Photography exhibitions
ENDING SOONEST
ANCIENT AND MODERN (ENDS: 12/11/13)
ATLAS Gallery | VIEW EXHIBITION
Following the hugely successful exhibition “Shadow Catchers” at the Victoria . . . and Albert Museum in Autumn 2010, the ATLAS Gallery is pleased to announce a follow-up exhibition of work by the acclaimed German photogram artist, featuring both old and new work. Included are works from the celebrated Aegineten photogram series, which depict life-size ancient Greek statues from the Glyptothek Museum in Munich, along with newly released photogramic nudes and the hugely influential Tellerbilder or “Plate” series from the 1970’s, which, in more recent years inspired younger photogram artists such as Adam Fuss and Gary Fabian Miller. One highlight will be a new work depicting a dinner table laden with the detritus of a long and messy meal, photographically printed onto linen. A true pioneer of photographic art, inspired by the Constructivist camera-less photography of Làszló Moholy-Nagy and by Man Ray’s Surrealist photograms or “Rayographs”, Floris Neusüss has dedicated his whole career to the practice, study and teaching of the photogram, exploring its technical and visual possibilities and pushing the boundaries of the medium. Photograms are created by the placement of objects or in Floris’s case, human bodies, on light-sensitive paper or film, and once exposed to light, the shape of the object is revealed. The proximity of the object to the paper creates sharper or softer outlines and the intensity of the tones is dependent on the transparency of the objects and the amount of light used. The process is akin to “painting” with light, resulting in a ghostly silhouetted negative image. Neusüss further departs from the conventional photogram by occasionally wiping a brush, sponge, or rag dipped into developer or fixer solution across the surface of the paper to produce controlled, painterly gestures. Sometimes he does not fix his prints, allowing the works to constantly change over the years and the photographic process to continue beyond the darkroom. Amongst Neusüss’s best known works are his “Körperfotogramms” (also known as “Nudogramms”), life-size silhouettes of nude bodies exposed on photographic paper in a variety of expressive poses. Often suggesting rapid motion, the figures are caught in space and in an ethereal dream-like state. Neusüss comments: “In the photogram…man is not depicted, but the picture of him comes into being by an act of imagination”. He worked on this series throughout the 1960s and early 1970s, initially using standard silver bromide paper to show white figures on a black background and later using auto-reversal paper to make black figures on white backgrounds. Born in 1937, Neusüss studied printmaking before turning to photography. He was an influential teacher in Germany and recently retired as Professor in Experimental Photography at the University of Kassel, a post he had held since 1971. Philippe Garner, International Head of Photography at Christie’s, comments: “Neusüss occupies a unique position in the history of the photogram. He demonstrated a particularly lyrical vision in using the technique to create life-sized, fluid and spectral impressions of the human figure. His images, made in the period 1960-1974, have mystery and depth, making him a worthy successor to Man Ray and Moholy-Nagy.” The artist will attend an exclusive reception to mark the opening of the exhibition on Wednesday 7th November. For further information and images: Please email ATLAS Gallery at info@atlasgallery.com, or telephone 020 7224 4192.
ATLAS Gallery | VIEW EXHIBITION
Following the hugely successful exhibition “Shadow Catchers” at the Victoria . . . and Albert Museum in Autumn 2010, the ATLAS Gallery is pleased to announce a follow-up exhibition of work by the acclaimed German photogram artist, featuring both old and new work. Included are works from the celebrated Aegineten photogram series, which depict life-size ancient Greek statues from the Glyptothek Museum in Munich, along with newly released photogramic nudes and the hugely influential Tellerbilder or “Plate” series from the 1970’s, which, in more recent years inspired younger photogram artists such as Adam Fuss and Gary Fabian Miller. One highlight will be a new work depicting a dinner table laden with the detritus of a long and messy meal, photographically printed onto linen. A true pioneer of photographic art, inspired by the Constructivist camera-less photography of Làszló Moholy-Nagy and by Man Ray’s Surrealist photograms or “Rayographs”, Floris Neusüss has dedicated his whole career to the practice, study and teaching of the photogram, exploring its technical and visual possibilities and pushing the boundaries of the medium. Photograms are created by the placement of objects or in Floris’s case, human bodies, on light-sensitive paper or film, and once exposed to light, the shape of the object is revealed. The proximity of the object to the paper creates sharper or softer outlines and the intensity of the tones is dependent on the transparency of the objects and the amount of light used. The process is akin to “painting” with light, resulting in a ghostly silhouetted negative image. Neusüss further departs from the conventional photogram by occasionally wiping a brush, sponge, or rag dipped into developer or fixer solution across the surface of the paper to produce controlled, painterly gestures. Sometimes he does not fix his prints, allowing the works to constantly change over the years and the photographic process to continue beyond the darkroom. Amongst Neusüss’s best known works are his “Körperfotogramms” (also known as “Nudogramms”), life-size silhouettes of nude bodies exposed on photographic paper in a variety of expressive poses. Often suggesting rapid motion, the figures are caught in space and in an ethereal dream-like state. Neusüss comments: “In the photogram…man is not depicted, but the picture of him comes into being by an act of imagination”. He worked on this series throughout the 1960s and early 1970s, initially using standard silver bromide paper to show white figures on a black background and later using auto-reversal paper to make black figures on white backgrounds. Born in 1937, Neusüss studied printmaking before turning to photography. He was an influential teacher in Germany and recently retired as Professor in Experimental Photography at the University of Kassel, a post he had held since 1971. Philippe Garner, International Head of Photography at Christie’s, comments: “Neusüss occupies a unique position in the history of the photogram. He demonstrated a particularly lyrical vision in using the technique to create life-sized, fluid and spectral impressions of the human figure. His images, made in the period 1960-1974, have mystery and depth, making him a worthy successor to Man Ray and Moholy-Nagy.” The artist will attend an exclusive reception to mark the opening of the exhibition on Wednesday 7th November. For further information and images: Please email ATLAS Gallery at info@atlasgallery.com, or telephone 020 7224 4192.
Man Ray Portraits (ENDS: 27/05/13)
National Portrait Gallery | VIEW EXHIBITION
A major photographic exhibition, Man Ray Portraits, is now on at the National Po . . .rtrait Gallery. Devoted to one of the most innovative and influential artists of his generation, the exhibition includes over 150 vintage prints from Man Ray’s career taken between 1916 and 1968. Drawn from private collections and major museums including the Pompidou Centre, the J. Paul Getty Museum and New York’s The Museum of Modern Art and Metropolitan Museum of Art, and special loans from the Man Ray Trust Archive, the majority of the works have not previously been exhibited in the United Kingdom. Portraits of Man Ray’s celebrated contemporaries are shown alongside his personal and often intimate portraits of friends, lovers and his social circle. His versatility and experimentation as an artist is illustrated throughout his photography although this was never his chosen principal artistic medium. The exhibition brings together photographic portraits of cultural figures and friends including Marcel Duchamp, Berenice Abbott, Andre Breton, Jean Cocteau, Pablo Picasso, Georges Braque, James Joyce, Erik Satie, Henri Matisse, Barbette, Igor Stravinsky, Yves Tanguy, Salvador Dali, Le Corbusier, Virginia Woolf, Aldous Huxley, Coco Chanel and Wallis Simpson. Also on show are portraits of his lovers Kiki de Montparnasse (Alice Prin) and Lee Miller, who was also his assistant, Ady Fidelin and his last muse and wife Juliet Browner.
National Portrait Gallery | VIEW EXHIBITION
A major photographic exhibition, Man Ray Portraits, is now on at the National Po . . .rtrait Gallery. Devoted to one of the most innovative and influential artists of his generation, the exhibition includes over 150 vintage prints from Man Ray’s career taken between 1916 and 1968. Drawn from private collections and major museums including the Pompidou Centre, the J. Paul Getty Museum and New York’s The Museum of Modern Art and Metropolitan Museum of Art, and special loans from the Man Ray Trust Archive, the majority of the works have not previously been exhibited in the United Kingdom. Portraits of Man Ray’s celebrated contemporaries are shown alongside his personal and often intimate portraits of friends, lovers and his social circle. His versatility and experimentation as an artist is illustrated throughout his photography although this was never his chosen principal artistic medium. The exhibition brings together photographic portraits of cultural figures and friends including Marcel Duchamp, Berenice Abbott, Andre Breton, Jean Cocteau, Pablo Picasso, Georges Braque, James Joyce, Erik Satie, Henri Matisse, Barbette, Igor Stravinsky, Yves Tanguy, Salvador Dali, Le Corbusier, Virginia Woolf, Aldous Huxley, Coco Chanel and Wallis Simpson. Also on show are portraits of his lovers Kiki de Montparnasse (Alice Prin) and Lee Miller, who was also his assistant, Ady Fidelin and his last muse and wife Juliet Browner.
Rainforest of the Sea (ENDS: 15/09/13)
Horniman Museum & Gardens | VIEW EXHIBITION
A new photographic exhibition at the Horniman Museum & Gardens captures the unde . . .rwater wonders of the coral triangle. Rainforest of the Sea features stunning photographs of sea creatures in Borneo, and highlights the diversity of coral reefs, as well as the threats facing one of the world’s richest habitats. Marine biologist and photographer Jamie Craggs worked without the aid of digital photography to create the series of striking underwater shots – from a turtle silhouetted against an azure sky, to close encounters with a longhorn cowfish, a bumblebee shrimp and a hairy squat lobster. Jamie says: ‘Coral reefs are often called the “rainforest of the sea” because, like rainforests, they are one of the most biologically diverse habitats on the planet. These photos weren’t taken with an exhibition in mind, but the threats to this amazing underwater world are so great that I wanted the images to do some good. I hope Rainforest of the Sea will not only show visitors the beauty and wonder of the coral reef and its creatures, but also raise awareness of the importance of protecting them for the future.’ Jamie has worked on coral reef expeditions in the Philippines, as an underwater cameraman in Borneo and as a professional aquarist in the UK. He is currently the Aquarium Curator at the Horniman, overseeing a collection of 2,500 live specimens from 150 aquatic species. He specialises in coral biology and is working with international organisations to conserve coral reefs and better understand the impact human life has on these fragile and globally important habitats. Entry to the exhibition is free.
Horniman Museum & Gardens | VIEW EXHIBITION
A new photographic exhibition at the Horniman Museum & Gardens captures the unde . . .rwater wonders of the coral triangle. Rainforest of the Sea features stunning photographs of sea creatures in Borneo, and highlights the diversity of coral reefs, as well as the threats facing one of the world’s richest habitats. Marine biologist and photographer Jamie Craggs worked without the aid of digital photography to create the series of striking underwater shots – from a turtle silhouetted against an azure sky, to close encounters with a longhorn cowfish, a bumblebee shrimp and a hairy squat lobster. Jamie says: ‘Coral reefs are often called the “rainforest of the sea” because, like rainforests, they are one of the most biologically diverse habitats on the planet. These photos weren’t taken with an exhibition in mind, but the threats to this amazing underwater world are so great that I wanted the images to do some good. I hope Rainforest of the Sea will not only show visitors the beauty and wonder of the coral reef and its creatures, but also raise awareness of the importance of protecting them for the future.’ Jamie has worked on coral reef expeditions in the Philippines, as an underwater cameraman in Borneo and as a professional aquarist in the UK. He is currently the Aquarium Curator at the Horniman, overseeing a collection of 2,500 live specimens from 150 aquatic species. He specialises in coral biology and is working with international organisations to conserve coral reefs and better understand the impact human life has on these fragile and globally important habitats. Entry to the exhibition is free.
Simon Brown: Standing in the Corner (ENDS: 29/06/13)
Richard Young Gallery | VIEW EXHIBITION
The Richard Young Gallery is delighted to announce an exhibition by leading inte . . .riors and still life photographer, Simon Brown. ‘Standing in the Corner’, the collection of limited edition prints from Brown features hauntingly beautiful interiors and location-inspired still life from a collection of houses across England, Ireland and France. Brown, well known for interior and lifestyle photography published in magazines around the world, shot the pictures between 2008 and 2013 and says: ‘What I love is the imperfection of natural light and the genial chaos you can find in houses around the world. On location I only use daylight with long exposures which seems to capture the feel and senses of a place.’ Brown’s pictures feature colours, textures and spaces that chart architectural decay and convey a grandeur of past lives whose spirits still seem to linger in a host of beautiful rooms and passages. Inspired by these locations he then shot a series of images at his West London studio, Willoughby House, from antique kitchen spoons and cabbages to raspberries and hand whisks. ‘I shot these objects in what I saw as mini theatre sets, which elevates everyday objects into something ethereal and extraordinary. Again these pictures are shot with only the daylight which falls through the 14ft high north facing window of my studio. Northern light, much favoured by the Dutch Masters of the 16th Century, has a magical balance of high light to shadow and remains constant.’
Richard Young Gallery | VIEW EXHIBITION
The Richard Young Gallery is delighted to announce an exhibition by leading inte . . .riors and still life photographer, Simon Brown. ‘Standing in the Corner’, the collection of limited edition prints from Brown features hauntingly beautiful interiors and location-inspired still life from a collection of houses across England, Ireland and France. Brown, well known for interior and lifestyle photography published in magazines around the world, shot the pictures between 2008 and 2013 and says: ‘What I love is the imperfection of natural light and the genial chaos you can find in houses around the world. On location I only use daylight with long exposures which seems to capture the feel and senses of a place.’ Brown’s pictures feature colours, textures and spaces that chart architectural decay and convey a grandeur of past lives whose spirits still seem to linger in a host of beautiful rooms and passages. Inspired by these locations he then shot a series of images at his West London studio, Willoughby House, from antique kitchen spoons and cabbages to raspberries and hand whisks. ‘I shot these objects in what I saw as mini theatre sets, which elevates everyday objects into something ethereal and extraordinary. Again these pictures are shot with only the daylight which falls through the 14ft high north facing window of my studio. Northern light, much favoured by the Dutch Masters of the 16th Century, has a magical balance of high light to shadow and remains constant.’
A Brooks Art is delighted to present A.Brooks a new project by Dustin O’Hara (ENDS: 18/05/13)
A Brooks Art | VIEW EXHIBITION
A Brooks Art is delighted to present A.Brooksa new project by Dustin O’Hara . . . Before becoming a gallery, A. Brooks was a family run flower shop. For roughly 70 years the Brooks family sold flowers to their neighbours. Remembered by many local residents, the A. Brooks flower shop, and its family, became an integral part of the Hoxton landscape. The transition from a family run flower shop to a contemporary art gallery is emblematic of the wider changes currently unfolding across the neighbourhood. This exhibition mines the shop’s recent and personal history, as a way of reflecting upon both the personal lives that animated the flower shop and the wider collective identity of the Hoxton neighbourhood. “The power of ordinary urban landscapes to nurture citizens’ public memory, to encompass shared time in the form of shared territory – remains untapped for most working people’s neighbourhoods” Dolores Hayden, The Power of Place The A. Brooks exhibition was developed in collaboration between Dustin O’Hara, Julia Riddiough, and Toni Brooks. Dustin O’Hara’s work could be described as experimental community archiving, Julia Riddiough currently runs the A. Brooks gallery and Toni Brooks is a retired florist. Kathy and Mark Brooks also worked in the shop and family business for over thirty years. Mark now has a stall in Hoxton Street market and continues to sell flowers today. Artist talk and event with Dustin O’Hara to coincide with ‘A. Brooks’ 4th April – 18th May 2013 an exhibition at A Brooks Art on 2nd May 2013 6.30 – 7.30 A short reading from the A. Brooks script (a dialogue developed by Dustin O’Hara in conversation with the Brooks family) will be followed by a group discussion about the exhibition and neighbourhood. This event is free but booking is required. Please go to the link here to book a place http://abrooksart.com/portfolio/dustin-ohara/ Please contact julia@abrooksart.com if you require further information. Dustin O’Hara grew up in southern California and in 2011 finished an MFA in the Digital Arts New Media program at University of California, Santa Cruz. While at UCSC O’Hara worked with Warren Sack in the participatory culture research group and Dee Hibbert-Jones in the social practice art research centre. O’Hara’s own practice continues to reflect community participation and the outcomes that this work facilitates. O’Hara lives in Hackney and recent projects include The Shoreditch Park Project 2013 (a UK Heritage Lottery Funded Project, Me You Hoxton Too at PEER Gallery 2012 and the Shoreditch Festival London 2012
A Brooks Art | VIEW EXHIBITION
A Brooks Art is delighted to present A.Brooksa new project by Dustin O’Hara . . . Before becoming a gallery, A. Brooks was a family run flower shop. For roughly 70 years the Brooks family sold flowers to their neighbours. Remembered by many local residents, the A. Brooks flower shop, and its family, became an integral part of the Hoxton landscape. The transition from a family run flower shop to a contemporary art gallery is emblematic of the wider changes currently unfolding across the neighbourhood. This exhibition mines the shop’s recent and personal history, as a way of reflecting upon both the personal lives that animated the flower shop and the wider collective identity of the Hoxton neighbourhood. “The power of ordinary urban landscapes to nurture citizens’ public memory, to encompass shared time in the form of shared territory – remains untapped for most working people’s neighbourhoods” Dolores Hayden, The Power of Place The A. Brooks exhibition was developed in collaboration between Dustin O’Hara, Julia Riddiough, and Toni Brooks. Dustin O’Hara’s work could be described as experimental community archiving, Julia Riddiough currently runs the A. Brooks gallery and Toni Brooks is a retired florist. Kathy and Mark Brooks also worked in the shop and family business for over thirty years. Mark now has a stall in Hoxton Street market and continues to sell flowers today. Artist talk and event with Dustin O’Hara to coincide with ‘A. Brooks’ 4th April – 18th May 2013 an exhibition at A Brooks Art on 2nd May 2013 6.30 – 7.30 A short reading from the A. Brooks script (a dialogue developed by Dustin O’Hara in conversation with the Brooks family) will be followed by a group discussion about the exhibition and neighbourhood. This event is free but booking is required. Please go to the link here to book a place http://abrooksart.com/portfolio/dustin-ohara/ Please contact julia@abrooksart.com if you require further information. Dustin O’Hara grew up in southern California and in 2011 finished an MFA in the Digital Arts New Media program at University of California, Santa Cruz. While at UCSC O’Hara worked with Warren Sack in the participatory culture research group and Dee Hibbert-Jones in the social practice art research centre. O’Hara’s own practice continues to reflect community participation and the outcomes that this work facilitates. O’Hara lives in Hackney and recent projects include The Shoreditch Park Project 2013 (a UK Heritage Lottery Funded Project, Me You Hoxton Too at PEER Gallery 2012 and the Shoreditch Festival London 2012
NEWEST ADDITIONS
Blitz (ENDS: 29/06/13)
Daniel Blau | VIEW EXHIBITION
“The glare of many fires and sweeping clouds of smoke kept hiding the shape.&n . . .bsp;Then a wind sprang up. Suddenly, the shining cross, dome and towers stood out like a symbol in the inferno. The scene was unbelievable. In that moment or two, I released my shutter.” Herbert Mason on his iconic 1940 photograph of St Paul’s Cathedral.In this exhibition of vintage photographs from the 1940s, Londoners salvage their possessions from the rubble of their homes and take refuge in the city’s underground stations. Walls crumble, buildings open like dollhouses, and families go about their errands wearing gas masks. Many of these photographs were used for press purposes and are unique historic documents as well as important works of art.The Blitz lasted from 7 September 1940 to 21 May 1941. In this time, Germany attacked London 71 times, rendering more than 1.4 million people homeless. The main air offensive against British cities diminished after May 1941, but sporadic and lethal raids continued for several more years, with the V-1 and V-2 rockets deployed between 1944 and 1945 killing nearly 9,000 civilians.Although evidence of WWII persists in this historic city, the majority of bomb sites remain unmarked and unremembered, and it is difficult to imagine what it must have been like to experience such destruction. As the number of people who remember the Blitz dwindles, we hope to reignite awareness of this significant time in London’s history.Please join us for the opening of this very special exhibition on Thursday May 30th, from 6-8pm.
Daniel Blau | VIEW EXHIBITION
“The glare of many fires and sweeping clouds of smoke kept hiding the shape.&n . . .bsp;Then a wind sprang up. Suddenly, the shining cross, dome and towers stood out like a symbol in the inferno. The scene was unbelievable. In that moment or two, I released my shutter.” Herbert Mason on his iconic 1940 photograph of St Paul’s Cathedral.In this exhibition of vintage photographs from the 1940s, Londoners salvage their possessions from the rubble of their homes and take refuge in the city’s underground stations. Walls crumble, buildings open like dollhouses, and families go about their errands wearing gas masks. Many of these photographs were used for press purposes and are unique historic documents as well as important works of art.The Blitz lasted from 7 September 1940 to 21 May 1941. In this time, Germany attacked London 71 times, rendering more than 1.4 million people homeless. The main air offensive against British cities diminished after May 1941, but sporadic and lethal raids continued for several more years, with the V-1 and V-2 rockets deployed between 1944 and 1945 killing nearly 9,000 civilians.Although evidence of WWII persists in this historic city, the majority of bomb sites remain unmarked and unremembered, and it is difficult to imagine what it must have been like to experience such destruction. As the number of people who remember the Blitz dwindles, we hope to reignite awareness of this significant time in London’s history.Please join us for the opening of this very special exhibition on Thursday May 30th, from 6-8pm.
Christian Vogt: Today I’ve Been You (ENDS: 06/07/13)
Margaret Street Gallery | VIEW EXHIBITION
Christian Vogt is recognized as one of the most important and accomplished Swiss . . . photographers exploring the limits of photography today. Today I’ve Been You brings together a diverse body of Vogt’s photography and three-dimensional works, showing the developments and perceptions that have occupied him during the later part of his career.
Margaret Street Gallery | VIEW EXHIBITION
Christian Vogt is recognized as one of the most important and accomplished Swiss . . . photographers exploring the limits of photography today. Today I’ve Been You brings together a diverse body of Vogt’s photography and three-dimensional works, showing the developments and perceptions that have occupied him during the later part of his career.
Selected Works (ENDS: 30/06/13)
ATLAS Gallery | VIEW EXHIBITION
To mark the opening of the exhibition Genesis at the Natural History Museum, Lon . . .don, we are delighted to present a selection of works by the celebrated photographer Sebastião Salgado. Salgado’s eight-year project, documenting the world’s unspoilt natural landscapes culminates in a truly monumental presentation of both large and medium format prints. In the selection of works shown in this online exhibition, we have chosen a small group of works, which together offer an overview of Salgado’s career, from the earlier Workers series through to massive 50 x 70 inches works from Genesis. We will be displaying a selection of these at the Masterpiece Art Fair in London from 27th June to 3rd July. In addition, we are delighted to be able to offer for sale advance copies of the accompanying signed limited edition 2-volume set published by Taschen, details of which follow, and have a wide selection of works to view in the gallery. Sebastião Salgado was born on February 8th, 1944 in Aimorés, in the state of Minas Gerais, Brazil. Having studied economics, Salgado began his career as a professional photographer in 1973 in Paris, working with the photo agencies Sygma, Gamma, and Magnum Photos until 1994, when he and Lélia Wanick Salgado formed Amazonas images, an agency created exclusively for his work. He has travelled in over 100 countries for his photographic projects. Most of these, besides appearing in numerous press publications, have also been presented in books such as Other Americas (1986), Sahel: L’ Homme en Détresse (1986), Sahel: El Fin del Camino (1988), Workers (1993), Terra (1997), Migrations and Portraits (2000), and Africa (2007). Touring exhibitions of this work have been, and continue to be, presented throughout the world. Sebastião Salgado has been awarded numerous major photographic prizes in recognition of his accomplishments. He is a UNICEF Goodwill Ambassador, and an honorary member of the Academy of Arts and Sciences in the United States. Details of signed limited edition book: - Collector’s Edition limited to 2,500 copies (No. 501-3,000), numbered and signed by Sebastião Salgado - Two volumes bound in quarter-leather and cloth - SUMO size: 46.8 x 70 cm (18.4 x 27.6 in.) - Comes with a book-stand made of cherry wood designed by Tadao Ando - Also included is a cloth-bound caption book - Delivered in a wooden cargo box (total weight: 59 kg ) - £ 2,500 - Subscription prices until June 15, 2013: £ 2,000 For further information, please email ATLAS Gallery at info@atlasgallery.com or telephone 020 7224 4192.
ATLAS Gallery | VIEW EXHIBITION
To mark the opening of the exhibition Genesis at the Natural History Museum, Lon . . .don, we are delighted to present a selection of works by the celebrated photographer Sebastião Salgado. Salgado’s eight-year project, documenting the world’s unspoilt natural landscapes culminates in a truly monumental presentation of both large and medium format prints. In the selection of works shown in this online exhibition, we have chosen a small group of works, which together offer an overview of Salgado’s career, from the earlier Workers series through to massive 50 x 70 inches works from Genesis. We will be displaying a selection of these at the Masterpiece Art Fair in London from 27th June to 3rd July. In addition, we are delighted to be able to offer for sale advance copies of the accompanying signed limited edition 2-volume set published by Taschen, details of which follow, and have a wide selection of works to view in the gallery. Sebastião Salgado was born on February 8th, 1944 in Aimorés, in the state of Minas Gerais, Brazil. Having studied economics, Salgado began his career as a professional photographer in 1973 in Paris, working with the photo agencies Sygma, Gamma, and Magnum Photos until 1994, when he and Lélia Wanick Salgado formed Amazonas images, an agency created exclusively for his work. He has travelled in over 100 countries for his photographic projects. Most of these, besides appearing in numerous press publications, have also been presented in books such as Other Americas (1986), Sahel: L’ Homme en Détresse (1986), Sahel: El Fin del Camino (1988), Workers (1993), Terra (1997), Migrations and Portraits (2000), and Africa (2007). Touring exhibitions of this work have been, and continue to be, presented throughout the world. Sebastião Salgado has been awarded numerous major photographic prizes in recognition of his accomplishments. He is a UNICEF Goodwill Ambassador, and an honorary member of the Academy of Arts and Sciences in the United States. Details of signed limited edition book: - Collector’s Edition limited to 2,500 copies (No. 501-3,000), numbered and signed by Sebastião Salgado - Two volumes bound in quarter-leather and cloth - SUMO size: 46.8 x 70 cm (18.4 x 27.6 in.) - Comes with a book-stand made of cherry wood designed by Tadao Ando - Also included is a cloth-bound caption book - Delivered in a wooden cargo box (total weight: 59 kg ) - £ 2,500 - Subscription prices until June 15, 2013: £ 2,000 For further information, please email ATLAS Gallery at info@atlasgallery.com or telephone 020 7224 4192.
André Kertész: Truth and Distortion (ENDS: 25/05/13)
ATLAS Gallery | VIEW EXHIBITION
Images from a single-owner collection of over 400 signed prints by Hungarian pho . . .tographer André Kertész, originally acquired by the current owner from his long standing assistant Nicolas Ducrot over 20 years ago, will go on display at ATLAS Gallery on 11th April 2013. The show is divided into two halves, exhibited over the gallery’s two floors. Well-known works that illustrate the various eras, locales and subject matters of his work, including ‘Mondrian’s Pipe and Glasses’ (1926), other still lifes, photographs of New York and Paris, and autobiographical images of his home and his wife, Elizabeth, will be displayed in the upstairs gallery. The downstairs gallery will be devoted to works from the Distortions series. This important body of work, begun in the early 1930’s, consists mostly of nudes photographed using convex mirrors. The exhibition will include a selection of early reference prints made for the publication of the book ‘Distorsions’ in 1976, in which the works were published for the first time. Ducrot was instrumental in bringing the work to completion and many prints bear his manuscript annotations and crops. Perhaps the most celebrated of all images from this series is the famous ‘Melancholic Tulip’ (1939). Gallery owner Ben Burdett says: ‘This unique collection of prints has been kept together since they were acquired from Nicolas Ducrot. They are an important group of images, representing an ultimate edit of Kertész’s work, many being master prints retained by the studio, in some ways as the definitive interpretation of the photographer’s negatives.’ Kertész is often considered to be the founder of the photo essay, having earned his living as a photographer primarily through commissions for magazines and under contract to Condé Nast Publishing for twenty years of his career. The Distortions series retains a certain formality that is evident in his photojournalistic work, but is innovative and distinctive, clearly referencing the Surrealist influence of the time. In many ways these images best represent the identity of Kertész’s creative work. Kertész is known for crossing the boundary between modernism and documentary, with creative phases generally being divided into the Hungarian, French, American and International periods. All works are available to view in the gallery print room.
ATLAS Gallery | VIEW EXHIBITION
Images from a single-owner collection of over 400 signed prints by Hungarian pho . . .tographer André Kertész, originally acquired by the current owner from his long standing assistant Nicolas Ducrot over 20 years ago, will go on display at ATLAS Gallery on 11th April 2013. The show is divided into two halves, exhibited over the gallery’s two floors. Well-known works that illustrate the various eras, locales and subject matters of his work, including ‘Mondrian’s Pipe and Glasses’ (1926), other still lifes, photographs of New York and Paris, and autobiographical images of his home and his wife, Elizabeth, will be displayed in the upstairs gallery. The downstairs gallery will be devoted to works from the Distortions series. This important body of work, begun in the early 1930’s, consists mostly of nudes photographed using convex mirrors. The exhibition will include a selection of early reference prints made for the publication of the book ‘Distorsions’ in 1976, in which the works were published for the first time. Ducrot was instrumental in bringing the work to completion and many prints bear his manuscript annotations and crops. Perhaps the most celebrated of all images from this series is the famous ‘Melancholic Tulip’ (1939). Gallery owner Ben Burdett says: ‘This unique collection of prints has been kept together since they were acquired from Nicolas Ducrot. They are an important group of images, representing an ultimate edit of Kertész’s work, many being master prints retained by the studio, in some ways as the definitive interpretation of the photographer’s negatives.’ Kertész is often considered to be the founder of the photo essay, having earned his living as a photographer primarily through commissions for magazines and under contract to Condé Nast Publishing for twenty years of his career. The Distortions series retains a certain formality that is evident in his photojournalistic work, but is innovative and distinctive, clearly referencing the Surrealist influence of the time. In many ways these images best represent the identity of Kertész’s creative work. Kertész is known for crossing the boundary between modernism and documentary, with creative phases generally being divided into the Hungarian, French, American and International periods. All works are available to view in the gallery print room.
Rena Effendi – Liquid Land: Legacies of Oil and Power (ENDS: 22/06/13)
Impressions Gallery | VIEW EXHIBITION
Opening on the anniversary of the Chernobyl disaster, Liquid Land: Legacies . . . of Oil and Power reveals the struggles and resilience of people living in some of the world’s most polluted areas in the former Soviet Union.This is the first UK showing of this new exhibition by award-winning Azerbaijani photographer Rena Effendi, and brings together two related bodies of work made over the last ten years.Chernobyl: Still Life in the Zone is a moving portrait of the lives of elderly women in the Ukraine’s notorious Zone, the restricted area around Reactor 4 which exploded on 26 April 1986. In the aftermath of nuclear catastrophe, these women returned to reclaim their homes from an inhospitable world where most of the food they produce still contains dangerous levels of radiation.Liquid Land depicts communities and refugees of war living amongst the oil spills and industrial ruin of the petroleum-rich Absheron peninsula in Azerbaijan, near to the capital Baku where Effendi was born and grew up. These landscapes and portraits are paired with images that pay tribute to Effendi’s late father, a dissident scientist and entomologist who devoted his life to studying and collecting butterflies in the Soviet Union. The only remaining visual evidence of his life’s work is a collection of photographs of endangered butterflies for a manuscript he never published. Taken as a whole, the exhibition transcends geographical borders to become a collective portrait of people who have survived isolation, devastating pollution and political chaos. Amidst decay, life goes on: families decorate their crumbling homes with peacock feathers; a boy plays his drum on a heap of construction waste; and iridescent butterflies wings shine in the fresh mountain air.A touring exhibition from INSTITUTE / Courtesy of Rena Effendi and the Prince Claus FundAll images © Rena Effendi/Prince Claus Fund/INSTITUTERena Effendi (Baku, Azerbaijan, 1977) is a social documentary photographer based in Cairo. Her first job, at the age of 19, was as a translator for the Azerbaijan International Oil Company, a consortium of some of the world’s largest oil producers. Having gained an inside perspective, Effendi began to take photographs in 2001, focusing on the oil industry’s effects on ordinary people’s lives. Her work on the Baku-Tbilisi-Ceyhan oil pipeline was published as the book Pipe Dreams: A Chronicle of Lives Along the Pipeline by Schilt Publishing in 2009.Effendi’s international awards include the Fifty Crows Documentary award, the Getty Images Editorial Grant, and National Geographic’s All Roads Photography Award. She has exhibited worldwide, including at the Visa Pour L’Image Festival of Photojournalism in Perpignan; the 52nd Venice Biennale; and the Istanbul Biennial. Her work has been published inNewsweek, Time, The Financial Times, International Herald Tribune, Marie Claire, Le Monde, National Geographic, and others. Rena Effendi is represented by INSTITUTE for Artist Management worldwide and by Grinberg Gallery in Russia. www.refendi.com
Impressions Gallery | VIEW EXHIBITION
Opening on the anniversary of the Chernobyl disaster, Liquid Land: Legacies . . . of Oil and Power reveals the struggles and resilience of people living in some of the world’s most polluted areas in the former Soviet Union.This is the first UK showing of this new exhibition by award-winning Azerbaijani photographer Rena Effendi, and brings together two related bodies of work made over the last ten years.Chernobyl: Still Life in the Zone is a moving portrait of the lives of elderly women in the Ukraine’s notorious Zone, the restricted area around Reactor 4 which exploded on 26 April 1986. In the aftermath of nuclear catastrophe, these women returned to reclaim their homes from an inhospitable world where most of the food they produce still contains dangerous levels of radiation.Liquid Land depicts communities and refugees of war living amongst the oil spills and industrial ruin of the petroleum-rich Absheron peninsula in Azerbaijan, near to the capital Baku where Effendi was born and grew up. These landscapes and portraits are paired with images that pay tribute to Effendi’s late father, a dissident scientist and entomologist who devoted his life to studying and collecting butterflies in the Soviet Union. The only remaining visual evidence of his life’s work is a collection of photographs of endangered butterflies for a manuscript he never published. Taken as a whole, the exhibition transcends geographical borders to become a collective portrait of people who have survived isolation, devastating pollution and political chaos. Amidst decay, life goes on: families decorate their crumbling homes with peacock feathers; a boy plays his drum on a heap of construction waste; and iridescent butterflies wings shine in the fresh mountain air.A touring exhibition from INSTITUTE / Courtesy of Rena Effendi and the Prince Claus FundAll images © Rena Effendi/Prince Claus Fund/INSTITUTERena Effendi (Baku, Azerbaijan, 1977) is a social documentary photographer based in Cairo. Her first job, at the age of 19, was as a translator for the Azerbaijan International Oil Company, a consortium of some of the world’s largest oil producers. Having gained an inside perspective, Effendi began to take photographs in 2001, focusing on the oil industry’s effects on ordinary people’s lives. Her work on the Baku-Tbilisi-Ceyhan oil pipeline was published as the book Pipe Dreams: A Chronicle of Lives Along the Pipeline by Schilt Publishing in 2009.Effendi’s international awards include the Fifty Crows Documentary award, the Getty Images Editorial Grant, and National Geographic’s All Roads Photography Award. She has exhibited worldwide, including at the Visa Pour L’Image Festival of Photojournalism in Perpignan; the 52nd Venice Biennale; and the Istanbul Biennial. Her work has been published inNewsweek, Time, The Financial Times, International Herald Tribune, Marie Claire, Le Monde, National Geographic, and others. Rena Effendi is represented by INSTITUTE for Artist Management worldwide and by Grinberg Gallery in Russia. www.refendi.com
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