Paris Photo celebrates the cinema with its Sound and Vision Program on the set of Paramount Pictures Studios. Photography and video have a tense relationship, and this program confirms the fruitfulness of interactions between the two disciplines. By adding a series of conversations with photographers like Taryn Simon, Leigh Ledare, Jeff Wall and Jean-Luc Moulene to the 12 films on the program, the Californian curator Douglas Fogle treats transdisciplinarity as a given.
Los Angeles plays on its local particularities with international stature to define its place on the art market, and tonight the publisher BlindSpot, which is only 20 years old, will present an engaging selection of Californian artists. As silent as silent films, the auction will be held on April 25th at the Chateau Marmont on Sunset Boulevard.
This week on the Web: a wonderful video interview with Stephen Shore, the return of Danny Lyon’s Bikeriders, Nan Goldin’s Paradise, an exceptional sale of Bill Gekas’s photos, provocative nudes, a look at the 125th anniversary of National Geographic, and how to create an online photo contest.
Foley Gallery will be presenting Lauren Henkin’s first New York solo exhibition, The Park, a series of photographs made entirely in New York’s Central Park. Henkin states, "For the last decade, I have studied various aspects of the American landscape. In The Park, my largest body of work to date, I deepen that study, capturing the massive constructed urban space that is New York's Central Park–and how people engage it."
“Everybody feels good-looking, but I know I’m good-looking.” This sentence displayed on the wall of the Samuel Fosso exhibition at the Fondation Zinsou in Cotonou makes one smile. The first time one sees this Cameroonian photographer’s work, surprise is in order. For those already familiar with his unique approach, this exhibition revisits his career chronologically through fifteen photographs.
At the age of 19 Sue Ford was one of only two women enrolled in the photography course at the Royal Melbourne Institute of Technology (RMIT). It was 1962 and in Melbourne the social and political rumblings of that decade were only rumours of what was to come. Conservatism was the order of the day.
The Galerie Esther Woerdehoff brings together in an exhibitions the works of Duane Michals, Arthur Tress and Juliette Bates. Two historic figures of American photography and a newcomer, united by their wishe of the reality’s manipulation.