Art Out : Staley-Wise, Nan Goldin, Justin Kurland
Philippe Halsman, Dali's Moustache, 1953, © Philippe Halsman Estate, Courtesy Staley-Wise Gallery, New York
Staley-Wise GalleryWith this group of photographs, Staley-Wise is continuing a series of online themed exhibitions chosen from the gallery archive. “Face it” work by Patrick Demarchelier, Robert Doisneau, Arthur Elgort, Abe Frajndlich, Philippe Halsman, George Hurrell, David LaChapelle, Man Ray,Kurt Markus, Susan Meiselas, David Montgomery, Herb Ritts, Rodney Smith, Melvin Sokolsky, Stephanie Pfriender Stylander, Ellen von Unwerth, Chris von Wangenheim, Txema Yeste, Firooz Zahedi
Please enjoy this exhibition on our website at staleywise.com.
NAN GOLDIN : Memory Lost
27 April – 12 June 2021
Marian Goodman Gallery is delighted to announce Memory Lost, our first exhibition in New York with Nan Goldin, who joined the gallery in September 2018.
This major exhibition will be the first solo presentation by the artist in New York in five years and will present an important range of historical works together with two new video pieces and the debut of two new series of photographs.
Memory Lost (2019), an important, new digital slideshow, recounts a life lived through a lens of drug addiction. This captivating, beautiful and haunting journey unfolds through an assemblage of intimate and personal imagery to offer a poignant reflection on memory and the darkness of addiction. It is one of the most moving, personal and arresting works of Goldin’s career to date. It is accompanied by an emotionally charged new score commissioned from composer and instrumentalist Mica Levi, with additional music by CJ Calderwood and Soundwalk Collective. Documenting a life at once familiar and reframed, newly discovered archival images are edited to portray memory as lived and witnessed experience, altered and lost through drug addiction. A group of stills from Memory Lost, presented here as dye sublimation prints on aluminium for the first time in Goldin’s career, gathers work from a period when the outcome of a photograph was unpredictable. Technical mistakes allowed for magic; random psychological subtexts that could not have been created intentionally could make the subconscious visible.
In conjunction with Memory Lost, another new video work, Sirens (2019–2020), will be presented in the North Gallery. This is the first work by Goldin made entirely from found footage––scenes from thirty of her favorite films––and is accompanied by a new score by Mica Levi. Echoing the enchanting call of the Sirens from Greek mythology, who lured sailors to their untimely deaths on rocky shores, this hypnotic work entrances the viewer into the sensuality and ecstasy of being high.
In an adjacent space, a new series of pictures taken entirely from her home during quarantine (2020–2021) mark a return to Goldin’s best-known work. The subject of these portraits, writer Thora Siemsen, inspired Goldin to pick up her camera and document her personal life again. During the paradigm shift between what we’ve known and a new reality still unknown, Goldin has made a timeless portrait of her friend and of her home. Amidst the terrors and limitations of the global pandemic, Goldin arrives at a place where time is crystallized by presence, stillness, and intimacy.
In the South Gallery, Goldin presents a series of large skies and landscapes taken over the last thirty years during her travels through the world. The rich tonality and subtlety of these large images convey an ethereal, abstract quality that sits in counterpoint to the rest of the exhibition. Goldin’s skies float, unframed, evoking the enormity of the sky and her desire to photograph emptiness.
A newly edited version of the slideshow, The Other Side (1993–2021), will be presented in the Third Floor Gallery as an analog piece for the first time in fourteen years. The Other Side was produced as an homage to the artist’s transgender friends whom she lived with and photographed from 1972 to 2010. The work celebrates the “gender euphoria” of her friends, in their possibilities for transcendence. In the introduction to the first edition of the book, The Other Side, published in 1992, Goldin wrote: “The people in these pictures are truly revolutionary; they are the real winners of the battle of the sexes because they have stepped out of the ring.” In the updated version of The Other Side, published by Steidl in 2019, Goldin reaffirms it as “a record of the courage of the people who transformed that landscape to allow trans people the freedom of now. My dream since I was a kid was of a world with completely fluid gender and sexuality, which has come true as manifested by all those living publicly as gender non-conforming. The invisible has become visible.”
Justine Kurland, American Sports, 1970: Or How We Spent the War in Vietnam, 2021, collage (hardcover)
10 3/4 x 24 1/2 inches (27.3 x 62.2 cm), unique
Justine Kurland, SCUMB Manifesto
March 13 – May 1, 2021
Saturday, March 13, 2021 (noon – 6pm)
Address: 16 Main Street, Ground Floor, Brooklyn, NY 11201
Higher Pictures Generation presents an exhibition of new photographic collages by Justine Kurland. This is the artist’s second presentation with the gallery.
In 1967 the radical feminist and writer Valerie Solanas sold copies of her newly authored SCUM Manifesto on the streets of New York’s Greenwich Village, charging $1 ($2 if the buyer was a man). It opens with an incisive description of her project: “[. . .] SCUM (Society for Cutting Up Men), which will eliminate through sabotage all aspects of society not relevant to women (everything), bring about a complete female take-over, eliminate the male sex and begin to create a swinging, groovy, out-of-sight female world.”
Kurland’s Society for Cutting Up Men’s Books is an object-based, tactile imagining of matriarchal paradise, which she explored in her earliest body of work, Girl Pictures (1997–2002), and again in Mama Babies (2004–07). Seeking and picturing freedom, at the core of much of Kurland’s work, is located here in the artistic act itself: Kurland is purging her own cherished library of photography books authored by white men. Historical figures who have become the foundation of the history of photography, and their contemporary male heirs by primogeniture, have their pictures chopped up and reauthored by Kurland. The nature of collage—heterogeneous, pulled apart, shape shifting, disrupted, cyborg, fantasy—has long made it a feminist strategy in life and in art. Kurland’s is a restorative and loving ritual. Each collage is a reclamation of history; a dismemberment of the patriarchy; a gender inversion of the usual terms of possession; and a modest attempt at offsetting a life of income disparity. Before making the work available to collectors Kurland offered to sell them to the original photographers. None of the men have taken her up on her offer.
An accompanying publication, featuring a text by the artist, is available through the gallery.
Events
Cig Harvey, Eat Flowers
Artist Talk
May 8
3115 E Shadowlawn Ave Atlanta, GA
On Saturday, May 8th, Cig Harvey will give a closing artist talk, followed by questions and a book signing in celebration of Harvey’s forthcoming monograph, Blue Violet. Cig’s previous books You Look At Me Like An Emergency, Gardening at Night, and You an Orchestra, You a Bomb have all sold out and have won numerous awards.
For more infomation about this event please visit https://www.jacksonfineart.com/
Artist Hank Willis Thomas to speak at OSU April 19
March 30, 2017
CORVALLIS, Ore. - Hank Willis Thomas, a photo conceptual artist who works primarily with themes related to identity, history and popular culture, will speak April 19 at Oregon State University.
The talk, "Divided We Fall," will be at 6:30 p.m. in Construction & Engineering Hall at The LaSells Stewart Center, 875 S.W. 26th St., Corvallis. A reception with the artist will be held at 5:30 p.m. in the Myrtle Tree Alcove. The reception and talk are free and open to the public.
Thomas also will be in residence on campus April 18-19 and will spend time visiting art classes and reviewing and critiquing student art work. His visit and lecture are part of the School of Arts & Communication's Visiting Artists and Scholars Lecture Series.
Thomas has exhibited throughout the U.S. and abroad, including at The International Center of Photography, The Guggenheim Museum Bilbao, Studio Museum in Harlem, and the Cleveland Museum of Art.
His monograph, "Pitch Blackness," was published by Aperture. His work is in numerous public collections, including The Museum of Modern Art New York, The Solomon R. Guggenheim Museum, The Whitney Museum of American Art, the National Gallery of Art in Washington, D.C., and more.
In 2015, Thomas co-founded "For Freedoms," the first artist-run super PAC. He is currently represented by Jack Shainman Gallery in New York City and Goodman Gallery in South Africa.
Thomas received the BFA in photography and Africana studies from New York University and the MFA/MA in photography and visual criticism from the California College of Arts.
The Visiting Artists and Scholars Lecture series brings world-renowned artists and scholars to the OSU campus to interact with students in the art department so they can learn what is required of a professional artist or scholar. For more information, visit http://bit.ly/2dVv5kW and http://www.hankwillisthomas.com/
Book Event—Susan Meiselas on Eyes Open
April 28, 2021 (6PM – 7PM )
Join ICP and Aperture online for a conversation between photographer Susan Meiselas and ICP’s Managing Director of Programs David Campany on Meiselas’s new Aperture publication, Eyes Open: 23 Photography Projects for Curious Kids. How do we lead others to see and be inspired by the photographic process? Campany and Meiselas will discuss the book which promotes new ways of seeing and exploring photography for kids, as well as the practice of teaching photography. They will also re-visit Meiselas’s 1974 book, Learn to See: A Sourcebook of Photography Projects by Students and Teachers, to examine the ways in which teaching photography has evolved and continued to inspire new generations of imagemakers over the last nearly fifty years.
Admission to this virtual program is free with a suggested donation of $5—help keep public programs accessible to all by donating today.
Purchase your copy of Eyes Open: 23 Photography Projects for Curious Kids (Aperture) through the ICP's shop.
About Eyes Open: 23 Photography Projects for Curious Kids
Compiled by Magnum photographer Susan Meiselas, Eyes Open is a sourcebook of photography ideas for kids—to engage with the world through the camera.
Twenty-three enticing projects help inspire a process of discovery and new ways of telling stories and animating ideas. Eyes Open features photographs by young people from around the globe, as well as work by professional artists that demonstrates how a simple idea can be expanded. Playful and meaningful, this book is for young would-be photographers and those interested in expressing themselves creatively.
About the Program Format
This program will take place on Zoom. Those who register to attend will receive a confirmation email with a link located at the bottom of the email under ‘Important Information’ to join the lecture through a computer or mobile device.
We recommend participants download the Zoom app on their device prior to the program. Learn how to download the latest version of Zoom to your computer or mobile device.
If you have not received the Zoom link by 2 PM on the day of the lecture or if you have questions about the virtual lecture, please contact: programs@icp.org.
Speaker Bios
Susan Meiselas (born in Baltimore, 1948) joined Magnum Photos in 1976 and is president of Magnum Foundation. She has received numerous awards, including the Robert Capa Gold Medal; Leica Award for Excellence; Hasselblad Foundation Photography Prize; Cornel Capa Infinity Award; and Harvard Arts Medal, and was a MacArthur Fellow. She received her MA in visual education from Harvard University and has published numerous books, including Nicaragua (1981; reissued by Aperture 2008, 2016) and On the Front Line (Aperture, 2017).
David Campany is ICP’s Managing Director of Programs, and a writer, editor, and curator.
