Saturday, October 24, 2009
Peter, 2002, from Fall River Boys
Silver gelatin print, 16 x 20 in.
Signed and numbered, Edition of 5
This edition includes a signed copy of Fall River Boys and The Collector’s Guide to Emerging Art Photography
$750 | Purchase
Friday, October 23, 2009
“An inspiration from the American contemporary artist Joseph Kosuth, One and Three Chair. Instead of giving new definition, I redefined the concept of a chair by using alphabet. One is able to construct a chair by assembling the redesigned alphabets.”
Nancy Spero, an American artist and feminist whose tough, exquisite figurative art addressed the realities of political violence, died on Sunday in Manhattan. She was 83 and lived in Manhattan.
The cause was infection leading to respiratory problems that in turn caused heart failure, said her son Philip.
Born in Cleveland in 1926, Ms. Spero studied at the School of the Art Institute of Chicago and there met her husband, the painter Leon Golub, to whom she was married for 53 years until his death, in 2004.
To read the article in its entirety, click HERE.
Thursday, October 22, 2009
I was intrigued by a position the Associated Press took yesterday when it filed new court papers in its countersuit against Shepard Fairey over his unauthorized use of an AP photo as the basis for his Obama "Hope" poster. Basically, they said: "You lie — some more".
To recap: A few days ago Fairey acknowledged that he had lied about just which AP photo he used. Actually, what he said was that at first he genuinely believed it was a picture of Obama with George Clooney from which he had cropped out Clooney, but he later realized that he had used a different picture from the same event, a close up of Obama alone, a shot the AP suspected all along he had used.
At the time I found my self wondering how it was possible that Fairey didn't remember which photo he had used for a poster he made only last year. The AP apparently had the same question. In an amendment to its countersuit filed yesterday with a New York court, the AP said "it is simply not credible that Fairey somehow forgot in January 2009 which source image he used".
For more, click HERE.
Wednesday, October 21, 2009
"To become truly immortal, a work of art must escape all human limits: logic and common sense will only interfere. But once these barriers are broken, it will enter the realms of childhood visions and dreams."
:::Giorgio de Chirico:::
Modern Wing at the Art Institute of Chicago
WHAT: Designed by Italian architect Renzo Piano, this elegant 264,000-square-foot addition to the Art Institute of Chicago, which opened in May, took 10 years from design to completion and cost $294 million. The wing houses the museum’s collections of modern European painting and sculpture, contemporary art, architecture and design, and photography.
WHEN: Mon.– Fri. 10:30 a.m. – 5 p.m., Thursdays open until 8 pm. Weekends 10 a.m. – 5 p.m.
WHERE: 111 South Michigan Avenue
HIGHLIGHTS: The fervor of anticipation for this new wing was eclipsed only by the city residents’ pride once it was completed. Artist Melanie Schiff describes her reaction to the new wing as something that makes her a little “choked up when she thinks about it,” and “proud of Chicago,” sentiments which are reflected by many locals. According to gallery owner Tony Wight, “The clever elegance of Renzo Piano’s architecture is the perfect complement to the Art Institute’s substantial holdings in modern and contemporary Art, providing James Rondeau a myriad of opportunities to flex his curatorial muscles.”
Thursday, October 15, 2009
Opening Reception: Saturday, March 6, 2010
Exhibition Dates: Wednesday, March 3 – Saturday, April 17, 2010
Curators: Charlotte Cotton and Jon Feinstein
523 W. 37th Street
New York, NY 10018
In March 2010, in honor of Women’s History Month, Humble Arts Foundation (hafny.org) will present its second edition of 31 under 31: Young Women in Art Photography, a six-week exhibition celebrating 31 of the most innovative young women in emerging art photography under the age of 31. The exhibition will be co-curated by Charlotte Cotton and Jon Feinstein, and will take place at Affirmation Arts.
Early: Friday, November 20, 2009, 12AM
Late: Friday, December 18, 2009, 12AM
Women photographers born AFTER March 1, 1979 only. In order to keep the show as fresh and diverse as possible, photographers who exhibited in our 2008 exhibition are not eligible.
Image size: 600 pixels wide
Image format: .jpg, sRGB, 72dpi
Bio: 100-words or less
Work statement: 100-words or less
CV: One-page, optional
Early: Friday, November 20, 2009, 12AM
Three images: $15
Unlimited images: $30
Late: Friday, December 18, 2009, 12AM
Three images: $25
Unlimited images: $40
How to Apply
Select the number of images you want to submit:
Click here to submit three images for $15
Click here to submit unlimited images for $30
Upon paying the submission fee, send the following to: firstname.lastname@example.org.
/ Three or unlimited images
/ A bio, CV (optional)
/ Work statement
/ Paypal confirmation number
We will not consider incomplete submissions. Submission with CMYK image files or zipped folders will be immediately rejected.
Questions? Please send all inquiries to email@example.com.
LONDON—All 26 lots offered at jewelry magnate Laurence Graff’s charity auction of contemporary art at Christie’s Monday evening found buyers, but it’s unclear whether the sale — which precedes the major Frieze-week auctions — may have revealed a little hesitation on the part of bidders nonetheless, good cause and all.
Organized in part by the likes of bold-faced names Peter Brant, Uma Thurman, Hugh Grant, Naomi Campbell, and Dasha Zhukova to benefit For Africa’s Children Every Time (FACET), Graff’s recently formed, African-based initiative to aid youths and orphans, the sale realized £767,180 ($1,212,144). No commissions or buyer's premium was charged.
As the auction began under the gavel of Christie’s European president, Jussi Pylkkanen, loud strains of Shirley Bassey’s James Bond tune “Diamonds Are Forever” played in the packed King Street salesroom. And, suitably, diamonds figured in two of the evening’s lots: a pair of Khotsa Nala ("Peace Prosperity" in the Basotho language) double hoop earrings in white gold and round diamond pave donated by Graff, which went for £60,000 (est. £60–80,000), and Damien Hirst’s Porter Rhode, a 2009 oil on canvas depicting a famous Graff stone with a tiny trademark Hirst skull embedded in one of its facets, which earned £100,000 (est. £100–150,000). Hirst had donated the work.
The evening’s top lot was also artist-donated. Raqib Shaw’s The Mild-Eyed Melancholy of the Lotus Eater (2009), in acrylic, enamel, rhinestones, and glitter paper mounted on aluminum, fetched £200,000 (est. £80–120,000). Both Graff and Shaw’s dealer, Jay Jopling of the White Cube gallery, were under-bidders for the work.
And a third artist-donated lot also made a six-figure price: Marc Quinn’s 66¾-by-102¾-inch floral still life, Crest of Mount Vinson (2009), earned £110,000 (est. £80–120,000).
The cover lot, South African artist Lionel Smit’s expressive African Girl (Injabulo) (2009), measuring 90½ by 65 inches, sold for £26,000, lapping its presale estimates of £6–8,000. (Injabulo means “happiness” in Zulu.)
But Graff, who sat in the first row, as he usually does at non-charity auctions, remained the under-bidder despite polite urgings from the auctioneer.
The auction action continues Friday at Christie’s. Stay tuned.
Ron Arad: No Discipline
Through October 19
Purchase exhibition catalogue
Through an adventurous approach to form and materials in work that spans the disciplines of industrial design, sculpture, architecture, and installation, Ron Arad (Israeli, b. 1951) has distinguished himself as one of the most innovative and influential designers of our time. Ron Arad: No Discipline, the first major U.S. retrospective devoted to the artist, presents some two hundred works, from furniture and architectural models to videos and sculptures, that reveal Arad's bold experimentation with mediums, structure, and technology.
Wednesday, October 14, 2009
Here's a slide show we put together of some of the artworks that the Obamas have chosen for the family quarters of the White House and parts of the East and West Wings. There's not much about it that could be called controversial, unless you think that Glenn Ligon's text piece Black Like Me is somehow shocking because it engages the question of race.
For more, click HERE.
Britain's Tate Modern has temporarily closed an exhibition that includes a nude image of a 10-year-old Brooke Shields, The Associated Press reports.
Richard Price's 1983 work “Spiritual America” was due to go on display Thursday, however the internationally renowned London museum shut down its exhibit, "Pop Life, Art in a Material World," after a visit from a London police unit that deals with obscene publications.
“The officers have specialist experience in this field and are keen to work with gallery management to ensure that they do not inadvertently break the law or cause any offense to their visitors,” a Scotland Yard spokesman told London’s Daily Mail.
Sale of the catalogue that accompanies the exhibition is also on hold.
After reports came out that the controversial photo was to be displayed, children’s advocates and religious groups launched a demand for the removal of the exhibit.
The work, which is actually a photograph of a photograph taken in 1975 by artist Gary Gross, shows a nude 10-year-old Shields, heavily made-up and oiled, looking directly at the camera while standing in a bath tub.
For more, click HERE.
Tuesday, October 13, 2009
Subculture Capital opens on October 14th, 2009 and runs through November 15th at the Anonymous Gallery in New York City. An opening reception is scheduled from 6-9pm EST.
New York, NY 10002
Popular culture most typically refers to the broad spectrum of general society whose ideas, perspectives, attitudes, images and other phenomena are deemed preferred within the mainstream. However, most often these perceptions originate from subcultures that represent perspectives with which the mainstream popular culture has only limited familiarity. Popular culture changes rapidly and occurs uniquely in place and time and represents a complex number of mutually interdependent values that influence society and its institutions. Subcultures however, differentiate themselves by way of alternative linguistic, aesthetic, religious, political, sexual, and/or geographical dispositions that become the foundation for qualities adopted by the masses, but filtered and then amplified.
"Subcultural Capital" is described as the cultural knowledge and commodities acquired by members of a subculture, raising their status and helping differentiate them from members of other groups. Ronnie Cutrone, Rammellzee, Kostas Seremetis, and Romon Kimin Yang aka Rostarr, signal their membership through the distinctive use of style, spontaneity and popular iconography derived from their subcultural influences – and elevate as masters of their craft. Characterized by themes drawn from popular mass culture, such as advertising, comic books and mundane cultural objects, the exhibition, Subculture Capital integrates subculture and mass culture, pop art and post modernism. Using techniques that include appropriation, collage, painting, sculpture, film, and performance, these four artists individually refine and stylize their cultural influences, manipulating them into embodiments of personal compilations.
Ronnie Cutrone is a indefinable artist, best known for his large-scale paintings of America's favorite cartoon characters, such as Felix the Cat, Pink Panther and Woody Woodpecker. On the surface, Cutrone's paintings are the essence of pop: colorful, lively, and highly accessible. Cutrone considers himself an appropriation collagist who thinks it a sin to create new images in a world already too saturated with them. He has been exhibited widely from the likes of Tony Shafrazi, Saatchi and Saatchi, and Milk Studios to the Whitney, MoMA, and invited to participate in the Venice Biennale. Cutrone, who was Andy Warhol's assistant at the "art factory" during Warhol's most productive and prestigious years, has emerged as a master among disciples.
Rammellzee “The equation "the RAMM:ELL:ZEE" represents our letters history with the statement "GOTHIC FUTURISM," witch describes two time periods of our letters in their war chassis design for battle against society's curse word graffiti, where the word "Alphabet" means FIRST BET in this war. The Iconic treatise on the dictionary spelling tactics is used to formulate strategies with other weapons like music notes and computer viruses.” Rammellzee is sometimes called an AfroFuturist, but he will be the first to tell you,” he has no Afro for futurism.” As a pioneer in hip-hop, Rammellzee is responsible for developing specific vocal styles that date back to the 1980s. Discovered by a larger audience through 80’s cult films like Wild Style and Style Wars, his artwork and performances has been exhibited world wide, in galleries and museums including P.S. 1 and the Venice Biennale, and the biggest museum of all: the train yard.
Kostas Seremetis lives and works in New York, is a recognized painter of pulp iconography. He has established a large international following, exhibiting in major art centers around the world i.e., Tokyo, Paris, Berlin, London, New York and Los Angeles, to name a few. He had his first solo exhibition, “Recent Paintings and Superhero Flashbacks," at the Mary Anthony Gallery in New York City (1997) and was showed recently (November, 2008) in a group exhibition among artists like Gerhard Richter, and Jean Michel Baquiat at Murakami's KaiKai Kiki Gallery in Tokyo, Japan. In addition to painting, Seremetis also creates short films; his latest being "The Resistance," (2006) which premiered at Irving plaza, New York. Kostas Seremetis successfully transcends the world of street art from which he emerged to stand among the ranks of America's foremost artistic vision. Inspired by his Spartan culture, Seremetis’s signature style, fearless representation of urban realities in popular culture is evident. “Kostas is the Rauschenberg of our generation” (Ian Astbury of The Cult ) and “Kostas Seremetis is an exceptional artist” (director Darren Aronofsky). Illustrative of a successful and varied art career spanning over a decade, Seremetis has shown at museums (Parco Museum, Tokyo; Triennale Museum, Milan), galleries (Deitch Projects, NY; Someday Gallery, Melbourne), fashion boutiques (Collette, Paris; Neighborhood, Tokyo) and is in private collections worldwide. A young and explosive artist, Seremetis has just begun his life’s work, forever pushing the limits and rising to the challenge.
Romon Kimin Yang aka Rostarr, was born in South Korea but has lived in NY since 1989. He has been a key figure in the city's underground art scene and has exhibited extensively throughout the United States, Asia and Europe. His free-formed work comes across as a universe of abstract and geometrical shapes from which symbolic and iconographic elements emerge in elegant and incisive gestural strokes. His work is defined by an expression he calls 'Graphysics', meaning the fusion of graphic art and the physical laws governing the movement of energy. His work extends into the mediums of painting, digital media, sculpture, film making and public art projects with the Barnstormers collective. Yang graduated from the School of Visual Arts in New York City in 1993. In 2000, he was featured as one of I.D. magazine's I.D. 40 under 30. In 2004, he was recognized as an honoree at the A.I.C.P. show held yearly at the New York Museum of Modern Art and his work has been reviewed by Art Forum, Modern Painters, The New York Times and Artnet.com among other prominent publications.
This month, All Visual Arts present Age Of The Marvellous, an exhibition inspired by the 'collections of curiosities' ubiquitous in the era of The Renaissance. Featuring 60 works by an exciting cabal of contemporary artists it promises to provide some fascinatingly skewed investigations into the zeitgeist. In the third of our previews we talk to participating artist Wolfe von Lenkiewicz, a devotee of Wittgenstein and master craftsman whose interest lies in creating a new visual language. In his Descent Of Man works he 're-sequenced' iconography from the legendary and the real, creating a hybrid mythology where the sermon from the mount is delivered from atop a battle tank, Christ is bound to a V2 rocket and unicorns emerge from the burning Twin Towers. In his new works, the artist has invoked the spectre of Picasso and created a series of breathtaking large-scale drawings that meld everything from Goya to Warhol via Hirst, Marukami and Durer, to name but a few. In the abandoned building in which his haunting universe is currently taking shape, we talked to him about the nature of language, the reality of myth and the arbitrary nature of identity...
For more, click HERE.
For Immediate Release
October 13, 2009
FIFTY24SF Gallery Presents “Darling, We’re Leaving!” New Works by Will Barras
Fifty24SF is proud to host “Darling, We’re Leaving!” - a solo exhibition by Will Barras.
Living and working London, Will Barras is an artist and illustrator best known for his work with the Scrawl Collective, a collaboration of artist’s centered around Bristol, UK. He was chosen alongside Steff Plaetz and Mr. Jago as one of the original three artists for the agency, noticed by the project for his representations of fluid movement using unique compositions and line work. He has been hailed as one of the artists that best represent the skate and snowboard lifestyle and has commissioned several board pieces as well as clothing graphics. His attention to the emotional aspects of this movement is recognized through his sense of exploration in painting.
Continuing to develop work for the skater and BMX community, Barras also spends his time divided between working with the Animation Production Company Bermuda Shorts and commissioning independent gallery shows.
“Darling,We’re Leaving!” features new works on display at FIFTY24SF Gallery from November 5 – November 24, 2009.
Upcoming Shows at FIFTY24SF Gallery
FIFTY24SF Gallery Contact Information
Gallery Hours: Tuesday–Saturday from 12–6 P.M. and by appointment
Address: 248 Fillmore Street, San Francisco, CA 94117
Contact: Lynzy Blair / Phone: (415) 252-9144 / Email: Lynzy@UpperPlayground.com
** I am out of the office on Tuesdays & Thursdays**
Gabriella A. Davi-Khorasanee
1661 Tennessee Street, Unit 3F
San Francisco, CA 94107
Friday, October 9, 2009
The Fall Solo Show is an international open call for dynamic, inventive and provocative work of all mediums - sculpture, photography, painting, printmaking, illustration, installation, graphic design, video, and more!
The selected artist will receive:-$1,000 cash grant -A solo exhibition in 3rd Ward’s gallery, complete with a massive opening reception -A 2-page spread in 3rd Ward’s quarterly publication -1-month residency at 3rd Ward with FULL facility access -NYC wide exposure – post cards, flyers, press!
For this call we are joined by judges: Priska C. Juschka, Founder of Priska C. Juschka Art, Kelsey Keith, Deputy Editor at Flavorpill & CK Swett of Christie's.
CLICK HERE to submit now!
All submissions must be recieved by October 22, 2009 11:59 p.m.
Quadra Media, LLC.
12 W 27th St., FL 10
New York, NY 10001
NEW YORK, NY (AP).- Irving Penn, whose photographs revealed a taste for stark simplicity whether he was shooting celebrity portraits, fashion, still life or remote places of the world, died Wednesday at his Manhattan home. He was 92. The death was announced by his photo assistant, Roger Krueger. Penn, who constantly explored the photographic medium and its boundaries, typically preferred to isolate his subjects — from fashion models to Aborigine tribesmen — from their natural settings to photograph them in a studio against a stark background. He believed the studio could most closely capture their true natures.
Between 1964 and 1971, he completed seven such projects, his subjects ranging from New Guinea mud men to San Francisco hippies.
Penn also had a fascination with still life and produced a dramatic range of images that challenged the traditional idea of beauty, giving dignity to such subjects as cigarette butts, decaying fruit and discarded clothing. A 1977 show at the Metropolitan Museum of Art presented prints of trash rescued from Manhattan streets and photographed, lovingly, against plain backgrounds.
"Photographing a cake can be art," he said at the 1953 opening of his studio, where he continued to produce commercial and gallery work into the 21st century. Penn's career began in the 1940s as a fashion photographer for Vogue, and he continued to contribute to the magazine for decades thereafter.
He stumbled into the job almost by accident, when he abandoned his early ambition to become a painter and took a position as a designer in the magazine's art department in 1943. Staff photographers balked at his unorthodox layout ideas, and a supervisor asked him to photograph a cover design.
The resulting image, on the Oct. 1, 1943, cover of Vogue, was a striking still-life showing a brown leather bag, a beige scarf, gloves, oranges and lemons arranged in the shape of a pyramid.
In subsequent photographs for the magazine, Penn further developed his austere style that placed models and fashion accessories against clean backdrops. It was a radical departure at a time when most fashion photographers posed their subjects with props and in busy settings that tended to draw attention from the clothes themselves.
The approach made him a star at the magazine, where his work eventually appeared on as many as 300 pages annually. Penn believed his success depended on keeping the reader — rather than the model — in mind.
"Many photographers feel their client is the subject," he explained in a 1991 interview in The New York Times. "My client is a woman in Kansas who reads Vogue. I'm trying to intrigue, stimulate, feed her. ... The severe portrait that is not the greatest joy in the world to the subject may be enormously interesting to the reader."
He left the magazine in 1944 to join the military — serving with the American Field Service in Italy and then as a photographer in India — but returned to Vogue in 1946, taking travel assignments in addition to his fashion work.
Penn relished the chance to work in foreign locales, recalling in his 1974 book, "Worlds in a Small Room," that he had often daydreamed "of being mysteriously deposited (with my ideal north-light studio) among the Aborigines in remote parts of the earth."
Irving Penn Woman in Chicken Hat (Lisa Fonssagrives-Penn), New York, 1948-49 © Irving PennIn the 1950s, Penn moved into portraiture. He photographed not only the famous — actors, musicians and politicians — but also ordinary people. He published a series of pictures in 1950-1951 featuring plumbers, salesmen and cleaning women in New York City, Paris and London. The Getty Center in Los Angeles currently is exhibiting some of the photos.
His celebrity portraits included closely cropped images of Miles Davis, Spencer Tracy, Georgia O'Keeffe and Pablo Picasso, the last peering apprehensively from beneath a wide-brimmed hat. He once said that his formula for capturing meaningful portraits was to photograph his subjects relentlessly, often over a period of several hours, until they were forced to let down their guard.
A 2000 exhibit organized by the Art Institute of Chicago on his portraiture work said, "Penn's manipulation of formal design elements such as light and shadow, and his ability to capture a significant gesture, expression, or mood, ultimately reveal something intriguing about his subjects."
An exhibit of 14 large prints of cigarette and cigar butts at the Museum of Modern Art in 1975 was more controversial. It was lauded by some critics as a powerful elevation of the banal to the monumental, but criticized by others as self-indulgent.
"A beautiful print is a thing in itself, not just a halfway house on the way to the page," he once said.
Accordingly, he spent countless hours in his studio creating prints with costly platinum salts — a process that had been mostly abandoned at the turn of the 20th century, but favored by Penn because of its glowing results. (Most photographic prints use a solution of silver on the paper rather than platinum.) He would paint the platinum solution on the paper himself to create the effects he sought.
"Over the years I must have spent thousands of hours silently brushing on the liquid coatings, preparing each sheet in anticipation of reaching the perfect print," Penn wrote in his 1991 book "Passage: A Work Record."
Penn donated photographs to the National Portrait Gallery and the National Museum of American Art in Washington, and his archives are at the Art Institute of Chicago.
Born in Plainfield, N.J., in 1917, Penn studied at the Philadelphia Museum School of Industrial Art from 1934 to 1938, and worked as an assistant at Harper's Bazaar in 1939.
Penn married fashion model Lisa Fonssagrives in 1950, and for decades afterward she remained one of his favorite subjects. She died in 1992. One of his 1950 photos of her sold at auction in 2004 for more than $57,000. Penn was the older brother of filmmaker Arthur Penn, who directed "The Miracle Worker," ''Bonnie and Clyde" and "Night Moves."
By: Verena Dobnik, Associated Press Writer
Gallery Night on 57th Street
Thursday, October 15, 2009
Gering & López Gallery
730 Fifth Avenue
New York NY 10019
Tel 646 336 7183
Fax 646 336 7185
Hours Tue-Sat 10-6
GERING & LóPEZ GALLERY is pleased to participate in Gallery Night on 57th Street. Along with 64 other galleries, we will remain open from 5-8pm on Thursday, October 15. Please join us to view the exhibition Light Works by Simon Ungers.
For more information on the other galleries that will be participating, all located on 57th between Lexington and 7th Avenue, please contact Laura Pabst at 212.888.3550 or firstname.lastname@example.org
Tuesday, October 6, 2009
The Tate Modern gallery played host to an eclectic powerhouse group of pop artists in its Pop Life – Art in the Material World exhibition. The show’s premise is inspired by Andy Warhol’s “Good business is the best art” quote as many of the artists brought to the stage each share a distinct brand-aspect behind their art. Participating artist include Andy Warhol, Damien Hirst, Jeff Koons, Keith Haring, Richard Prince and Takashi Murakami among others. The show runs until January 17th, 2009.
Monday, October 5, 2009
Ron Arad Architects
are close to completing construction of their first large-scale commercial project, Design Museum Holon in Israel.
Layers of COR-TEN steel with varying degrees of weathering wrap around the two main gallery buildings.
For more, click HERE.
A Seemingly random collection of work thematically connected
OPENING RECEPTION: Saturday October 10th, 5-10 pm
Show dates: October 10, 2009 – December 6, 2009
Curator, Lainya Magaña, and Space07 are pleased to present Insert Exclamatory! A seemingly random collection of work thematically connected, a solo show featuring the work of Los Angeles-based artist, Michelle Constantine. The work for Insert Exclamatory! centers around the thematic connection of unexpected situations that have gone wrong in ways both specific to the artist and non-specific in terms of cultural and historical contexts. Constantine’s work thrives in these “wrong” situations; they are her best inspiration. By exploring these unexpected events through the unexpected use of bright, happy colors, Constantine finds peace in what has gone wrong and, ultimately, acceptance. For Insert Exclamatory! Constantine employs the folk craft of quilting to tell certain stories. Other pieces included utilize the techniques of printmaking, collage and photocopying.
"SPACE PROJECT" VINCENT FOURNIER
WEDNESDAY, OCT 7, 6-9PM
OCT 6 - NOV 1, 2009
Clic Gallery, 424 Broome Street, New York, NY 10013
SPACE PROJECT is a photography series based on Fournier’s fascination with the Jules Verne novel “From the Earth to the Moon.” Fournier photographed observatories and astronaut training stations in some of the most desolate places in the world, including the Yuri Gagarin Cosmonaut Training Center of the Russian Federation, the Mars Desert Research Station in Utah, and the Atacama Desert Observatories in Chile. His ghostly, composed photographs--mysterious, space suited men walking on a vast desert plain, a researcher quietly sitting in a blindingly white sterile environment, abandoned monitors blinking codes in a simulation room—have an otherworldly, unreal aesthetic. In these fascinating images, Fournier explores the paranoia and darkness of man’s attraction to the disconnect of space.
Photographer VINCENT FOURNIER was born in Burkina Faso, studied in France, and is now based in Belgium. He holds a diploma from the Ecole Nationale de la Photographie. He has exhibited at Acte 2 Galerie in Paris, the Young Gallery in Brussels, the Marunouchy Gallery in Tokyo, 27AD in Bergamo and has participated in festivals and fairs in Paris, Abu Dhabi, Tokyo and Switzerland. This is his first show in New York.