 |
 |
Reviewed by Adam Bell
The Epic Love Story of a Warrior.
Photographs by Peter Puklus.
SPBH, London, England, 2016. 468 pp., color and black-and-white illustrations, 6x7¾".
photo-eye Gallery is honored to announce that Represented Artists Jamey Stillings and Mitch Dobrowner have won 2016 International Photography Awards. Every year the International Photography Awards conducts an ambitious and comprehensive competition to acknowledge the world's best contemporary commercial and fine art photographers. This year the IPA's jury of distinguished photographic professionals handed out over 240 awards in 10 primary categories, and are proud Stillings and Dobrowner are among the 2016 recipients.
Jamey Stillings
 |
|
|
“I am fascinated by the visual energy and tension created at the intersections of nature and human activity. Uniquely as a species, we consciously modify and use the environment for our perceived needs or enjoyment.” –Jamey Stillings
 |
| Stillings photographing on location at Ivanpah Solar |
Stillings’s The Evolution of Ivanpah Solar culminated in a beautifully reproduced monograph, published by Steidl in 2015, which also received 'Best Book' honors from photo-eye Bookstore and Time Magazine's Lightbox blog last year. The book reproduces 60 of Stillings’ images with essay contributions from Bruce Barcott, Robert Redford and Anne Tucker.
View The Evolution of Ivanpah Solar • Purchase a copy of the Book • Read More about the Project
Mitch Dobrowner
 |
| Lightning Strikes, 2016, © Mitch Dobrowner |
“Storms are living breathing phenomenons born when all the various elements come together in unison. The images presented capture what I see and feel while standing in front of these amazing creations of Mother Earth.” – Mitch Dobrowner
A popular series, STORMS has been published in National Geographic, as well as numerous online sources, and the 2013 monograph from Aperture is sold out. Just this September, Dobrowner released nine striking new works in the ongoing STORMS series. This is the second time Dobrowner has won this award; he was previously honored in 2011.
View Dobrowner's 2016 STORMS release • Read More about STORMS
 |
| The Moon 1968-1972. Edited by Evan Backes & Tom Adler. T. Adler Books, 2016. |
 |
| Image from Erika Larsen's The Hunt Series |
By Christopher J Johnson
Take/Aim
Arizona State University’s Northlight Gallery
In collaboration with Phoenix Institute of Contemporary Art
Curated by: William LeGoullon
October 21st – December 2nd 2016
 |
|
Reviewed by George Slade
Photographs by Christoph Bangert.
Kehrer Verlag, Heidelberg, Germany, 2016. 96 pp., 40 color illustrations, 9½x13¼".
 |
| The Potato Eaters, 2014 © Richard Tuschman | 18 x 24" Ed. of 5, $2,300 |
As we near the closing of Once Upon A Time in Kazimierz, the most recent series by Richard Tuschman currently on view at photo-eye Gallery, we thought it appropriate to revisit a few of the original works in which Tuschman pays homage to. The exhibition has been widely well received and a common reaction or question we hear is “are these photographs or paintings!?” The works are in fact contemporary photographs and have an undoubtedly painterly quality. Through Tuschman’s unique process, he is able to recreate the lighting and compositions of the master painters who have inspired him, while having the works remain his own. Vermeer, Rembrandt, Van Gogh, Balthus and de Chirico directly inspired the series and the photographers he accredits are Bill Brandt, Duane Michals, Roman Vishniac, and Alter Kacyzne.
 |
| The Potato Eaters, 1885 - Vincent Van Gogh |
"I was a painter before I was a photographer. As a very young person I was especially drawn to old master paintings for their beauty and technical virtuosity. As I got older my taste naturally expanded to include the expressive possibilities of more modern paintings, like Van Gogh’s The Potato Eaters and de Chirico’s Mystery And Melancholy of A Street. I have loved both of those images for many years, and when I started the Kazimierz project they just seemed to pop into my head, and I knew from very early on that I wanted to somehow incorporate them. It is more or less the same with Bill Brandt. I first saw his images many years ago, and was blown away by their dramatic compositions and surreal mood. So again, I think these two images were in the back of my head. I did then search them out, of course, and look at lots of other images by Brandt as well.
I am always on the lookout for, and taking note of, images that particularly affect me, whether they be paintings, photographs, posters, whatever. They can be either historical or contemporary, fine art or commercial. I keep a folder of these images on my computer, and also on my phone, so that I can refer to them wherever I am, for example on the subway. When I am in the early stages of a project, I am particularly interested in visual ideas I come across that I might be able to incorporate into that particular project. I am a big believer in stealing other people’s ideas, as long as it is out in the open, and I feel I have put enough of myself into it to make it my own. In moments of self-doubt I fall back on the Picasso quote, “I will steal from anyone but myself”. For me, this has been a very effective inoculation against writer’s block (knock on wood)." -Richard Tuschman
 |
| Choshech (Darkness) 2015 © Richard Tuschman 24 x 18" Ed. of 5, $1,800 |
 |
| Nude Campden Hill, London, 1947 - Bill Brandt |
 |
| Portrait of a Young Girl, Eaton Place, 1955 - Bill Brandt |
 |
| Mystery And Melancholy of A Street, 2016 © Richard Tuschman | 24 x 18" Ed. of 5, $1,800 |
 |
| Mystery And Melancholy of A Street, 1914 - Giorgio de Chirico |
In Tuschman's first project, Hopper Mediations, the artist largely pays tribute to, of course, Edward Hopper. Regarding Hopper, Tuschman says, “Hopper was a master at using light to expressively illuminate his subject. I also like the fact that almost all of his human subjects are contemplative. There is, for the most part, no action. This sense of quietude contributes to the open-ended quality of the narratives, and leaves room for significant emotional depth. This seems a lot like real life, and what I would like to carry over in my work.”
 |
| Morning Sun, 1952 - Edward Hopper |
 |
| Morning Sun, 2012 © Richard Tuschman 18 x 24" Ed. of 9, $1,500 |
 |
| Woman In The Sun, 1961 - Edward Hopper |
 |
| Woman In The Sun II, 2012 © Richard Tuschman 18 x 24" Ed. of 9 $1,500 |
 |
| Morning In A City, 1944 - Edward Hopper |
 |
| Morning In A City, 2012 © Richard Tuschman 18 x 24" Ed. of 9, $1,500 |
For additional information, and to purchase prints, please contact the Gallery Staff at 505-988-5152 x 202 or gallery@photoeye.com
 |
| Once Upon A Time in Kazamierz installed at photo-eye Gallery. |
 |
|
|
Forrest Soper selects I’ll See You Tomorrow, Until I Can’t by Devin Yalkin from S U N as Book of the Week.
 |
| Paris Photo–Aperture Foundation PhotoBook Awards |
The shortlist selection was made by Ann-Christin Bertrand, Curator, C/O Berlin; David Campany, independent curator and writer; Lesley A. Martin, Creative Director, Aperture Foundation and Publisher, The PhotoBook Review; Becky Senf, Phoenix Art Museum and Center for Creative Photography, Tucson; and Christoph Wiesner, Artistic Director, Paris Photo.
 |
The Light of Coincidence: The Photographs of Kenneth Josephson.
By Kenneth Josephson. University of Texas Press, 2016. |
Reviewed by Blake Andrews
The Light of Coincidence: The Photographs of Kenneth Josephson.
Photographs by Kenneth Josephson.
University of Texas Press, Austin, USA, 2016. 344 pp., 254 black-and-white illustrations, 11x12".
 |
| Marshalltown School, Mannington, New Jersey, 2008 – © Wendel White |
 |
"Schools for the Colored is an extension of the ideas that formed my project Small Towns, Black Lives, in that; it is a continuation of my journey through the African American landscape. I began making photographs of historically African American school buildings during the very first weeks of the Small Towns, Black Lives project more than twenty years ago. In Schools for the Colored, I began to pay attention to the many structures and sites (also making photographs of places where segregated schools once stood) that operated as segregated schools.
 |
— Wendel White
|
| Paris Photo–Aperture Foundation PhotoBook Awards |
The shortlist selection was made by Ann-Christin Bertrand, Curator, C/O Berlin; David Campany, independent curator and writer; Lesley A. Martin, Creative Director, Aperture Foundation and Publisher, The PhotoBook Review; Becky Senf, Phoenix Art Museum and Center for Creative Photography, Tucson; and Christoph Wiesner, Artistic Director, Paris Photo.
 |
| Public Secrets. By Visvaldas Morkevicius. Self-published, 2016. |
|
| Paris Photo–Aperture Foundation PhotoBook Awards |
The shortlist selection was made by Ann-Christin Bertrand, Curator, C/O Berlin; David Campany, independent curator and writer; Lesley A. Martin, Creative Director, Aperture Foundation and Publisher, The PhotoBook Review; Becky Senf, Phoenix Art Museum and Center for Creative Photography, Tucson; and Christoph Wiesner, Artistic Director, Paris Photo.
 |
|
|
Reviewed by Adam Bell
A Spectacle And Nothing Strange.
Photographs by Ahndraya Parlato. Text by Christian Hawkey.
Kehrer Verlag, Heidelberg, Germany, 2016. In English. 104 pp., 56 color illustrations, 11¾x9½".
 |
| Superman, Archival Pigment Print, Encaustic Wax, Wood Panel, 12 x 12 inches, Edition of 8 – $600 |
 |
| Inappropriate Repetitions . By Katrien de Blauwer. Red Fox Press, 2012. |
Subscribe to:
Posts (Atom)