushchin | “An artist is a kind of factory. . . ,” Bleek Magazine

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From Andrey Belkov’s interview with Vadim Gushchin for Bleek Magazine:

Vadim Gushchin: When shooting the object, I’m trying to abstract from it. It is no more than a framework for me, to which something bigger can be attached. The object transforms into archetype without distinct individual features. It turns into an abstract concept, an idea, into a recognizable internationally unified sign: such as a book, an envelope or a pill.

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Browse all of Vadim Gushchin’s work at ClampArt

Robert Voit | “Daybook: Robert Voit @ClampArt,” Collector Daily

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From Loring Knoblauch’s “Daybook” post on Robert Voit’s exhibition for Collector Daily:

Rethinking Blossfeldt via artificial flowers. Robert Voit at ClampArt.

See the original post with image

See the exhibition “‘New Trees and ‘The Alphabet of New Plants'”
View all of Robert Voit’s work at ClampArt

Robert Voit | “Goings On About Town,” The New Yorker

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From Vince Aletti’s review for The New Yorker:

Karl Blossfeldt’s botanical studies, touchstones of modernist photography since the nineteen-thirties, are the models for the German photographer’s new series, “The Alphabet of New Plants.” But there’s a twist: unlike Blossfeldt’s specimens, Voit’s flora—a cattail, Oriental poppy buds, fiddlehead ferns—are fake. Shot against white backdrops that play up their plastic material, these odd bits of foliage are clever one-liners, more decorative than subversive. The artifice continues in a smarter series of deadpan landscapes, centered on unusually tall palm trees and cacti that are actually camouflaged cell-phone poles. Through November 15.

View the original review

View the exhibition
See all of Robert Voit’s photographs at ClampArt

Brian Finke | “The Handcuffs of the Nation,” Spiegel Online

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From Spiegel Online:

The photographs of Brian Finke show US Marshals in bulletproof vests, hunting for elusive criminals. They show the menacing-looking equipment of these forces, their arsenal of weapons, handcuffs and shackles. And they show criminals who are overwhelmed on the sidewalk. Finke, born in 1976, is an award-winning photographer. For about four years, he documented the everyday lives of US Marshals; the best photographs are now available as a book.

View the original article (German)

See the exhibition at ClampArt
Browse all of Brian Finke’s work at ClampArt

Brian Finke | “There Is No Hunting Like The Hunting Of Man,” New York Observer

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From Emily Assiran’s article for the New York Observer:

Armed and dangerous men and women serve as prey for the U.S. Marshals Service, and Brian Finke was given intimate access to document the training and thrills of life as a U.S. Marshal. According to the Federal Bureau of Investigation, there are over 6,500 fugitives on the run, and the men and women of the U.S. Marshals service are tasked with breaking down doors, jumping fences and doing is whatever necessary to bring them in. We spoke with Finke and Deputy U.S. Marshal Cameron Welch about the series, captured in a new book, and what it means to chase a fugitive.

View the original article

See the exhibition at ClampArt
Browse all of Brian Finke’s work at ClampArt

James Bidgood, Nan Goldin, and Jim French | “Classical Nudes and the Making of Queer History,” Gayletter

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From Mossy’s post for Gayletter:

Touted as the most ambitious exhibition ever presented by the Leslie Lohman Museum of Gay and Lesbian Art — Classical Nudes and The Making of Queer History attempts to “trace the same sex gaze as grounded in classical form from Antiquity to the modern day.” Now that’s a lot of ground to cover. To make things more digestible, the curator Jonathan David Katz has divided the show into four distinct periods following a chronological order from Antiquity to the Renaissance on to the 18th and 19th Centuries and finally exploring Modern times.

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Browse all of James Bidgood’s work at ClampArt
Browse all of Nan Goldin’s work at ClampArt
Browse all of Jim French’s work at ClampArt

Marc Yankus | “Otherworldly Cityscapes,” American Photo

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From Marc Erwin Babej’s article for American Photo:

[Yankus:] I never saw myself as an architectural photographer. It’s not about the buildings themselves and their features, but about what I feel when I experience them. It’s about creating my own world, a magical space for my memories and imagination.

In my earlier works, soft focus became my visual vocabulary—a state in between in and out of focus. Soft focus was my focus, in a poetic sense. It invites to see images less in literal way, and more for their color, light and shape. After all, these were the aspects that mattered the most to me.

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View Marc Yankus’ “Buildings” series
Browse all of Marc Yankus’ work at ClampArt

John Bailly and Richard Blanco gallery talk

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John Bailly and Richard Blanco gallery talkImage: John Bailly, “Lyon,” 2007.

Painter John Bailly and Inaugural Poet Richard Blanco first exhibited their collaborative project about cultural identity, Place of Mind, at ClampArt in early 2013. The artist and his collaborator will give a gallery talk at the Center for Visual Communication in the Wynwood Arts District of Miami, Florida on October 30th, 2014.

Blanco and Bailly will discuss their collaboration “Place of Mind” where words and images reflect on identity and place. The “Place of Mind” series with Blanco’s poetry is the starting point of the exhibition which spans 10 years of Bailly’s paintings about the city.

Bailly and Blanco’s project is a dialogue that explores the creative process in two media—poetry and painting. “It’s our journey, sharing this sense of not belonging anywhere and feeling that we could belong anywhere,” says Bailly.

Bailly’s new paintings, also included in the current exhibition, grew from this collaboration, and explore ancient and modern cities including Troy, Jerusalem, and Rome. He brings this history home by linking the newly unearthed archaeology of the Tequesta Indian Settlement on the Miami River to Miami and its roots.

Center for Visual Communication
541 NW 27th Street
Miami, FL 33127
(305) 571-1415

October 30, 2014
3:00 – 4:00 p.m.
Seating is limited, so please RSVP at events@visual.org

More information about the Center for Visual Communication

View John Bailly’s series, “Place of Mind”
Browse all of John Bailly’s work at ClampArt

Photographs by Christopher Churchill now available at ClampArt

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Photographs by Christopher Churchill now available at ClampArtImage: Christopher Churchill, “Hudderite Classroom,” 2005, Gelatin silver print.

ClampArt is pleased to announce that photographs by Christopher Churchill are now available. You can view images from his series “American Faith” here:

http://clampart.com/2014/03/christopher-churchill-b-1977/.

Churchill writes:

I started this project just out of curiosity about religion. I felt both frustrated and alienated with the culture around the topic in 2004. Both on the left and on the right there was so much dogma that was really fueling some serious bigotry and ignorance. I wanted to find some fundamental commonality. After about seven years I’ve understood this to be faith. What’s amazing is how entangled the word has become with religion and that it took me that long and that many miles to separate the two.

I had always intended the work to be a book from the very beginning. The idea of a monograph, a truly in-depth look at one topic through one’s chosen medium, is a seminal mark in any artist’s career.

Browse all of Christopher Churchill’s work at ClampArt

Blog post by:
Keavy Handley-Byrne, Gallery Assistant

Palmer Davis

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Palmer Davis’ journey with the camera began at age sixteen with a photography class that would prove to be a life-changing experience. He went on to study photography at Hampshire College and at the International Center of Photography, where he is now a member of the faculty. Having honed his photographic eye over a twenty-five year career as a Madison Avenue advertising creative director, Davis now travels the globe capturing scenes of quiet beauty that reveal the mystery and magic of everyday life.

In his series “Yesterday, Today and Tomorrow,” Davis captures moments that reveal much more than the singularity of the present. An image may evoke a memory or reveal a sense of the possibilities held within that very moment, its past or its future. In that sense, Davis says his camera is a time machine. “It has the amazing capacity to evoke a sense of place at a particular moment in time.”

Davis traveled across the United States for three years to make his series “Here and Now.” Created in memory of his father, who urged Davis to embrace each day, he explores what it means to be fully present: “It’s about claiming graspable, heightened moments, when life opens up, time expands and some essential truth is revealed. It’s an exercise in living in the wonder of now.”