Jeremy N White's "Provoked' series of highly charged emotional photographs pairs images of people displaying intense feelings. But raises the question who is provoked, the couple in the images or the observer. For a planned exhibition in 2016 a large gallery studio at Parsons The New School in New York was installed with works for the show. MFA Director and photographer gave curatorial advice.
New York abstract painter and sculptor Peter Reginato in his studio. Reginato attended the San Francisco Art Institute and began making abstract sculpture in 1965 moving to New York in 1966. He has had over 50 solo exhibitions and hundreds of group shows.
Elizabeth Foundation for the Arts W 39th Street New York. Studio show of works by Jeremy N White
Photoville New York 2013
51 shipping containers filled Brooklyn Bridge Park sharing a vision of photography as diverse as Andre Feliciano’s ‘A Photographic Orchard with Cherry Blossom Trees’ to a camera obscura and the beautiful show ‘Keep on Dreaming’ featuring 23 Dutch artists.
Container 1 contained the Parsons, The New School show curated by MFA Director Jim Ramer. Two of my works were included; a portrait of New York artist Doug Wada and one of the early works of the Flowers series.
3 August 2013. My new show at New Century Gallery in Chelsea (New York) presented a series called "Anti-frieze". These new works, are photographs of various artist's works exhibited at the 2013 edition of Frieze NY.
In the same frame as these works, the viewer sees White’s shoes near the bottom edge of the image. This inclusion is a humorous nod to what typically is a photographic mistake- to accidentally include one’s own shoes in the photograph. Through this clever maneuver the viewer is unable to decipher what is and what is not artwork in the show. Additionally, White’s photographs can be viewed as part appropriation/part readymade, reminiscent of Duchamp.
Through these playful and irreverent strategies, White challenges notions such as taste, value and how art is critiqued in 2013.
This from the press release; "...exploring the limits of photography today...lauded worldwide for his creative inventiveness and unexpected twists". "....,unmistakable artistic signature.. He continuously refines a philosophy that only seemingly concerns itself with the aesthetics of surface of superficial visual recognition."
I was at the Saatchi Gallery in London this week. Here is one of the less 'challenging" works on display.
‘In the mind of the young, maturing girl,’ Fursey explains, ‘images of the Soviet cult blend with an unconscious desire for love, unformed erotic fantasies’. Sincere utopianism and naiveté mix with an unabashed sexuality and an ironicised redefinition of feminine roles. The mushrooms unavoidably bring Alice’s Adventures in Wonderland to mind; and throughout, initiation rites are symbolized through the Pioneers’ red scarf tying ceremony.
Boundary Post Of A Cat Bajun (2012), a human-sized tower of glass jars containing stained-glass coloured preserves of mushrooms (again), fruit, vegetables and berries, seems precarious and uncanny, almost teetering on the brink of collapse. The preserves themselves look grubby and desperate, several steps down from Observer Food Monthly ‘rustic’. One might say they’re about shortage, fear of starvation, rather than indulgence, but there’s also something laboratorial about their orderliness. This is no longer just food; what this fermenting, organic totem holds could be lethal, a transformative potion, or a Russian landscape preserved forever in formaldehyde.
Text by Lupe Nùñez-Fernández
As I walked through Piccadilly Circus I saw this man asleep and wondered if he was dreaming of the girls in the advertisement and if they, modeling under a blaze of flash strobes in a studio, probably in New York, had any idea that a man would sleep under their caressing gaze one cold evening in London.
Aldridge’s storytelling tableau-vivant images scream out at you. He dazzles with primary colors smashed together around super models in surreal poses. A fashion photographer for Vogue Italia, Aldridge continues and develops the pioneering ideas of Guy Bourdin.
Bourdin, for thirty years created fabulous images for French Vogue and Charles Jourdin. He made some of the most iconic fashion images of the last century, always daring and original he was ahead of his time, creating pictures that oozed with drama and sexuality.
Miles Aldridge works in the Bourdinian tradition adding more color using saturated yellows next to pinks, reds purples and greens clashing to maximum effect but without the daring eroticism of the French artist.
The show is fun and refreshing – go and see it and buy the beautiful book published by Rizzoli. From New York the show moves to London.
Attended Martin Parr’s show at Aperture last night. ‘Life’s a Beach’ features Martin’s over-saturated images of sunbathers at their most unglamorous, soaking up the sun from Florida to China. His subjects are ordinary people shot with keen eye, brutally rendered – about as far as you can get from the glamour of fashion magazine images. The sagging bottom of an elderly man in Florida in American-flag speedos, Japanese in an aircraft-sized-hanger with a fake beach and sea and the English reading tabloid newspapers. It’s a show worth seeing.
Just back from a day at Frieze, the enormous New York art fair. Where is the beauty and technique? So much novelty and sensationalism. My series of images capture the sense of the event. The most exciting thing was the biblical rain storm and lightening at 4pm.
In 2009 in Switzerland the fear of infected birds created a sense of vulnerability and doom. The sky was filled with birds and people imagined they carried the deadly virus.