Art Out: THE LEGACY OF BILL EPPRIDGE, Stageless: Second Act, The New Herbarium
Copyright Bill Eppridge Courtesy of Monroe Gallery of Photography, Bobby Kennedy campaigns in Indiana during May of 1968, with various aides and friends: former prizefighter Tony Zale and (right of Kennedy) N.F.L. stars and members of "The Fearsome Foursome" Lamar Lundy, Rosey Grier, and Deacon Jones
Monroe Gallery Of Photography | September 30-November 20, 2022.
“A journalist does not necessarily imply ‘artist’ but you are not going to make your point if you cannot make a picture that people will stop and explore…the ‘artist’ in one instant must establish a sense of time, a sense of place, a moment of importance, a moment of aesthetic beauty all in the same frame, one moment in history. In terms of importance, the fewer of these present, the less significant the photograph. Anybody can take pictures, but not anybody can become a photographer.’”
Bill Eppridge was one of the most accomplished photojournalists of the Twentieth Century and captured some of the most significant moments in American history: he covered wars, political campaigns, heroin addiction, the arrival of the Beatles in the United States, Vietnam, Woodstock, the civil rights movement, (notably the funeral of James Chaney, who was murdered by the Ku Klux Klan), the Olympic Games, America’s Cup races, and revolutions in Latin America, and perhaps the most dramatic moment of his career - the assassination of Senator Robert Kennedy in Los Angeles. Over the last 60 years, his work appeared in numerous publications, including National Geographic, Life, Sports Illustrated; and has been exhibited in museums throughout the world.
to view more of this exhibition visit here.
Sven Marquardt, From the series STAGELESS, 2019 Fine Art HM Baryta-Print, ed. 3 + 2 AP / PVC print, unique © Sven Marquardt Courtesy of Galerie Deschler, Berlin Loans from Friedrichstadt-Palast Berlin in cooperation with C/O Berlin
Sven Marquardt Hanna (From the series STAGELESS), 2019
PVC print Unframed Dimensions: 70.87 x 47.24in. (180 x 120cm) SMar5559
Galerie Deschler | Opening October 7
We are excited to present Stageless: Second Act, photographic portraits by Sven Marquardt, courtesy of Galerie Deschler, Berlin. This is the artist’s inaugural solo exhibition with the Gallery. Stageless: Second Act is a reprisal of Berlin- based photographer Sven Marquardt’s collection of portraits of dancers and performing artists just after they have come off-stage. His intimate snapshots show the unembellished transition from the performers’ dramatic, mask-like stage roles to their strained and tired faces after the show. The result is fluid portraits of performers who are about to discard their practiced repertoire of professional facial expressions in order to return to their civilian selves. Originally presented at Friedrichstadt-Palast Berlin in fall of 2020, before it was shut down due to Covid restrictions, Stageless transformed the largest and most modern show palace in Europe into an exhibition space in order to give its visitors a photographic look behind the scenes. In this new iteration, selections from the original series are presented as an homage to the rigors and passion of transformation through performance, at a time when we are regaining our ability to appreciate and explore our physical relationship to one another.
to view more of this exhibition visit here.
Madge Evers, "She Sells Seashells" (2019), mushroom spores on paper, 11 x 14 inches from "The New Herbarium"
Brattleboro Museum | October 22, 2022 - February 12, 2023
Madge Evers uses mushroom spores and plant matter as her artistic mediums. “For traditional herbaria, botanical specimens are pressed and arranged on paper,” Evers explained. “My technique departs from tradition when I place a foraged mushroom, gill-side down, on top of plants, which then serve as stencils. After the billions of spores contained in the gills or pores of the mushroom are released, they fall and mark the paper.” Evers’ work reveals not only the biological specimens themselves but their ancient origins and evolution, as guest essayist Sophie Strand explains in a statement accompanying the exhibit. Strand writes, “The masterful trick of Madge Evers’ ‘The New Herbarium’ is that by virtue of using modern materials—jack-’o-lantern mushroom spores, dogwood flowers, black pastel paper—she memorializes the absent materials: the environmental conditions that, although they cannot be pressed into paper, summoned these contemporary fungal, vegetal silhouettes into being.”
to view more of this exhibition visit here.
