“The goal of the father of photojournalism, focused on the history marked by famous kisses by anonymous couples, great dictators, Marilyn Monroe and Sophia Loren, clouds of tulle of the American Ballet Theater for a fascinating exhibition.”
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Though Maroesjka Lavigne’s 2012 work Autobus, On the Road pictures a treeless, snow-bathed landscape, its brilliant hues save it from austerity. There’s a neat symmetry to the work, with a pink rooftop and red bus jutting just past each other, both covered in a layer of white powder. The dusty white sky is a lush, purplish blue at the edges. “She has a very unique way of visiting a location and capturing it,” said gallerist Robert Mann, who first found the young Belgian artist’s work in Foam Magazine in 2012. Autobus, On the Road hails from Lavigne’s body of work devoted exclusively to Icelandic landscapes. In the years since, she’s also documented such far-flung locales as China, Chile, and Namibia.
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Best known for British landscapes, the artist departed radically from his usual working methods for his latest project.
Over the past four decades, the Bristol-born photographer Jem Southam has been documenting the English landscape. His work, made in series, takes the form of long-term studies of selected sites, often spanning several years; delving deep into the individual histories of his locations, they eschew the sentimental, idyllic, single-frame vision of the “English countryside”.
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From the Upper East Side to The Lower East Side, New York City has so much to offer. We have chosen for you the essential photography galleries in New York City.
Founded in 1985, Robert Mann Gallery was the first photography and photo-based arts gallery to move to the Chelsea area and remains one of the preeminent photo gallery in NYC.
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Nextdoor.com calls itself the “private social network for your neighborhood,” and a photograph on the app — of a clean white sidewalk carving a path through lawns of manicured grass — conveys that this is a safe space. People seek and find babysitters, dog-sitters, house-sitters. They raise money for local causes, furnish the homes of those in need. They also display a fair bit of paranoia about “suspicious” characters lurking on street corners. And every day, in every neighborhood, a cat goes missing. Here, a sampling of people in the greater Portland area who took to the site over the course of a month to connect with their neighbors.
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By centering the actual machinery of war, Mary Mattingly’s exhibition, What Happens After, pushes viewers who haven’t experienced war to consider what it must be like.
The military truck at the center of Mary Mattingly’s What Happens After, now on view at BRIC House, has been to Iraq, transporting weapons and soldiers in the first Gulf War, and then to Afghanistan. It didn’t kill anyone by itself, but as a military vehicle, was a conduit to carnage. It met an untimely end after the online auction Mattingly bought it from: Now it’s in pieces in the middle of an art gallery. Visiting the exhibition is an exercise in grappling with answering the title’s question — whether the new context neutralizes it, reclaims it, or hides the violence it was responsible for.
Mattingly makes viewers work for their own answers.
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BRIC is pleased to present Mary Mattingly: What Happens After, an exhibition of large-scale sculpture, photography, and a monumental wall-based flow chart, that poses the question: what happens when an object that embodies both the systemic violence represented by war and by climate change is manifested in a public space? When we’re able to collaboratively change the form and function of an object with a violent and complex history, it can be powerful. Can it be healing?
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Photographers read poems written by 6 women. Here’s what they saw in the words.
By Kerri MacDonald and Morrigan McCarthy
Aug. 17, 2018
Cig Harvey: “Edge” by Layli Long Soldier
Ms. Harvey, who is based in Maine, photographed her daughter for this series. Her photos are about “that sensation of ingesting the wind and time passing.”
The poem “Edge” reminds me of the everyday. An elevated everyday. As if Layli Long Soldier took all my daily car rides with my daughter Scout and distilled them into nine lines. In our cars we are our own planets. I ask questions. She says things. I search the rearview mirror for gestures and expressions.
On the five hundred acres of the Storm King Art Center, in Cornwall, New York, the sight of weeping willows or maples is no surprise—but a tropical-palm grove? The palm trees were transplanted by Mary Mattingly, one of the seventeen participants in “Indicators: Artists on Climate Change” (through Nov. 11). Also featured are sculptures by Maya Lin offering a glimpse into the secret life of grass and Jenny Kendler’s installation “Bird Watching” (above), representing a hundred eyes of as many threatened or endangered species.
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From the lakes of Hokkaido to the forests of Abruzzo, the British photographer has scoured the world’s landscapes to capture their silent guardians.
Michael Kenna, one of the world’s leading landscape photographers, is known for his emphatically analogue approach to his work and his elegiac tone.
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