In: Photography

Isaac Julien, I Love My Friend (Looking for Langston Vintage Series), 1989/2016 (detail). Courtesy of the artist and Victoria Miro Gallery, London.

Photo London is only in its third year, but this sprightly young fair does not disappoint in the quality and breadth of the work on show. Eighty-nine galleries present a diverse array of emerging artists and established names in this four-day festival. Here are some of our favourites.

 

1. Michael Wolf, ‘Tokyo Compression’

This series of uncomfortable, claustrophobic images depicts one of the many unpleasant realities of life in the metropolis. Catch it on display at the Flowers Gallery booth.

Michael Wolf, 'Tokyo Compression #156' - Archival Pigment Print. © Michael Wolf, courtesy of Flowers Gallery.

Michael Wolf, ‘Tokyo Compression #156’ – Archival Pigment Print. © Michael Wolf, courtesy of Flowers Gallery.

 

2. Stephen Shore, ‘Warhol and The Factory’ (1965-67)

A vintage series presented by Sprüth Magers Gallery captures glimpses of an “off-duty” Andy Warhol and his companions shot in and around The Factory.

Stephen Shore, Andy Warhol in hotel room during filming of My Hustler, 1965-7, © Stephen Shore .

Stephen Shore, Andy Warhol in hotel room during filming of My Hustler, 1965-7, © Stephen Shore .

 

3. Photo London Master of Photography 2017: Taryn Simon

Taryn Simon’s ‘Image Atlas’ is an interactive “work-in-progress” exploring the idea of a universal visual language. Using search engine data from around the world, Simon examines the fluidity of reference and the constant changing of meaning attached to images, in a work that interrogates the impact of censorship on our perception.

Taryn Simon. America, 6/21/2013, 8:18 PM (Eastern Standard Time), Image Atlas, 2012. Website view, dimensions variable. Source: photolondon.org

Taryn Simon. America, 6/21/2013, 8:18 PM (Eastern Standard Time), Image Atlas, 2012. Website view, dimensions variable. Source: photolondon.org

 

4. Discovery Galleries

This year’s edition of Photo London highlights the work of new galleries that are between one and five years old, with sixteen stands making up the ‘Discovery Galleries’.

New talent showcased in this part of the fair includes Juno Calypso and Maisie Cousins, both presented by TJ Boulting Gallery.

Maisie Cousins, from the series 'grass, peonie, bum', 2016, 40 x 26 inches, pigment print on archival paper. © Maisie Cousins. Source: photolondon.org

Maisie Cousins, from the series ‘grass, peonie, bum’, 2016, 40 x 26 inches, pigment print on archival paper. © Maisie Cousins. Source: photolondon.org

 

5. Jacob Aue Sobol’s ‘Road of Bones’, presented by Leica Camera

Shot along the Kolyma Highway in Russia, Jacob Aue Sobol captures life in one of the coldest inhabited regions of the world. Using Leica X and Leica M Monochrom cameras, Sobol starkly portrays the bleakness of an area once notorious for its Gulag camps. 

Jacob Aue Sobol, 2016, Road of bones. © Jacob Aue Sobol, Yakutia, 2016.

Jacob Aue Sobol, 2016, Road of bones. © Jacob Aue Sobol, Yakutia, 2016.

 

6. Michael Hoppen Gallery

Michael Hoppen Gallery presents an engaging selection including Siân Davey’s series depicting the innocent pleasures of youth over a British summer, and the timely “Brexit Wall” offering photographs capturing the essence of ‘Britishness’.

After the Swim Group portrait (ii), © Siân Davey.

After the Swim Group portrait (ii), © Siân Davey.

 

7. Alison Jacques Gallery

This year’s highlights from Alison Jacques Gallery include lightbox images by Catherine Yass from her ‘Decommissioned’ series and Juergen Teller’s brooding portrait of Kristen Stewart for System Magazine.

Catherine Yass, Decommissioned #8 (JCC), 2011-2013. Duratrans transparency, lightbox. 12.7 x 10.2 cm, 5 x 4 ins. 31.5 x 26.5 cm, 12 3/8 x 10 3/8 ins framed. © Catherine Yass

Catherine Yass, Decommissioned #8 (JCC), 2011-2013. Duratrans transparency, lightbox. 12.7 x 10.2 cm, 5 x 4 ins. 31.5 x 26.5 cm, 12 3/8 x 10 3/8 ins framed. © Catherine Yass.

 

8. Galerie Johannes Faber 

This Viennese gallery presents a selection of photographs from before the digital age, including works by Man Ray, Germaine Krull, Dennis Hopper and Horst P. Horst, among others. The elegant, more conservative compositions in black and white offer a sobering contrast to the abundance of technology-heavy works across Photo London. 

Rudolf Koppitz, Bewegungsstudie (Movement Study), 1925. Vintage gelatin silver gaslight print, 24 x 17,8 cm. Courtesy Galerie Johannes Faber.

Rudolf Koppitz, Bewegungsstudie (Movement Study), 1925. Vintage gelatin silver gaslight print, 24 x 17,8 cm.

 

9. Isaac Julien, ‘Looking for Langston’

At the Victoria Miro booth, Isaac Julien combines digital and analogue pre- and post-production techniques in a series of stills from his film ‘Looking for Langston’, which explore black queer identities.

Isaac Julien, The Last Angel of History (Looking for Langston Vintage Series), 1989/2016, Kodak Premier print, Diasec mounted on aluminum. Courtesy of the artist and Victoria Miro Gallery, London.

Isaac Julien, The Last Angel of History (Looking for Langston Vintage Series), 1989/2016, Kodak Premier print, Diasec mounted on aluminum. Courtesy of the artist and Victoria Miro Gallery, London.

 

10. Mat Collishaw, ‘Thresholds’

Mat Collishaw debuts his ambitious project ‘Thresholds’. The immersive, multi-sensory installation uses a virtual reality headset to recreate the 1839 exhibition of photography staged by the British Association for the Advancement of Science. In collaboration with Blain|Southern Gallery –which simultaneously displays some of the artist’s recent works in The Centrifugal Soul, Collishaw uses 21st-century visual technology to bring to life the cutting-edge photographic technology of two centuries ago and introduce virtual reality as part of the evolution of the photographic image. Collishaw’s work juxtaposes the scepticism that photography once faced with our modern anxiety towards new forms of technology and artificial intelligence. If you missed it at Photo London, ‘Thresholds’ will be on display at Somerset House until 11th June.

Mat Collishaw, 'Thresholds' (virtual reality space). Photograph: Somerset House

Mat Collishaw, ‘Thresholds’ (virtual reality space). Photograph: Somerset House

Can’t afford the price tag of an original print? A strong contingent of publishers, including TASCHEN, teNeues and Thames & Hudson, offer up their latest photography publications in the fair’s central pavilion. Check them out!


Photo London is at Somerset House, The Strand until Sunday 21st May.

 

 

Artist Alexa Meade is a painter who does not use a canvas.

Her artistic practice hovers somewhere between painting, installation, and performance art. She paints directly onto the bodies of her live models, using loose brushstrokes to collapse the appearance of depth and make her subjects appear two-dimensional. She then photographs her models, and the still images visually resemble paintings on canvas.

Double Take, 2010. © Alexa Meade.

Double Take, 2010. © Alexa Meade.

Trompe l’oeil is an artistic technique that artists have been using for centuries to trick the eye into believing that a two-dimensional image looks as real as a three-dimensional one by creating extremely detailed, hyper-realistic depictions of objects. Meade takes the concept of trompe l’oeil and turns it on its head. Once painted, that which is three-dimensional looks as if it was created on a two-dimensional surface. She paints her subjects and their surroundings with heavy, large brushstrokes, which creates an optical illusion that collapses any sense of depth.

“K, 2015” 2015. © Alexa Meade.

Meade is entirely self-taught; as she ruminates on in her TEDx talk “Your body is my canvas,” after earning her degree in political science from Vassar College she made a career path U-turn and ended up teaching herself how to paint in her parent’s basement. At first, she used her own body as her canvas, creating a series of self-portrait photographs of herself covered in angular paint strokes.

BLUE PRINT, 2010. © Alexa Meade.

BLUE PRINT, 2010. © Alexa Meade.

These initial works of art were only documented and circulated as photographs. In the past year, the Los Angeles-based artist has broken out of that format and created more interactive works that have appeared at Art Paris Art Fair, Boom Basel in Miami, and the United Nations in New York City. These “Living Paintings” are created on temporary sets in public spaces, where viewers can see Meade painting the model, and then see the finished product. She has had live models pose in gallery settings and has even done a live painting session in the streets of Tokyo as a promotional event for Mini Cooper in 2013.

Artist painting model for 'Hesitate'. © David Branson.

Artist painting model for ‘Hesitate’. © David Branson.

Meade’s performance art-style displays ride the same wave of Instagram-able art that Pipilotti Rist’s Pixel Forest & Yayoi Kusama’s infinity rooms. This is probably because you can photograph her work from any angle and the illusion still holds up. Her immersive, painted environments simulate the act of walking into a painting. And in some cases, it is her models  walk out of their paintings. Her latest collaboration with hip hop dancer Jon Boogz in “The Color of Reality” has the two central dancers move out of their painted space onto the street.

Alexa Meade wants her audiences “to find the strange in the familiar… to look beyond what’s already been brought to light, and to see that there can always be more than meets the eye.”

Sadegh Souri

Four years ago, award-winning artist Aida Muluneh spearheaded efforts to create East Africa’s first international photography festival, Addis Foto Fest. Of course, she couldn’t have done it without her team at Desta for Africa Creative Consulting (DFA), a Private Limited Company founded by Aida Muluneh herself. Desta works to spread education through art, and so a festival like Addis Foto Fest was an almost obvious step for their efforts.

Aida Muluneh by Emeka Ogboh. Source: addisinsight.com

Aida Muluneh was born in Ethiopia but has spent most of her life in other countries. However, she had always fantasized about returning to her home land, and in 2007 she got the opportunity to do so while working on a documentary. She saw the allurement of Ethiopia and decided to leave her life in Canada to stay in Addis Ababa, where she worked as an advocate for the culture and beauty of her native country. It was this idea that became the fundamental philosophy and goal behind Desta, which is an acronym for “Developing and Educating Society Through Art.”

Yonas Tadesse, Ethiopia. Addis Foto Fest 2016. Photo credit: Okay Africa.

Addis Foto Fest was established only a few years after Desta was created, and was the result of Muluneh’s  attendance to the Rencontres Africaines de la Photographie in Bamanko, where she was to receive the European Union Prize. There she became aware of a strong global misrepresentation and belittling of Africa, both in photography and in the film. Muluneh stated that “This world is not perfect and neither are we, but why is it always our imperfections that are in the lead as opposed to the balanced story of who we are?”. Addis Foto Fest was thus created to rethink what defines Africa, and to show images that truly represent all aspects of the different African cultures.

Sarah Waiswa, Uganda. Addis Foto Fest 2016. Photo credit: Okay Africa.

This festival is all about communicating with artists and educating not only those who are in involved with the festival but the whole world in this progression towards re-branding the African continent. In a recent article in Vogue Italia —a sponsor of the festival—, Muluneh described Addis Foto Fest as “an educational tool; it is a form of cultural exchange that fosters mutual understanding and simultaneously furthers the bigger conversation—that the creative sector is part and parcel to development”.

Addis Foto Fest has been a huge success since its beginnings and is now recognized as one of the leading photography festivals in the whole of Africa. The show is set up every two years —in 2016 it was held between the 15th and the 20th of December. There were amazing events taking place every day, including portfolio reviews by international professionals, lectures, and dance performances. A total of 126 artists from more than 40 countries around the world exhibited their work, shaping an outstanding display where many different contemporary approaches to photography were represented.

frieze-london

Autumn. The season of cooler weather, multicolored leaves, long strolls in the Heath and marrons glacés, the time when we all start reminiscing about our summer fun and get ready for winter. However, the fall season is not only warmer clothes and hot chocolate, but also the time for major art happenings around the world.

Autumn, and especially October, is the time to follow new fashion trends at fashion weeks in the major cities, and to enjoy weeks of art. The Old World’s art capital – London – started long ago to prepare for the first week of October, aka the busiest and most stressful time in the art world.

The annual arrival of Frieze – the art fair opening in Regent’s Park October 6-8th – and it’s daughter Frieze Masters trigger parallel art happenings, such as the most important contemporary art evening auctions, art festivals, art shows and a myriad of talks and events throughout the capital, in order to benefit from the arrival of the art world’s mighty and try to get a piece of that juicy cake.

Find below a list of TOP artsy things to do this October in London and, believe me, you will want to be one to visit them:

1. Frieze Art Fair

Arguably the most well-known art fair today, though not the most visited one (according to the annual report by ArtVista) Frieze opens for the 13th time this October at Regent’s Park.

Note-by: if you feel unsure about spending 60 pounds on combined ticket to both Frieze&Frieze Masters, make sure to stroll in Regent’s Park – Frieze Sculpture Park is free for all and this year features canonical artists such as Jean Dubuffet, Ed Herring, and Lynn Chadwick just to name a few. The Sculpture Park will be on view for you to visit until January 8th, 2017.

2. 1:54 Art Fair

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1:54 Contemproary Art Fair, Somerset House Courtyard View. Courtesy of Artsy.

The fair of contemporary African Art, 1:54 will return for the forth time to Somerset House this October. Representing over 50 African countries, 1:54 breaks the traditional approaches to art fairs and delivers a must-see program. The largest edition yet, the fair takes over the whole Somerset House this October and showcases 40 galleries.

Note-by: stop by the open-air installation by Zak Ove at the Somerset House’s courtyard, as well as by the unmissable exhibition of the exceptional Malick Sidibé (Malian photographer) – the exhibition will be on view for you to see up until January 15th, 2017.

3. Abstract Expressionism at RA

Presumably you heard of the name Pollock. Or you heard that one of his paintings titled No 5 (1948) is one of the most expensive paintings in history and was sold for $165.4 million at an auction. Or maybe you didn’t. But the fact is that this exhibition is the first major retrospective of the Abstract Expressionist art movement in the UK in 70 years. Think abstraction, color fields and visual travel. You ought to see it.

Note-by: The most interesting part is the inclusion of not only famous names like Pollock and Rothko in the exhibition, but also of other artists who contributed to the movement.

4. Picasso Portraits at the National Portrait Gallery

This must-see exhibition presents just how talented Picasso was. The show will display portraits created during every stage of the artist’s career and will showcase famous masterpieces, as well never seen before works from private collections.

Note-by: the granddaughter of the artist, Diana Widmaier-Picasso, will be in conversation with the director of the National Portrait Gallery, Dr Nicholas Cullinan, on the 6th of October at 7pm, giving her views on Picasso’s portraiture.

5. Beyond Caravaggio at the National Gallery

Another must-visit show in London focuses on Caravaggio. It is important to note, though,  that the primary accent will be given to the influence that the artist had on his contemporaries by showcasing the works of lesser-known artists of the time. So-called Caravaggism will be explored throughout the exhibition and bring together works by Caravaggio and his European followers.

Note-by: The National Gallery created a series of events and talks to introduce visitors to the Caravagesque style and to Caravaggio himself throughout the month of October. If you are a fan of Baroque art, or just a curious soul, make sure to check some of them out.

Nan Goldin’s The Ballad of Sexual Dependency, arguably her magnum opus, is currently on view at The Museum of Modern Art. The slideshow of nearly 700 images is set to a wide-ranging soundtrack of pop, classical opera, and rock & roll music. The images are of the artist, her circle of friends, lovers, and acquaintances that Goldin affectionately refers to as her ‘tribe’ from the 1970s and 1980s.

Her images are so immediate that you feel as if you are there, in the dive bars and bedrooms of her gritty, real world. By creating The Ballad, Goldin documents the events of her own life and the lives of her friends through images that tell deeply personal stories. Her photographs capture unnerving episodes of addiction, drug abuse, domestic violence, and illness, while simultaneously embodying moments of joy, comedy, youth, ecstasy, and beauty.  Goldin wrote that “The Ballad of Sexual Dependency is the diary I let people read. The diary is my form of control over my life. It allows me to obsessively record every detail. It enables me to remember.”

"David and Butch Crying at Tin Pan Alley, New York City" 1981. Silver dye bleach print, printed 2009. The Museum of Modern Art, New York. Copyright 2016 Nan Goldin.

“David and Butch Crying at Tin Pan Alley, New York City” 1981. Silver dye bleach print, printed 2009. The Museum of Modern Art, New York. Copyright 2016 Nan Goldin.

There are three rooms dedicated to the display of her photographs. The first includes an installation of materials from Goldin’s archive, early promotional objects for the first iterations of the work, and a mock-up of the book The Ballad of Sexual Dependency. The slideshow has been shown on many occasions since Goldin first created it in 1980. Originally, she changed the slides by hand for an audience comprised of mainly her subjects.

"Rise and Monty Kissing, New York City" 1980. Silver dye bleach print, printed 2008. The Museum of Modern Art, New York. Copyright 2016 Nan Goldin.

“Rise and Monty Kissing, New York City” 1980. Silver dye bleach print, printed 2008. The Museum of Modern Art, New York. Copyright 2016 Nan Goldin.

In the second room there is a selection of prints from the MoMA’s collection that constitute some of Goldin’s most evocative images from the film. They show the artist and her subjects grappling with the realities of physical and emotional abuse, while simultaneously indulging in moments of lust and tenderness. Some standouts include “David and Butch Crying at Tin Pan Alley, New York City,” “Rise and Monty Kissing, New York City,” and “Nan and Bryan in Bed, New York City.” Each of these images feels fiercely candid and intimate, as if the viewer was intruding on an intensely personal moment.

"C.Z. and Max on the Beach, Truro, Massachusetts" 1976 silver dye bleach print, printed 2006. The Museum of Modern Art, New York. Copyright 2016 Nan Goldin.

“C.Z. and Max on the Beach, Truro, Massachusetts” 1976 silver dye bleach print, printed 2006. The Museum of Modern Art, New York. Copyright 2016 Nan Goldin.

The third room is the slideshow itself, which runs for about 45 minutes with a short intermission. The images are grouped loosely around visual themes, like people in front of a mirror getting ready to go out, uninhibited sex, New York bar culture, drag queens and performers, the weddings of young friends, parenthood and young children, drug addiction and, ultimately, death. The film is scored to an array of musical genres including an aria performed by Maria Callas, the Velvet Underground’s “All Tomorrow’s Parties,” Screamin’ Jay Hawkins’ “I Put A Spell On You,” Petula Clark’s “Downtown,” and James Brown’s “It’s A Man’s World.”

"Nan and Brian in Bed, New York City" 1983. Silver dye bleach print, printed 2006. The Museum of Modern Art, New York. Copyright 2016 Nan Goldin.

“Nan and Brian in Bed, New York City” 1983. Silver dye bleach print, printed 2006. The Museum of Modern Art, New York. Copyright 2016 Nan Goldin.

In the age of social media and advertising, where you can be bombarded by images that are photoshopped, filtered, and staged, The Ballad of Sexual Dependency presents the raw, unedited truth of what Nan Goldin and her subjects experienced in the New York of the 1980s.

The Ballad of Sexual Dependency is on view at the Museum of Modern Art on the 2nd floor Contemporary Art Galleries through February 12th, 2017.

A few weeks ago I wrote about Mona Hatoum’s tribute exhibition at Tate Modern, London. This particular piece is sensitively related to how an immigrant and refugee managed to break into a cultural scene that could seem enclosed and restricted only to Western artists.

When we think about globalization, we must understand that it affects us in many ways. One of them is cultural expansion. People travel longer distances with less effort nowadays, and decide to immigrate more often, carrying a large baggage full of customs, language influences, and cultural habits with them. Technology also spreads very quickly, connecting more and more people each day.

As ethnic and national populations move around the globe, they establish emotional ties with their places of origin. Artists in particular express their emotional longing, admiration, and sometimes worship of their mother lands in pieces of art that become part of their new country’s cultural heritage.

Shirin Neshat , Rebellious Silence (1994). B&W RC print & ink, photo by Cynthia Preston. Copyright Shirin Neshat. Courtesy Gladstone Gallery, New York and Brussels.

Shirin Neshat , Rebellious Silence (1994). B&W RC print & ink, photo by Cynthia Preston. Copyright Shirin Neshat. Courtesy Gladstone Gallery, New York and Brussels.

Contemporary Middle Eastern art, for instance, seems to provide answers to all the questions that the rest of the world has about this region’s traditions and cultural background. It is a silent voice that leaves a perpetual echo, one that sings the chorus of a struggle and of tortured beauty. There can be no discrimination in the space of art. A painting, a photograph, a sculpture or an installation remain anonymous for the viewer during the first few minutes of interaction. The name of the artist comes as a revelation. The level of admiration increases, the act of understanding intensifies, and finally an interest has been planted for a long time in the brain and heart of the art lover.

In today’s context, Abu Dhabi is expected to finalize works on its own branches of the Guggenheim and Louvre museums, which will shift the interest of the world from this distant city’s extravagant architecture and lifestyle, to its status as one of the world’s capitals for contemporary art.

Guggenheim Abu Dhabi. Photo courtesy Gehry Partners, LLP

Guggenheim Abu Dhabi. Photo courtesy Gehry Partners, LLP

Abu Dhabi is not the first capital to host both Middle Eastern and global art in an environment that unfortunately is not usually linked to the idea of globalization. For instance, Beirut, the capital of Lebanon, experienced a renaissance of sorts in the mid-20th century. Following World War II, the city became a tourist destination and a financial center. It was even nicknamed “the Paris of the Middle East” thanks to its French influences and vibrant cultural and intellectual life.

Architect Galal Mahmoud said about Beirut that its history is encompassed in the history of the world, as it includes layers of Roman, Ottoman, Persian and Phoenician influences. Today, Beirut is a place where you can constantly navigate between different minorities and their cultural backgrounds; it is a place where you learn to be more tolerant and open, where you must respect people from a variety of beliefs and backgrounds. It pretty much sounds like Paris today, or London, or New York.

Saadiyat Island, Abu Dhabi. Photo: louvreabudhabi.ae.

Saadiyat Island, Abu Dhabi. Photo: louvreabudhabi.ae.

Now, could Abu Dhabi offer the same vibe? Will the opening of these two monster houses of art attract only the nouveaux riches, or also well-educated and art-thirsty tourists? With a long history of influences (first Iranian in the 1900s, followed by Asian and European in the 1950s and 1960s), just like most of the big capitals of the world, Abu Dhabi is a place that can host most, if not all, the Middle Eastern art outbreaks.

The architectural design of the Abu Dhabi Guggenheim Museum was offered to architect Frank Gehry, who describes the idea behind the structure as: “… Low tech language. The character is messy… like a medieval city that came together over time… You go through this messiness and you find the centre.” The museum will be located on Saadiyat Island, just offshore of the city of Abu Dhabi. The island’s Cultural District will house the largest cluster of world-class cultural assets in Abu Dhabi. The Guggenheim building is part of a massive project to “create an exhibition space intended to turn this once-sleepy desert city along the Persian Gulf into an international arts capital and tourist destination.” (The New York Times)

Louvre Abu Dhabi. Source: ambafrance-eau.org.

Louvre Abu Dhabi. Source: ambafrance-eau.org.

“Someday, my paintings will be hanging in the Louvre”, van Gogh once said. A museum does not need further introduction. Abu Dhabi is preparing to open the doors to their very own Louvre -possibly in 2017-, a project that consists on building an island inside an island. The architect, Jean Nouvel, wants the museum to belong completely to the culture, history, geography and climate of Abu Dhabi. He has envisioned a place that people would want visit and revisit. As in most Arab cities, there will be a strong contrast between the temperature outside and inside of the venue. People will feel good thanks to this, and will want to share the experience with other people there. A medina of art, built with traditional architectural techniques, held together by an impressive modern dome that encompasses the beauty and poetry of light.

Guggenheim Abu Dhabi. Image © Gehry Partners.

Guggenheim Abu Dhabi. Image © Gehry Partners.

With these two architectural masterpieces, I believe that Abu Dhabi is breaking into the art world in the most elegant way possible. With the work of those Middle Eastern artists that have been moving audiences throughout the world, and with a continuous flow of ideas and cultural influences, the opening of the Guggenheim and Louvre buildings in the island of Abu Dhabi is announcing that the world is yet to be enchanted and pleasantly surprised.

Federico Fellini once said that “all art is autobiographical”, and Middle Eastern art is constantly underlining this statement. Globally, we are becoming an entity, we are coming closer and closer, and art has a lot to gain from this beautiful gathering of cultural differences. One day, people will be reading “An Autobiography of Earth’s Cultural Identity”.

Anouska Beckwith, England-born and Paris-based photographer, is the artist to follow. Interested in nature and mystical, Anouska tries to capture the intrinsic relationship between the unseen natural wonders and presents her subjects in the dreamlike settings.

The founder of the World Wide Women, the collective of female photographers from all over the world, the artist searches for ways of expressing her own views on the world by means of photography, poetry and music. Her models are frequently musicians and other people from creative industries giving her photographs yet an extra layer of artistic meaning.

This September Anouska presents her second solo show (following her debut in New York last yer with the show Transcendence) and her first solo show in London called Uni~Verse at the Palm Tree Gallery. I met Anouska last year when we discussed her creative process and her inspirations to follow up her own practice and perhaps have a solo show in London. Now, when the show is finally happening, we talked again, discussing the background behind Uni~Verse and the new future ambitions.


The Mists of Avalon, 2013 © Anouska Beckwith

The Mists of Avalon, 2013 © Anouska Beckwith

Why did you choose the word Uni~Verse as the title for your show?

I chose the title ‘Uni-Verse’ for the show as I loved the meaning, ‘One song’ coming from the Greek origin.

I believe that despite humans, animals and nature being different from one another we are all a collection of parts that make up the whole to form ‘one song’. I felt that ‘Uni-Verse’ encompassed what I wished to express through my work, a melody in nature’s symphony.

What’s the theme/focus behind it?

‘ Women have always been the guardians of wisdom and humanity which makes them natural, but usually secret, rulers. The time has come for them to rule openly, but together with and not against men.’ – Charlotte Wolf

The theme for the exhibition looks at nature as the backdrop for the exploration of feminine archetypes and endurance throughout time. As I believe that our planet is having a rebirth of the feminine. We have been living in a patriarchal society for the past 3000 years and although we have had some incredible advancement we are now in need of a big change, which is beginning to happen. I feel that we need to encourage guardianship of the Earth and for us to realign with the natural cycles rather than go against them.

What was the inspiration behind your new projects?

I have drawn from different sources for my work, which have either been from songs that I have been listening to or books that I have been reading such as ‘Women that run with wolves’ which inspired me to create

‘The Handless Maiden’ or from the use of tarot cards which led me to create ‘ The Empress’ featuring Flo Morrissey or looking at the chaos around me after the Paris attacks all of this past year and seeing the pain and destruction in the world led me to create ‘War In Heaven’.

Your new works position models in the natural setting. Women look unprotected to the natural forces. What notions are you trying to raise in your work?

I love nature and all that it provides us with but I also respect it as it can be destructive and catastrophic in some cases. I feel that we are lucky to be here, it is a gift not a given. I think a lot of people have forgotten this and try to manipulate something much greater than we have been led to believe. Through my work I try to explore the harmony between the two. Yet the insignificance of our presence, how temporary it is in the scheme of things, overwhelms me at times and I am reminded that it is a miracle.

 Who are your models?

I usually choose models for my own work that inspire me. I like working with people I know mainly as I find there is a relaxed energy when taking photographs. I photographed Macha Polivka, an amazing healer and actress who I met outside of Paris last summer at an ashram. She is very natural and beautiful. I found working with her an absolute joy as she was completely in her body. Xamira Azul I met through my good friend and fellow artist Amanda Charchian last year during a summer solstice ritual and we have become friends ever since.

Flo Morrissey is one of my best friends whom I met through World Wide Women when she performed at our Ritual Exhibition. Last year she moved to Paris, which has been a dream world for us to share. Over the past couple of years we’ve had ongoing projects together. She is also extremely adventurous! Last year we were in Ibiza and I had a whole vision of her inside this remote cave. At first she looked at me as if to say ‘really?’ but once I told her of my idea she climbed up and took position. She looked like a water goddess.

How do you choose location and subject of your work?

Usually I have an image in mind of what backdrop I would like for the photograph and then I either research a place to shoot or I stumble across something even more magical than I could have pictured. Usually choosing the subject and location come hand in hand.

Why did you decide to have your second solo show specifically in London?

I choose to have my second solo show in London as it’s where I grew up and felt that it was important for me to return to my roots. My family is from England and even though I live in Paris there will always be a part of me there.

You mostly photograph female models, why?

I mainly photograph women because I find them fascinating. The form and curve of a woman is much more interesting to me than men. There is a mystery to them that when photographed can capture a very vulnerable moment that I think only is expressed by a woman photographing another woman. A trust is formed between the two people.

How do you balance the intrinsic nature of your work with the commercial aspect of photography?

I think when you create work it should come from a place of integrity and truth. How one conducts themself is equally important. I feel that nature and beauty are two things that everyone should be exposed to as so many people live their lives in fear without hope of a brighter future. I think that offering work to inspire people as an alternative for the future is what we are in desperate need of. I am not saying that my work does this but I try to convey a message of hope and awareness of our mother earth and all her many gifts.

I use social media and I think the more people who can see ones work is always a positive if the message is truthful. Even if it affects just one person that is enough for me as one person can have a ripple effect.

What’s next for you?

I am creating a short film with a dancer in the Fall and I will be continuing shooting the ‘War In Heaven’ series as I wish to turn it into a book, as well as working on my installation room ‘ I Am The Other You’.

I will also be doing editorial work.

 

Uni~Verse on view at the Palm Tree Gallery September 16th – October 8th

291 Portobello Rd, London

It’s no secret that the Latin American art scene has exploded over the past couple of years. Auction houses, galleries, and even museums have tagged along this trend and have finally begun giving these artists the recognition they deserve. However, for those not deeply invested in the ebb and flow of the art world, the current 2016 summer Olympic games in Rio de Janeiro are a perfect time to familiarize oneself with some of the top contemporary artists of Brazil, a country rich in cultural and visual history. Here are a few of my favorites.

Beatriz Milhazes

Beatriz Milhazes, Bye, bye, love, 2011-2012. Acrylic on canvas.

Beatriz Milhazes, Bye, bye, love, 2011-2012. Acrylic on canvas.

Beatriz Milhazes (b. 1960) finds her inspiration in nature and its many, ever-changing forms. Her work is characterized by a vibrant palette, floral motifs, and organic patterns that resemble mandalas. Her recurring arabesques also hold a foundation in Brazilian culture—carnival decorations, Baroque colonial architecture, and popular music. The process of creation is rather laborious and structured —she paints her motifs first on a sheet of clear plastic, which she then applies to canvas to dry. The result is a rhythmic flattened surface, with shadows of color and forms where the color was not completely transferred. Her work has been used worldwide in outdoor spaces, for interior decoration, in stained glass, and for dance productions.

Rodrigo Mogiz

Rodrigo Mogiz, Between My Charming, 2010. Embroidery and Painting, Stabilizer. Courtesy of Fabio Pena Cal Galeria de Arte.

Rodrigo Mogiz, Between My Charming, 2010. Embroidery and Painting, Stabilizer. Courtesy of Fabio Pena Cal Galeria de Arte.

Rodrigo Mogiz (b. 1978) creates dream-like compositions where figures outlined in colorful strings float in an empty, white space. He appropriates images from magazines to explore themes of sexuality, gender, and expression, and to highlight the base superficiality of social media outlets and how audiences merely absorb aesthetics. These fantastical works fall somewhere between painting and embroidery (also using application beads, lace, and pins), poetically fusing the two mediums while simultaneously manifesting each of their unique characteristics. Mogiz has been exhibiting since 2000 and is based in Belo Horizonte, Brazil.

Vik Muniz

Vik Muniz, 'The Birth of Venus, After Botticelli (Pictures of Junk)', 2008. Digital C-Print. Courtesy of the artist and Sikkema Jenkins & Co. Art (c) Vik Muniz and licensed by VAGA, New York.

Vik Muniz, ‘The Birth of Venus, After Botticelli (Pictures of Junk)’, 2008. Digital C-Print. Courtesy of the artist and Sikkema Jenkins & Co. Art (c) Vik Muniz and licensed by VAGA, New York.

Vik Muniz (b. 1961), an international sensation, is best known for producing imagery within the nexus of mixed media. Using a diverse range of everyday materials (from trash to diamonds to sugar to dirt) paired with elements from popular culture, Muniz excels in a layered appropriation of canonical artworks. His practice involves arranging his materials into a dense collage and then photographing it. He has recreated works by Leonardo, Dürer, Courbet, Rodin, Picasso, Matisse, Kandinsky, Malevich, Hiroshige, Warhol, Weegee —to name a few. What appears as a familiar image from afar, turns into a wondrous exploration of a myriad of minute details up-close.

Ernesto Neto

Installation shot of Life is a Body We are Part of in the 2014 exhibition at the Guggenheim Bilbao entitled The Body That Carries Me. © Ernesto Neto and Galeria Fortes Vilaça.

Installation shot of Life is a Body We are Part of in the 2014 exhibition at the Guggenheim Bilbao entitled The Body That Carries Me. © Ernesto Neto and Galeria Fortes Vilaça.

Ernesto Neto (b. 1964) is a highly influential figure in the contemporary Brazilian art scene. His work falls within the categories of sculpture and installation, but is not limited to their parameters. Sensuous environments made of organically abstract forms are his trademark. His materials include soft, stretchy fabrics in different colors that he fills with items like coffee beans, spices, or Styrofoam. Interested in sensuality, corporality, and reflection, Neto strives to present conditions where the human body becomes aware of itself in relation to the space around it. Visitors enter his playful worlds and physically react to the immersive habitats. They may feel, smell, look, and share their experiences with those around them.

OSGEMEOS

2015 independent project with artist Doze Green, made as a tribute to ‘80s Hip-Hop scene. Located on the corner of 2nd Avenue and East 1st Street in the East Village, New York City.

2015 independent project with artist Doze Green, made as a tribute to ‘80s Hip-Hop scene. Located on the corner of 2nd Avenue and East 1st Street in the East Village, New York City.

OSGEMEOS (b. 1974), Portuguese for “the twins,” is the name of the street art duo created by brothers Gustavo and Otavio Pandolfo. Working together since they were children, the two share a magically impenetrable bond that has helped them shape a unique visual language that has transcended from the streets and into galleries, auction houses, and even museums. Their work is easily recognizable by its whimsical yellow figures with tubular torsos, gangly limbs, small spaced-out almond eyes, and thin-lipped mouths. These playful characters are inspired by graffiti, hip-hop, and break-dancing culture, and often incorporate social or political referents relevant to each particular geographic location. The brothers have projects all over the world—so keep your eyes peeled, you never know when you’ll round the corner and find yourself face to face with OSGEMEOS.

Alice Quaresma

Alice Quaresma, Ninho 61 (Nest 61), 2016. Color pencil and sticker over photographic print. © 2016 Alice Quaresma Rodriguez.

Alice Quaresma, Ninho 61 (Nest 61), 2016. Color pencil and sticker over photographic print. © 2016 Alice Quaresma Rodriguez.

Alice Quaresma (b. 1985) is a native of Rio de Janeiro and currently lives in New York City. Her practice involves photography and mixed media and explores issues of identity, displacement, and memory. Referring to her works as “photo-objects,” Quaresma superimposes drawings and geometric shapes over flat photo paper to push the boundaries of the photographic medium by incorporating elements of texture and volume. Her faded, dreamlike compositions evoke the subtleties and inexplicable phenomena of the emotional and psychological connection we feel to the places we experience.

“I find inspiration every time I feel physically disconnected from the place where I am.”
—Alice Quaresma, March 2016 interview with
Artspace.

Adriana Varejão

Adriana Varejão’s treatment for the aquatics center built for the 2016 Olympic Games in Rio de Janeiro. Image courtesy of the artist.

Adriana Varejão’s treatment for the aquatics center built for the 2016 Olympic Games in Rio de Janeiro. Image courtesy of the artist.

Adriana Varejão (b. 1964) primarily focuses her practice on ceramics tiles, either appropriating their history and function to reveal a darker, underlying meaning, or using their formal qualities to produce new visual effects. Throughout her career she has explored themes such as colonialism, racism, subjugation, and cultural formation through violence. Her work has often oscillated between the grotesque and the delicately beautiful. Varejão was chosen to decorate the Olympic Aquatics Center in the 2016 Rio games. Her 2004-08 work, Celacanto Provoca Maremoto (“the Coelacanth Causes a Seaquake”), made of blue-and-white tiles, was restructured, blown-up, and printed on canvas to adorn the exterior of the stadium. The work’s obvious aquatic aesthetics seem to be a perfect fit for the center’s function. However, references to Portugal’s colonization of Brazil through azulejo-inspired tiles and Baroque imagery subtly keep the country’s dark history afloat.

“Danny Lyon: Message to the Future,” the photographer’s most comprehensive retrospective is currently on view at The Whitney Museum of American Art. The show boasts an impressive 175 photographs and films as well as rarely exhibited archives and personal documents. It is divided thematically exhibiting Lyon’s most well known bodies of work, and roughly chronologically traces the start of his career in 1962 all the way to Lyon’s work in the present day. The exhibition is divided into seven sections: Civil Rights, The Bikeriders, The Destruction of Lower Manhattan, Prisons, New Mexico and the West, Films and Montages, and Ongoing Activism. From the titles alone Lyon’s broad range of interest in social issues and concern for the marginalized and disenfranchised is made apparent. His work represents a nonconventional and intimate approach where Lyon immerses himself in his subject’s world, gaining an insider perspective that moves beyond mere observation and into a wholehearted and genuine interest. 

Danny Lyon, “Arrest of Taylor Washington, Atlanta”, 1963. Vintage gelatin silver print. 24 x 16 cm (9 7/16 x 6 ¼ in.); Collection of the artist. © Danny Lyon, courtesy Edwynn Houk Gallery, New York

Danny Lyon, “Arrest of Taylor Washington, Atlanta”, 1963. Vintage gelatin silver print. 24 x 16 cm (9 7/16 x 6 ¼ in.); Collection of the artist. © Danny Lyon, courtesy Edwynn Houk Gallery, New York

“You put a camera in my hand, I want to get close to people. Not just physically close, emotionally close, all of it.” –Danny Lyon, The Whitney Museum of American Art

Lyon began his career in 1962 when he began working with the Student Non-Violent Coordinating Committee (SNCC) as their first official photographer, documenting the civil rights movement in the South. He captured sit-ins, demonstrations, marches, funerals, and the general turbulent and violent atmosphere of the period. His photographs were used in brochures, posters, and fundraising campaigns, many of which portrayed the brutal force of the police academy, questioning their position and responsibilities to civilians. One 1962 SNCC poster of a [white] officer, arms crossed, reads “Is He Protecting You?” It is highly unsettling to see just how many of these images seem so familiar and resonate in American culture today.

Danny Lyon, "Leslie, Downtown Knoxville," 1967. Vintage gelatin silver print. 28.7 x 19.1 cm (11 1/4 x 7 1/2 in.). Art Institute of Chicago, Gift of Mr. Danny Lyon. © Danny Lyon, courtesy Edwynn Houk Gallery, New York

Danny Lyon, “Leslie, Downtown Knoxville,” 1967. Vintage gelatin silver print. 28.7 x 19.1 cm (11 1/4 x 7 1/2 in.). Art Institute of Chicago, Gift of Mr. Danny Lyon. © Danny Lyon, courtesy Edwynn Houk Gallery, New York

Turning the corner we are met with cool, hard faced bikers in leather jackets with matching “Chicago Outlaws” insignia. This selection is based off of Lyon’s time spent riding with the Chicago Outlaws Motorcycle Club in the late 1960s. Romanticized shots of the Outlaws on the road, such as Crossing the Ohio River, Louisville (1966) and Route 12, Wisconsin (1963) indulge us in the liberating freedom such groups enjoyed, while in several close up portraits we have a rarely seen, tamer version of the bikers—surrounded by their families, girlfriends, and wives. The rebellious nature of the bikers, matched with their unapologetic pursuit of freedom attracted the photographer to the group. After spending more time with them and gaining their confidence, Lyon began recording the group speaking candidly and conducted informal yet highly personal interviews. The photographic documentation and edited transcripts would become his famous book, “The Bikers,” published in 1967.

In his extensive body of work, Prisons, encompassing photographs, interviews, recordings, and film, Lyon chronicled life behind bars. With the help of Dr. George Beto, then director of prisons within the Texas Department of Corrections, Lyon gained access over a fourteen-month period to move freely inside prison complexes and to follow prisoners around on their daily activities. We see personal belongings like photographs and calendars, games of checkers, labor time on the fields, shakedowns, security pat-downs, and officers on guard. These images are as serious and somber as they are filled with humanity and understanding of these men and their situations. The resulting photographs, film footage, and other archival documents would become the book “Conversations with the Dead” published in 1971.

Danny Lyon, "Shakedown at Ellis Unit, Texas," 1968. Vintage gelatin silver print. 21.6 x 31.3 cm (8 1/2 x 12 1/4 in.). Museum of Modern Art. © Danny Lyon, courtesy Edwynn Houk Gallery, New York

Danny Lyon, “Shakedown at Ellis Unit, Texas,” 1968. Vintage gelatin silver print. 21.6 x 31.3 cm (8 1/2 x 12 1/4 in.). Museum of Modern Art. © Danny Lyon, courtesy Edwynn Houk Gallery, New York

“[I wanted to] make a picture of imprisonment as distressing as I knew it to be in reality.” –Danny Lyon, The Whitney Museum of American Art

Documentation, and truthful documentation, is the end goal throughout Lyon’s photographic practice. His images are transparent, direct, and charged with meaning and message. Each one serves a to bring injustice to the surface with the hope to promote social change. With this approach he has challenged the conventional “sanitized” vision of American life as presented in media, offering up an alternative that portrays the various social histories of America.

From the 1970s and onward he shifted focus as a self-proclaimed “advocacy journalist.” His activist drive took him to various Latin American countries where he captured laborers and street children, undocumented workers crossing the US-Mexico border, and the violent revolution in Haiti. More recently, between 2005-09, he traveled to China to documented communities living in polluted regions.

Danny Lyon, "Haiti," 1987. Gelatin silver prints montage. 58.2 x 58.2 cm (22 7/8 x 22 7/8 in.). Collection of the artist. © Danny Lyon, courtesy Edwynn Houk Gallery, New York

Danny Lyon, “Haiti,” 1987. Gelatin silver prints montage. 58.2 x 58.2 cm (22 7/8 x 22 7/8 in.). Collection of the artist. © Danny Lyon, courtesy Edwynn Houk Gallery, New York

Regardless of subject matter, geographic location, or time period, all of Lyon’s images are linked through a common spirit: the photographer’s compassionate character and relentless ambition to be a truth teller. The result is his inherent ability to humanize his subjects while returning the dignity and character that social prejudices and ignorance have stolen from them. These are human beings worthy of a second chance and worthy of a second glance.

A single look at these photographs and we are filled with more understanding and compassion than when we entered, a comprehension that seems as relevant today as it did decades ago. If that’s not the point of art, then I don’t know what is.

Danny Lyon: Message to the Future is on display June 17-September 25, 2016 at The Whitney Museum of American Art.

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