Kenneth Baker of the San Francisco Chronicle reviews Diane Arbus “1971-1956,” currently on view at Fraenkel Gallery.
The gallery positions one image from each year in reverse chronology under each of five headings, intending to show that her obsessions did not evolve, though her skills and daring did: They shaped her creative posture from the outset. — Kenneth Baker
The San Francisco Examiner reviews our current exhibition, Diane Arbus: 1971-1956, commending the exhibition’s success in showcasing Arbus’s development as an artist.
Diane Arbus’ influence on modern and contemporary photography is unparalleled. Known largely for her images of freaks and geeks, a current exhibit at Fraenkel Gallery shows Arbus at her best, and her most varied…The show is a rich, penetrating meditation on one of America’s great photography masters. — Lauren Gallagher
Richard Misrach’s current exhibition at the David Brower Center, “Petrochemical America,” draws attention to the environmental destruction cased by industrial landscapes. His photographs capture the pollution the petrochemical industry has caused, in an area known as the Chemical Corridor.
I would have expected that environmental regulations or even broader environmental awareness over the decade would have had some impact on the region, but that has not been the case…In recent years, there have been numerous accidents, toxic releases and poor practices, not to mention the devastating Deep Horizon oil spill which occurred just as I was revisiting the area in 2010. — Richard Misrach
Christian Marclay discusses the concept and process behind his new body of work, in which he produces paintings that are visual representations of sounds.
The backgrounds are painted and the words are screened on top. There’s a visual confusion between what’s painted and what’s printed. The gestural action of the painting is mimicking the sounds, which were selected because they reference painting—splash, swoosh and slurp are all sounds that wet paint might make on canvas. – Christian Marclay
Judith Benhamou-Huet, curator and author of “The Worth of Art,” discusses Paris Photo 2013. The fair is one of the best places to find works of America’s most talented photographers, and Peter Hujar, she insists, is one of those gifted artists.
One of the great, underestimated, quite forgotten talent is Peter Hujar… — Judith Benhamou-Huet
KQED recently reviewed our exhibition “Diane Arbus: 1971-1956.” The review praises the curatorial choices for showcasing Arbus’s technical and aesthetic evolution.
Of all the groupings, the most cohesive and unexpected is “Mysteries that Bring People Together.” It’s unexpected because, while they portray the subjects and often lurid situations that form the core of the entrenched Arbus’ narrative, the photographs also resist easy summation by portraying the at-times unusual human bonds and behaviors that drew the photographer’s eye. – Roula Seikaly
Robert Adams discusses the importance of having a book of one’s own photographs published in the age of digital media. This excerpt from his interview with Alexa Dilworth reflects his opinion that books will always be an integral part of a photographers career.
With respect to the option of having your work online, it seems to me many photographers still prefer books to that too, and the reasons are complicated. But a picture on paper, assuming it’s well reproduced, is closer to the experience of holding a print than seeing an image on a screen. There is also an important satisfaction in holding a well-made book. It’s a beautiful object from that itself suggests wholeness. The pleasure of that object still matters to a lot of photographers. —Robert Adams
From 7 September 2013 until 5 January 2014, the Portland Art Museum is showcasing an exhibition of 70 prints by Robert Adams, one of the most influential landscape photographers. The exhibition documents how the western landscape has been destroyed over the years due to human activity.
We have a decision to make, says the photographer, who believes clear-cutting should be banned and has campaigned for two failed ballot initiatives to stop the practice. It’s just like when we said, No, you can’t kill the last 80 buffalo on the North American continent. The problem isn’t that we don’t know how to fix this problem; it’s that we don’t have the political will. —Robert Adams
Robert Adams is among one of the artists featured in Art 21′s episode Ecology, that explores the relationship of nature and culture. Adams’s subject of photography has been the American West for the past 40 years, capturing the increasing destruction of our landscape. His exhibition “Turning Back” (1999-2003) focused on the changing scene of nature overtaken by human construction.
The final strength in really great photographs is that they suggest more than just what they show literally. Beauty, which I admit to being in pursuit of is extremely suspect toward among many in the art world. But I don’t think you can get along without it. It is a conformation frankly, of meaning in life.