ClampArt is pleased to announce “Iowa, Ohio,” Scott Daniel Ellison’s fourth solo show at the gallery.
View the press release in full
Archives
Rafael Soldi | “Variations on a Theme,” What Will You Remember?
From Elin Spring’s review of Rafael Soldi’s solo exhibition for her blog What Will You Remember?:
It’s ironic, isn’t it? No one likes to suffer, but musicians, writers, and artists of every ilk unfailingly create some of their most brilliant work while in the throws of agony.
Rafael Soldi poignantly intertwines anguish and beauty in his photographs from the series “Sentiment,” a chronicle of his “emotional exorcism” following the sudden loss of the man he loved. Soldi’s large (24”x30”) color prints have an airy, sometimes desolate feeling and capitalize on natural lighting to convey his avalanche of emotions. The soft, diffused light of “Last Embrace” embodies tenderness, whereas his image of a solitary ashtray aflame is isolated in relative darkness. The stark contrast of hard surfaces with a fragile, burning letter in “A Step Toward Something I Have Yet To Figure Out” symbolically conveys his darkest, feverish feelings of “panic, regret, fear and loss.”
Whether images of emotion-laden objects or of the lovers themselves, Soldi’s photographs are wrenching in their understated simplicity. The absence of cloying sentimentality confers a raw elegance, even a measure of hope. His gentle style evokes not only our compassion but an implicit understanding of Soldi’s “struggle to reconstruct a life without the very thing that I thought defined it.”
Jeannette Montgomery Barron | “L’imagine. Pop heart,” La Repubblica
From “L’imagine. Pop heart” in La Repubblica:
Jeannette Montgomery Barron sat at the table of those long, last suppers with Andy Warhol and his “family.” Pop art had become an industry with a lot of turnover. And for the art scene in the eighties, she became, in her early twenties, the “official” portraitist. The first time, in reality, Andy Warhol granted barely five minutes—other than fifteen minutes of fame. “I was there, in a sort of waiting room: chaos, photos and stuff scattered everywhere, and he came. The time to take and put me at the door. The result was not that great,” she says. But other times she would be back at the Factory. “Prior to the one in Union Square and then on East 33rd Street, which had now assumed the appearance of a number of offices. Everyone with a desk and a telephone. ” Montgomery Barron builds a diary of images of a thousand lights of New York—a roundup of stardom and strangers. . .
View a PDF of the original article (Italian)
View the series “Portraits from the 1980s”
Browse all of Jeannette Montgomery Barron’s work at ClampArt
Lori Nix’s work is included in Interiors at Flowers Gallery
Image: Lori Nix, “Anatomy Classroom,” 2012, Archival pigment print
Recent Guggenheim grant winner Lori Nix has work included in a group show about interiors at Flowers Gallery, July 17th – August 30th, 2014.
Lori Nix creates her subject matter to photograph dangerous and catastrophic scenes. Through models and dioramas, she imagines a future city affected by climate change. The rooms are devoid of human existence and overrun by flora and fauna, evoking a fearful but visually fascinating scenario.
These photographs tell the story of the current occupants or those who have left them long behind – offering historical and anthropological insight into those who once occupied (or were imagined to occupy) that space.
The exhibition includes work from a number of artists, including Tina Barney, Julie Blackmon, Edmund Clark, Jacqueline Hassink, Nadav Kander, Jason Larkin, Robert Polidori, Hrvoje Slovenc, Richard Tuschman, and Shen Wei.
Flowers Gallery
529 West 20th Street
New York, NY 10011
212.439.1700
http://www.flowersgallery.com/exhibitions/flowers/2014/interiors/
Opening Reception:
Thursday, July 17, 2014
6.00 – 8.00 p.m.
Browse Lori Nix’s series “The City”
Browse all of Lori Nix’s work at ClampArt
Blog post by:
Keavy Handley-Byrne, Gallery Assistant
Forest Kelley, Frances F. Denny, Julie Gautier-Downes, Maya Krinsky, Mo Costello, RaMell Ross, Vanessa Godden | “Intimate Moments,” The Vernissage
From the review for The Vernissage:
The second show we recommend just opened at ClampArt. The gallery is presenting a very brief show that includes seven graduation projects of MFA students from the Rhode Island School of Design. The show, called “Seven Stories Tall” (through July 19th), includes projects based on various mediums that appear to be focused on the idea of identity.
As expected, the angle varies deeply, passing from the Frances F. Denny’s ironic and decadent series on her family and their home, to Forest Kelley’s more iconic series on males and sexuality, and to Mo Costello’s more cryptic photos elaborating presence and absence.
Numbers II (Ode to Johnny Rio)
2008
Signed, dated, and numbered
24 loose-leaf pages with 1 digital print and 1 signed silkscreen on canvas in a black clamshell box (Edition of 75)
19.5 x 13.5 inches
Contact gallery for price.
Brian Finke is on press in South Korea
Brian Finke is on press in South Korea overseeing the production of his fourth monograph, “US Marshals,” from powerHouse Books (Hardcover, 128 pages, 10.25 x 10.25 inches, ISBN: 978-1-57687-711-1, $35 + shipping). The publication of this book coincides with Finke’s fifth solo exhibition at ClampArt from November 20 – December 20, 2014.
The U.S. Marshal service is the longest standing law enforcement agency in the United States. As the enforcement arm of the federal courts, marshals are tasked with protecting judges, prosecutors, and witnesses, and are also responsible for transporting prisoners and tracking down the country’s most dangerous fugitives. Over the years, the ranks of this pillar of American law enforcement have included the likes of Frederick Douglass, Wyatt Earp, and Wild Bill Hickok, and they have been involved in diverse missions raging from tracking down train robbers in the Wild West, to protecting African American school children segregating the south in the Civil Rights Era, to seizing and auctioning off Bernie Madoff’s property.
Brian Finke’s Marshals project started in 2010, and was photographed on and off over three years. Finke was reunited with a childhood friend who had gone into law enforcement, now Deputy Marshal Cameron Welch. With Welch as an access point, Finke documents the wild, dangerous, and heroic work of the U.S. Marshals. Finke photographed marshals at various offices around the country, starting in Houston, then in Las Vegas, New York City, Syracuse, Utica, Philadelphia, Camden, Atlantic City, Phoenix, Los Angeles, and a handful of Texas border towns: Brownsville, McAllen, Laredo, Del Rio, Alpine, and El Paso. Finke captured the marshals during training, but also on the job on ride-alongs, and engaged in operations with other agencies rounding up escaped convicts and executing warrants.
Through Finke’s trained lens, the reader is treated to a unique, on-the-ground portrait of this elite group of officers. And at the same time, Finke sheds light on how we police ourselves in the United States today.
To see all of Brian Finke’s work at ClampArt:
http://clampart.com/2012/02/brian-finke/
Blog post by:
Brian Paul Clamp, Director
Three photographs from ClampArt are included in Sasha Wolf Gallery’s summer show
Images: Jen Davis, “Fantasy No. One,” 2004, Archival pigment print; Manjari Sharma, “Ben,” 2011, Archival inkjet print; Collin LaFleche, “Matt, Will, Henry and Ray,” 2007, Chromogenic print.
Jen Davis’ “Fantasy No. One”; Manjari Sharma’s “Ben”; and Collin LaFleche’s “Matt, Will, Henry and Ray” are currently featured in Sasha Wolf Gallery’s summer show titled “Romeo & Juliet: In Pictures.”
The exhibition is assembled with the arc of the play in mind, and the photographs that are meant to evoke specific aspects of the drama—the fight scenes, the party scene, the balcony, consummation of love, the deaths of the protagonists, and their subsequent memorialization—are all chosen for their individual strength as well as their narrative capacities. The viewer is being asked to consider how photographs can have a variety of meanings, and how images and well-known narratives can achieve new resonance when presented in different contexts.
The exhibition also includes work by Bruce Davidson, Walker Evans, and many others.
Sasha Wolf Gallery
70 Orchard Street
New York, NY 10002
http://sashawolf.com/
Browse the exhibition
Browse all of Jen Davis’ work at ClampArt
Browse all of Manjari Sharma’s work at ClampArt
Browse all of Collin LaFleche’s work at ClampArt
Blog post by:
Kevin Swann, Gallery Assistant
Michael Crouser | “The Real Deal Out on the Mountain Ranch,” Huffington Post
From Jason Landry’s article for the Huffington Post:
I had met Minnesota-based photographer Michael Crouser on a few occasions at portfolio review events throughout the United States. A few months back, he shared with me a portfolio of images that he had been working on for the past eight years of cattle ranching families in western Colorado. My first question to the artist was: “How many people still work the land like their ancestors did?” Living in Boston, Massachusetts, this isn’t something that I see every day. City dwellers don’t work the land, they just walk, bike or commute to work. Having just returned from a trip to Colorado, I saw the landscape, the mountain range and could see the ranches off in the distance, but I also noticed large developments, condos, apartments and strip malls popping up off of the interstate.
For most people who don’t live in the mid-west or south, or the big state of Texas or on the farmlands of New England, looking at these images you might think they were taken back in time. Yes, there are people who still do this. They do work the land; they do raise farm animals. It’s hard work — really hard work, and for most them, it’s how they grew up and it’s all they’ve ever known. The ranching families who have been accustomed to this lifestyle for generations, and to some think of it as “the simple life” do feel the ground being yanked away from them, little by little, as developers begin to move in.
Lori Nix | “Behind the ‘Smart Home’ cover,” Time Magazine
From Richard Conway’s article for Time Magazine:
It might be hard to believe at first glance, but Lori Nix’s photographs are not pictures of real, full-size spaces. They are, instead, intricately-designed models she has built and shot in her own Brooklyn studio.
Nix – an artist and photographer who has been working in New York since the early 1990s – describes her dioramas of crumbling theaters and sand-filled subway cars as “post-apocalyptic.” In her photographs, nature creeps into the built environment raising questions of what the world would be like without humans. Somewhat appropriately, too, Nix builds models specifically to be photographed and destroys them afterward.
But for this week’s issue of “Time” – which focuses on how smart homes are changing lives – editors asked her to imagine what a regular house might look if it worked with its owners, rather than what it would look like if it went to ruin without them.
Jen Davis | “Onze Ans De Réflexion,” Causette
From Pauline Marceillac’s article in Causette (translated from the French):
This is the time it took for Jen Davis to tame her image in her mind, and in the eye of the beholder—nearly eleven years. Through a series of photographs, exhibited at the New York gallery ClampArt, the American artist sets the scene by giving the viewer a window into private situations. No matter what discomfort she felt for her “overweight” body, alone or with different male partners, it is sublimated thanks to light and color that evokes the paintings of Vermeer. Regardless of cliches, she built around herself a world of beauty that allows her to reconcile with her own flesh.
View a PDF of the original article
View the exhibition “Eleven Years”
Browse all of Jen Davis’ work at ClampArt
Jill Greenberg | “Cover Artist,” RISD XYZ
From the “Cover Artist” feature in the Spring/Summer 2014 issue of RISD XYZ, the Rhode Island School of Design alumni magazine:
Whether she’s photographing animals, landscapes, or celebrities, Jill Greenberg manages to make her subjects appear profound and even iconic. She shot the colorful chicken on the cover several years ago, after completing an assignment for Philippe Starck’s hotel, Mama Shelter.
“Whenever I’m shooting animals for commissioned projects, I try to capture additional images for my personal work,” Greenberg says. “This shot was such a stroke of luck since the chicken decided to take a nap under its wing.” She then played up the surreal nature of the perceived beheading through an inspired use of color.”
View a PDF of the original article
Browse the whole magazine online
Mariette Pathy Allen | “Art Talk,” National Endowment for the Arts
From Paulette Beete’s interview with Mariette Pathy Allen for the National Endowment for the Arts:
In some ways Mariette Pathy Allen’s career in the arts has been a series of fortuitous—and life-changing—accidents. An encounter with a work by Matisse during a childhood visit to New York’s Museum of Modern Art revealed Allen’s innate fluency with visual language. Later, a chance opportunity to attend an off-campus photography workshop while she was studying painting at the University of Pennsylvania changed the direction of her art practice. And a casual invitation to join a group of costumed revelers for breakfast during a New Orleans vacation introduced Allen to the subject matter that’s been the primary focus of her work ever since. Since Allen’s first book—”Transformations: Crossdressers and Those Who Love Them,” which revealed the hidden world of male-to-female crossdressers—she has explored the transgender community in its many iterations. Allen’s sensitive portraits are neither about voyeurism nor judgment. Rather, as she explained in our interview, she wants her subjects to have a positive reflection of who they are. “What I realized pretty early on is that these people—crossdressers in particular—were totally misunderstood and maligned by the general public,” Allen said. “And there was nothing for them to look at so that they could identify who they were.”
James Bidgood included in group show about classical nudes
Image: James Bidgood, “Pan,” late 1960s, Digital C-print.
James Bidgood’s image “Pan” is on display as part of a group show at the ONE Archives Gallery & Museum at the University of Southern California.
The exhibition, titled “The Classical Nude and the Making of Queer History,” investigates the centrality of the classical nude over centuries of art making, from antiquity to contemporary art, and explores the subject’s influence on the formation and expression of queer identity. This exhibition at the ONE Gallery is the first west coast showing of works drawn from the collections of the Leslie Lohman Museum in New York, and is a condensed preview of a show to open at the Leslie Lohman Museum in October 2014.
ONE Archives Gallery & Museum
626 North Robertson Boulevard
West Hollywood, CA 90069
http://one.usc.edu/about/visit/
“The Classical Nude and the Making of Queer History” has been organized by the Leslie Lohman Museum for Gay and Lesbian Art and curated by scholar Jonathan David Katz.
Read more about the exhibition
Browse all of James Bidgood’s work at ClampArt
Blog post by:
Keavy Handley-Byrne, Gallery Assistant
010B (from “Flowers”)
2006
Signed, titled, dated, and numbered, verso
Chromogenic print (Edition of 40)
24 x 20 inches, sheet
Sold.
Solo show of Rafael Soldi’s photographs at the Griffin Museum of Photography
Image: Rafael Soldi, “I’m Here, You’re There,” 2011, Archival pigment print
Rafael Soldi’s solo show of photographs will be on display at the Atelier Gallery at the Griffin Museum of Photography from July 10 – August 31, 2014:
The exhibition “Sentiment” in the Atelier Gallery is the first solo exhibition of work from the series of the same name. This show focuses on the end of an important relationship in Soldi’s life, and the often painful process of rebuilding after a romance ends. Soldi writes: “Before my relationship ended suddenly, it had become a catalyst for accessing a new way of making photographs, helping me define my own identity as a man. The breakup brought dramatic change to my work and I tapped into feelings that I never knew existed within me: panic, regret, fear, and loss. This work chronicles the loss of the man I loved, and the importance of that relationship in defining my identity.”
Opened in 1992, the Griffin Museum aims to promote an appreciation of photographic art and a broader understanding of its visual, emotional, and social impact.
The Griffin Museum of Photography
Atelier Gallery
67 Shore Road
Winchester, MA 01890
Opening reception:
Thursday, July 10, 2014
7.00 – 8.30 p.m.
For more information on the exhibition:
http://griffinmuseum.org/upcoming-programs.htm
Browse all of Soldi’s work at ClampArt
Blog post by:
Keavy Handley-Byrne, Gallery Assistant
Jen Davis | “Best of Brooklyn,” News12 Brooklyn
From Amanda Plasencia’s story for the television station News12 Brooklyn:
A Brooklyn photographer is using years of her own self-portraits to explore concepts relating to obesity, body image, identity, and beauty.
Davis calls her long-term self-portraiture project part of the search for her identity, which was buried by her weight.
Her series of photos have been published in a book, and are currently on display at an exhibition called “Eleven Years” at the ClampArt gallery in Manhattan until July 3.
View the original story for News12 Brooklyn television
See the exhibition “Eleven Years”
View all of Jen Davis’ work at ClampArt
When It Was Starting To Be Discussed
2014
Signed and numbered, verso
Archival inkjet print
40 x 50 inches
(Edition of 5)
$3500.00
30 x 40 inches
(Edition of 10)
$2800.00
20 x 24 inches
(Edition of 10)
$2000.00
Untitled
2013
Signed and numbered, verso
Archival inkjet print
40 x 50 inches
(Edition of 5)
$3500.00
30 x 40 inches
(Edition of 10)
$2800.00
20 x 24 inches
(Edition of 10)
$2000.00
Michael at Cook’s Canyon, 1984
2013
Signed and numbered, verso
Archival inkjet print
50 x 40 inches
(Edition of 5)
$3500.00
40 x 30 inches
(Edition of 10)
$2800.00
24 x 20 inches
(Edition of 10)
$2000.00