WECC member Nick Bedford recently met Sam and Chloe at their film lab Racquet Film in New Farm after chatting to them through Instagram for a little while, and decided to create a gallery exhibition of Nick's street, landscape and portrait work.Read More
Photo London was created to give London an international photography event befitting the city’s status as a global cultural capital. Now in its third edition, Photo London has established itself as a world-class photography fair and as a catalyst for London’s dynamic photography community. From the capital’s major museums, to its auction houses, galleries large and small, right into the burgeoning creative communities in the East End and South London, Photo London harnesses the city’s outstanding creative talent and brings together the world’s leading photographers, curators, exhibitors, dealers and the public to celebrate photography, the medium of our time.
Along with the selection of the world’s leading galleries showing at the Fair, Photo London presents the Discoverysection for the most exciting emerging galleries and artists; there is an original Public Programme bringing together special exhibitions, installations, a Talks Programme curated by William A. Ewing, renowned curator and writer, former Director of the Musée de l’Elysée, and former Director of Exhibitions at the International Center of Photography, New York. Each edition of the Fair also sees a number of Awards announced, headlined by the Photo London Master of Photography, Photo London Artproof Award and the Magnum Photos Graduate Photographers Award. Hosted awards include the Kraszna-Krausz Book Awards and the MACK First Book Award. Beyond the Fair, Photo London regularly hosts Pre-Fair Talks and related events engaging with the craft, market and knowledge of photography.
Photo London is a place to encounter the most innovative emerging artists, new work by established masters and rare vintage pieces, and as such is guided by a Curatorial Committee comprised of some the field’s most esteemed curators, critics and museum directors.
A high level Advisory Board advises on the development of Photo London. The members of the Board play a key role in encouraging the development of the various networks on which Photo London depends. The Advisory Board is committed to maintaining Photo London as a major event in the international art world calendar.
Photo London is produced by Candlestar, an internationally renowned cultural consultancy with an outstanding reputation within the field of photography and the arts. Candlestar produces the Prix Pictet on behalf of the Pictet Group.
Clint Woodside grew up in Buffalo, NY, lived for a few years in New York City, where he studied design at The School Of Visual Arts. He then moved to Philadelphia, PA for a spell. Now living in Los Angeles, CA, a photographer, artist, curator and designer, Woodside has become real good at installing other people’s art.
In 2012 Clint started his own publishing company, Deadbeat Club, to produce small books by himself and other photographers.
UNDERCOVER CARS is Woodside’s first solo exhibition in Los Angeles and features a collection of photographs from his recently published book of the same title. The work spans five years of shooting and represents a photographic study of covered cars that Woodside spotted while traveling around the world and also living in Southern California.
This post will be small (like the exhibition it covers) but hopefully it brings some colour to your day.
Right, so - Eggleston. We know him as the father of colour photography. Before Eggleston, colour was reserved for cheap drug-store developments and high class advertising for the American cigarette and makeup companies of the 1960s. But that was about to change.
After shooting on black and white for many years prior to 1965, Eggleston was introduced to colour transparencies by fellow artist William Christenberry. However, the leap from average transparencies to the images we know today came after Eggleston was studying a Chicago photo lab's price list and stumbled upon dye-transfer printing. The saturation and quality of the colours were astounding and applying this method to his images, Eggleston led the way with a new use of colour.
Here in the culturally bustling city of Brisbane, we are fortunate enough to play host to three of these works. In the beautiful GoMA building (no sarcasm this time), on the second level, round the bend and to the left there are three - and only three - of Eggleston's images hanging proudly in the gallery space. I liked how humbly the images reside, drawing in views with the casual contemplation of the subjects and the artists obvious sensitivity to the ordinary and mundane for which he is known. There are plenty of articles on how the use of snap-shot style images and the concept of a 'democratic camera' are incorporated to capture Eggleston's subjects in such an emotive way, but for me, standing in a Brisbane's GoMA, these images made me curious. Not about the photographic technique but of the subject's stories; characters left in the 70s, captured in such a candid, perfectly displaced moment. And it's this element that firmly makes these portraits worth seeing.
Hardback book of portraits available here
Last week, Hannah from the club headed to Brisbane's GoMA to have a look at some of Cindy's Sherman's work currently exhibiting in the Fairfax Gallery. Here's what she had to say...
For the formal grumblings and summary of exhibition scroll to the bottom. For candid opinion, keep reading.
From the perspective of an art student the exhibition was great, Sherman translates her intended message really well to the viewer and does an ace job of manufacturing characters and communicating their stories, not unlike a painter might. GoMA's curating team also deserves a round of applause for their selection of an exhibition that's both starkly relevant 'right now' yet can be understood and enjoyed by Brisbane's (let's face it slightly culturally-naive) general public.
However, for those of you who are used to viewing more traditional forms of portraiture or social doc, Sherman's series may fall short. For me, good photography is the capturing of a real moment, expression or emotion and the photographer's skill is in not only their technical ability with their camera but more-so their ability to frame the moment to give the viewer all the necessary information in a single frame. So although photography is Sherman's main medium, for me this exhibition was definitely a visual art piece. So if you love Sherman then by all means you will love this exhibition, it definitely includes some of her best work. However, for those not familiar- this is not a photography exhibition, it's an instillation of an artist who uses photography to communicate a prefabricated idea.
Now for those grumblings...
GoMA's exhibition of Cindy Sherman focuses on Sherman's work from 2000 onward where she returns as the subject of her photographs. Throughout you observe Sherman's transition from film to digital image and the use of software to add, subtract and manipulate the image to achieve a desired narration, reflecting the artist's perspective on the synthetic nature of our image-driven society and false concept of identity. Stepping into the gallery space you enter a room filled with the portraits of women. As your eyes scan the frames you make vague deductions about the lives of the subjects- American, vain, Christian. It's not unlike social media really- How we do love to judge or more to the point- how we fear our own judgement. 'Head shots' opens the exhibition, the faces of aspiring actresses and models gleaming and glaring at the viewer from all walls, appealing to every stereotype of a middle-aged, middle-class woman.
'Society Portraits 2008' have a slightly different story to tell, whilst the representation of more mature women in our extreme youth-driven culture can become a controversial topic, this series shows the characters of older women, matrons and trophy-wives standing adorned in pearls and lush fabrics in the settings of their mansions; possessions supporting their place in higher society. Yet the hollowness of the characters is profound. The 'Society Portraits' were captured prior to 2008's Global Financial Crisis, however in light of this event the images take on different tone, accentuating the excess of such a lifestyle. Excess is a theme that continues into Sherman's new works of 2016, where early Hollywood acts as muse. The sequinned and feathered subject's full lives are evident in their clothing whilst the hard times that follows from 1920's depression resonated through background and the figure's expressions.
Finally the over-shadowing murals of the exhibition centers the space and creates a link or bulb from which each room pivots off. The larger than life figures gaze at you from their pedestals as you attempt to interpret their dress and mood. They were the last thing I viewed before making my way to the exit and their placement really grounds the exhibition, aligning Sherman's works so that on exiting the gallery you feel satisfied with it's intent.
The upcoming group exhibition, One Percent: Privilege in a Time of Inequality, casts a discerning eye over images depicting income disparity
With defiantly left-wing political candidates all over the globe sweeping to prominence on agendas condemning inequality, issues such as gentrification, wage disparity and the allocation of resources have moved from the academic lecture halls to the streets and living rooms.With the public discourse beginning to reach fever pitch, Time associate photo editor Myles Little’s ambitiously international group exhibition One Percent: Privilege in a Time of Inequality grapples with this era-defining issue by depicting those at the top of the pyramid.The group exhibition will be touring all continents, taking in Pingyao, Dubai, Berlin, Lagos, Lishui, Guatemala City, Sarajevo, Sydney, Chicago, Aberystwyth and Addis Ababa. Photographers exhibited include Zed Nelson, Christopher Anderson and Juliana Sohn.
Sylvie Joy is having her first solo exhibition Awake in the Floating World at Substation Gallery & Studio, 150 Enogerra Terace Brisbane.
This exhibition has been made possible with the support of Access Arts, who have funded a mentorship with the wonderful Louis Lim, as well as contributing financially to the costs involved with putting on such an event. Thank you Access Arts, and thank you Louis! :)
It will also be a fund-raiser for 2 local community support ventures, for which I have great respect - Orange Sky Laundry and the Brisbane Aboriginal-Sovereign Embassy Food Program (run by the Sovereign Grannies from Jagera Hall, South Brisbane). Both do beautiful, important work, which I hope more people will recognise and support.
Substation Gallery is a community art space located in the historical substation building in Paddington, Brisbane and is affiliated with Hands on Art
Queensland Art Gallery, Stanley Place, Cultural Precinct, South Bank
From 4 Jul to 11 Oct 2015
ain a comprehensive understanding of how Australia has been shaped by photography.
Tracing its evolution from the 1840s to today, this exhibition features many iconic Australian images and proposes a new way of thinking about the connections between photography, place and identity
Sourced from more than 35 private and public collections across Australia, New Zealand and England, the exhibition features over 650 works by renowned artists, as well as images by unknown photographers and everyday material such as family albums and postcards.
'The Photograph and Australia' is an Art Gallery of New South Wales touring exhibition.
See the personal and the political explored by award-winning photojournalists from around the world.
The 58th annual World Press Photo exhibition profiles the globe’s top press photographers and showcases the world’s best press photos in categories ranging from news to nature and portraiture photography.
This year 5,692 photographers from 131 countries submitted 97,912 images across eight categories in the competition.
The prestigious World Press Photo of the Year was awarded to Mads Nissen of Scanpix/Panos Pictures. The image shows Jon and Alex, a gay couple, experiencing an intimate yet dangerous moment in St. Petersburg, Russia – a place known for its firm anti-LGBTQ stance.
For LGBTQ communities in Russia, life is becoming increasingly difficult. Sexual minorities face legal and social discrimination, harassment, and even violent hate-crime attacks from conservative religious and nationalistic groups.
Don’t miss this opportunity to see some of the world’s most compelling photographs.
You’re invited to view the exhibit at the Opening Night Celebrations on Fri 07 August at 6pm.
World Press Photo receives support from the Dutch Postcode Lottery and is sponsored by Canon.
TIMES Mon 9am–5pm Tue–Sun 9am–9pm
VENUE Brisbane Powerhouse Foyers + Turbine Studio
Exhibition: April 24th – June 6th, 2015
Opening Reception: Friday, April 24th, 6 – 8 PM
Steven Kasher Gallery is proud to announce Jerome Liebling: Brooklyn and Other Boroughs, 1946 – 1996. This is the second exhibition of Liebling’s work at Steven Kasher Gallery. The show features 50 black and white and color photographs taken in Brooklyn, Manhattan, and the Bronx over a five decade span. The exhibition highlights Liebling’s roots in, love for, and inspired representations of his home city.
Jerome Liebling (1924-2011) was born in Harlem and grew up poor in Bensonhurst, Brooklyn. In 1942, Liebling quit his first semester at Brooklyn College to enlist in World War II, serving in the notoriously deadly glider infantry. The carnage he witnessed fueled his creative impulse to “figure out where the pain was..." Liebling returned to Brooklyn College in 1946 to study art under the G.I. Bill. Ad Reinhardt's Bauhaus-influenced design classes honed his formal sensibility; documentary photographer Walter Rosenblum opened his eyes to the power of the photographic image.
In 1947, Liebling joined the Photo League, a socially minded collective of photographers who fanned across New York to document hidden corners of the city. For Liebling, children surviving the rough-and-tumble city streets became a symbol of fortitude. "Their faces could inform all that they felt, from grace, to reflective questioning, to supreme prescience," he said. "Sometimes there was a hint of defeat, but more often there was improvisation and brilliance." One Easter morning in Harlem, Liebling encountered a young child dressed in his Sunday best: broken shoe-laces, tattered trousers, a threadbare tweed coat and cap. Hands buried in his pockets, the boy spread his coat open wide, and the click of Liebling's shutter transformed him into Butterfly Boy. This image of a winged superhero who could soar away from his impoverished world has become a beloved icon, appearing on public posters and billboards in New York, Paris, Amsterdam, Japan and elsewhere.
In 1949 Liebling accepted a position teaching photography and filmmaking at the University of Minnesota. Twenty years later, he returned to New York to discover that the city of his childhood had vanished. ''I came back, and it was a disaster," he said. Liebling's 1970s photographs of the crumbling South Bronx depict a bleak realization: theButterfly Boy may not have escaped to a better place after all. The young man in the picture Charlotte Street is trapped amidst ruins, in devastation as harrowing as Liebling's wartime experiences. Despite their imagery of senseless destruction, his photographs reveal the ever renewing spirit of humanity pushing up through the cracks.
In the late 1970s, Liebling rediscovered the long-lost Brooklyn of his childhood in the oceanside neighborhood known as "Little Odessa" in Brighton Beach. He spent three decades photographing there in brilliant chromogenic color as the old wave of Jewish denizens gave way to the new wave of Russian immigrants.
Liebling’s daughter, filmmaker Rachel Liebling, says “There was nothing as exciting as wandering the streets of Brooklyn with my father. He found mystery and intrigue around every corner. The people on the streets – with their indefatigable energy and their human foibles – became larger-than-life through his lens. Human struggle took on mythical proportions; the perseverance and ingenuity of everyday people was heroic in his eyes.”
Jerome Liebling: Brooklyn and Other Boroughs, 1946 – 1996 will be on view April 24th – June 6th, 2015. Steven Kasher Gallery is located at 515 W. 26th St., New York, NY 10001. Gallery hours are Tuesday through Saturday, 10 AM to 6 PM. For more information about the exhibition and all other general inquiries, please contact Cassandra Johnson, 212 966 3978,
Gary Cranitch is showing his quirky, obscure, subversive, out-of-left field interpretations of the life of a traveling photographer up and down the coast of Queensland.
Friday May 1st at 6:30pm - 9:00pm
429 Old Cleveland Road, Coorparoo, Queensland, Australia, Coorparoo, Queensland, Australia
By Ian Poole
Joshua Keep is opening his first solo exhibition, The North, the other half of England, here at Gallery Frenzyon Friday 6 March 2015. Continuing a proud Foto Frenzytradition in this our twenty-third exhibition, Josh is one of many first time exhibitors.
Shot on a Mamiya 7 camera using 43mm and 80mm lenses, Josh has exposed Kodak Portra film in both 160 and 400ISO rolls. The negatives were digitally scanned and printed by Andrew Merefield from Living Image Fine Art Printing Service.
Saturday 6 Dec 2014 to Sunday 15 Mar 2015
American photographer Richard Avedon (1923–2004) produced portrait photographs that defined the twentieth century. Richard Avedon People explores his iconic portrait making practice, which was distinctive for its honesty, candour and frankness.
One of the world’s great photographers, Avedon is best known for transforming fashion photography from the late 1940s onwards. The full breadth of Avedon’s renowned work is revealed in this stunning exhibition of 80 black and white photographs dating from 1949 to 2002. Avedon’s instantly recognisable iconic portraits of artists, celebrities, and countercultural leaders feature alongside his less familiar portraiture works that capture ordinary New Yorkers going about their daily lives, and the people of America’s West. With uncompromising rawness and tenderness, Avedon’s photographs capture the character of individuals extraordinary in their uniqueness and united in their shared experience of humanity.
Richard Avedon People pays close attention to the dynamic relationship between the photographer and his sitters and focuses on Avedon’s portraits across social strata, particularly his interest in counter-culture. At the core of his artistic work was a profound concern with the emotional and social freedom of the individual in society. The exhibition reveals Avedon’s sensitivity of observation, empathy of identification and clear vision that characterise these portraits.
This exhibition is presented in partnership with The Richard Avedon Foundation, New York, and The National Portrait Gallery, Canberra.
Curated by Christopher Chapman
Souce (image Gene by Charmain Miller)(http://www.art-museum.unimelb.edu.au)
You are cordially invited to the Christmas 8x12 Photography Exhibition.
An exhibition of Fine Art Photography.
The exhibition runs from Tuesday, 16th to Wednesday, 24th of December, 2014. Gallery hours are 10am til 4pm daily.
Join us for the opening event from 6.00pm on Thursday, December 18th, 2014.
All images are available for $250. Prints are signed, matted and ready for framing. $50 from every sale will be donated to the Salvation Army Christmas Appeal.
Thursday, December 18 at 6:00pm
Vivid Photography 291 Shafston Ave, Brisbane, Queensland, Australia 4169
By Dr. John Parras, for ASX, December 2014
Despite its mass popularity as, basically, a family toy, the Polaroid instant camera has acquired a considerable reputation in fine art photography since the camera’s launch in 1947. Artists such as Ansel Adams, Robert Mapplethorpe, Andy Warhol, Robert Rauschenberg, David Hockney, and Lucas Samarras have all taken the Polaroid for artistic spins. More recently, the tactile, analog nature of the Polaroid instant shot has helped distinguish it as a species of Slow Art—artisanal, non-digital, nostalgic, retro—prompting the Impossible Project to step in to manufacture instant film when, in 2008, the Polaroid company announced it would cease production. Because instant photos have no negatives and are not easily reproduced, a Polaroid shot sports the badge of being a unique record of a given moment. Because the film develops in front of your eyes, it flaunts a flair for magic. And because the instant’s patina is imperfect—because it is not afraid to show its flaws—it feels downright human and personal.
The current show at Gagosian Gallery, “Carlo Mollino: Polaroids,” offers a peek into a relatively unknown trove of instants—a series of erotic portraits shot in the 1960s by Turinese architect and designer Carlo Mollino. Despite being a flamboyant playboy who got his kicks rocketing down ski slopes, stunt piloting and racing cars, Mollino kept these steamy photographs private until his death. If the show weren’t fantastic, it would be naughty. (No wonder there’s a heavy, faded-red curtain covering one of the gallery’s glass walls.) Yet there is undeniable beauty in the glossy, slightly metallic hues on view here. These are not the bold colors of today’s touch-screens, but rather the washed, brassy, chemical tones of the Past.
You can reads about our Book Review of Carlo Mollino's Polaroids here.
'Boys & Girls'
A solo exhibition by Irie Langlois
18 - 24 November
Opening Reception: 20 November 6-9pm
"People are what interest me the most. Their face and their skin. Their limbs and hair and cheeks. Their expressions, thoughts, movements and their stories. I’m a fly on their wall, or at their birthday party or walking beside them on their way to the countryside. Or maybe just walking a little way behind them, so I can freeze in time the way her hair flings past her burning cigarette."
93 Boundary St, Brisbane, Queensland, Australia 4101
By Xerxes Cook
Some art and photography fairs aim to attract crowds through showing works of artists and photographers people know – others take pride in their capacity to showcase the unknown. Amsterdam’s Unseen Photo Fair proudly falls within the latter. Taking place each September in Westergasfabriek – the cavernous gas cylinders that once fuelled the Dutch capital – Unseen is a showcase of new photography talent from around the world, counting over 120 photographers and 50 galleries from as many countries.