Miss Rosen
  • Home
  • About
  • Imprint
  • Writing
    • Books
    • Magazines
    • Websites
    • Interviews
  • Marketing
    • Publicity
    • Exhibitions & Events
    • Branding
  • Blog

Posts from the “Exhibitions” Category

Donna Ferrato: Tribeca 10013

Posted on May 23, 2016

Southern skyline of Tribeca, Tower 1, 2015.

Southern skyline of Tribeca, Tower 1, 2015.

Sometimes, the light is right and the Manhattan grid finds itself aligned with the rays of the sun as they shine down from the sky above on one tower standing alone. This is New York. Record scratch. Say what? It’s uncanny how absence becomes the presence of the erased. Once there was two. Then there was none. Now there’s one. It’s hard to know what to make of it.

.

New York is a city that proves the only constant is change, and if you live here long enough, it becomes the height of surreal estate. Take the neighborhood of Tribeca, the triangle below Canal Street. By the mid-nineteenth century, it was a bustling commercial center for industrial business. But the 1960s, most businesses had left, and Tribeca emptied out into a gorgeous ghost town. Attracted to light and space, artists soon found themselves with incredible lofts for living and working. As with the path of gentrification, soon thereafter the wealthy capitalized on the developments made, turning Tribeca into downtown’s most exclusive zip code.

.

Read the Full Story at Crave Online

Categories: Art, Crave, Exhibitions, Manhattan, Photography

Gideon Mendel: Drowning World

Posted on May 22, 2016

hoto: Francisca Chagas dos Santos, Taquari District, Rio Branco, Brazil, March 2015. From Submerged Portraits Series from Drowning World by Gideon Mendel.

hoto: Francisca Chagas dos Santos, Taquari District, Rio Branco, Brazil, March 2015. From Submerged Portraits Series from Drowning World by Gideon Mendel.

Climate change gets real when people bear witness to the facts, when stories are told and consciousness is raised, then and only then, can change take place. With an understanding of this, photographer Gideon Mendel has traveled the world for evidence. From Thailand, Nigeria, and Germany to the United Kingdom, Brazil, and the United States, Mendel has spent the past decade documenting the global magnitude of climate change.

.

Using photography and video, Mendel travels the world to honor people who survived catastrophic floods. His works reveals what remains when the waters turn on you. With Mendel, survivors return to the deep flood waters that now occupy what once was their home, each one with a look of shock written on their face. So much is erased not only by the spaces, the objects, and the memories—but identity itself is submerged in the trauma of destruction.

.

Read the Full Story at Crave Online

Categories: Art, Crave, Exhibitions, Photography

Carl Strüwe: Microcosmos

Posted on May 20, 2016

Photo: Carl Strüwe. Plankton. Upper: Algae colony (Asterionella), lower: 2 Volvox colonies, 1952. Gelatin silver print, printed late 1950s 23 5/8 x 19 11/16 in. Edition 1 of 2; Titled and stamped by photographer verso. Courtesy of Steven Kasher Gallery, New York.

Photo: Carl Strüwe. Plankton. Upper: Algae colony (Asterionella), lower: 2 Volvox colonies, 1952. Gelatin silver print, printed late 1950s 23 5/8 x 19 11/16 in. Edition 1 of 2; Titled and stamped by photographer verso. Courtesy of Steven Kasher Gallery, New York.

Nearly a century ago, in 1926, the electron microscope was a brand new phenomenon that took the world by storm. With a beam of accelerated electrons, it can achieve magnifications up to 10M times in size, illuminating infinite worlds never known before. It was in that same year that German graphic designer Carl Strüwe made his first photograph through a microscope. With the eye of an artist rather than a scientist, Strüwe recorded the formal genius of Nature in all her glory, revealing the glorious rhythms, patterns, and shapes that are both biological in design and captivating in aesthetic.

.

A self-taught photographer, Strüwe dedicated the next three decades of his life to Formen des Mikrokosmos (Forms of the Microcosmos), which resulted in a set of 280 microphotographs, and in a 1955 book of that name. His intensive study, which concluded in 1959, elevated microphotography to an art. In Strüwe’s work, we see a bridge to abstract art in a space mediated by Nature herself as order emerges from the chaos.

.

Read the Full Story at Crave Online

.

arl Strüwe. Alga-Freshwater (Alge Spirogyra setiformis), 1928 Gelatin silver print, printed 1960s-1970s. 9 11/24 x 7 1/12 in. Edition 1 of 7; Stamped by photographer verso.

arl Strüwe. Alga-Freshwater (Alge Spirogyra setiformis), 1928 Gelatin silver print, printed 1960s-1970s. 9 11/24 x 7 1/12 in. Edition 1 of 7; Stamped by photographer verso.

Categories: Art, Crave, Exhibitions, Photography

Henry Horenstein: Tales from the 70s

Posted on May 18, 2016

Photo: “Chammie in Wool,” Newton, MA, 1974, Vintage gelatin silver print. © Henry Horenstein, Courtesy of ClampArt, New York City.

Photo: “Chammie in Wool,” Newton, MA, 1974, Vintage gelatin silver print. © Henry Horenstein, Courtesy of ClampArt, New York City.

Photographer Henry Horenstein remembers the 1970s well: “When we were in our early 20s, we didn’t have that much to do. I’d go out, drink beers with friends, I had girlfriends (or tried to get them), and I had a dog. I had a personal life. I don’t have that anymore. Life is too busy.”

.

A student of Harry Callahan, Aaron Siskind, and Minor White, Horenstein has been making photographs since the early 1970s. He observes, “Over the years I’ve photographed many different types of subjects, even animals and the human form. But I’ve always returned to my roots as a documentary photographer. More than anything, I like a good story. And I try to tell one in a direct way, with humor and a punch line, if possible.”

.

Read the Full Story at Crave Online

Categories: 1970s, Art, Crave, Exhibitions, Manhattan, Photography

Walton Ford: The Black Panther

Posted on May 17, 2016

Artwork: Walton Ford, Zürichsee, 2015 watercolor, gouache and ink on paper 41 ½ x 59 ¾ inches unframed, courtesy of Paul Kasmin Gallery, New York.

Artwork: Walton Ford, Zürichsee, 2015 watercolor, gouache and ink on paper 41 ½ x 59 ¾ inches unframed, courtesy of Paul Kasmin Gallery, New York.

Picture it: Winter in Switzerland. The year was 1933. A black panther, held against her will inside the Zürich Zoo. Described as “Extremely timid,” she was had been captured in the will and brought in as the mate for a male already living in captivity. Within two weeks, injuries were discovered on her forepaw and right hind leg. On the morning of October 11, her cage was discovered empty.

.

According to the investigation, the panther squeezed her body through a break in the roof bars and out of the building through a partly open slatted ventilator. The panther had vanished without a trace. In the traps set for her, a few half-wild dogs were caught. For nearly ten weeks, this great creature of the tropics alluded capture, surviving by her wits and instinct in a foreign and hostile environment.

.

Read the Full Story at Crave Online

Categories: Art, Crave, Exhibitions, Painting

Secret Histories | Pete Brook: Prison Obscura

Posted on May 16, 2016

Photo: Anonymous, courtesy of Steve Davis, Incarcerated girls at Remann Hall, Tacoma, Washington, reenact restraint techniques in a pinhole camera workshop, 2002.

Photo: Anonymous, courtesy of Steve Davis, Incarcerated girls at Remann Hall, Tacoma, Washington, reenact restraint techniques in a pinhole camera workshop, 2002.

In the United States of America, there is a hidden one percent, the one percent the lives behind bars, incarcerated in the belly of the beast. One any given day, 2.2 million men, women, and children live within one of the more than 5,000 locked facilities located across the nation. Mass incarceration comes with a price tag of $70 billion per year that is thrust upon the taxpayers, while private corporations line their pockets with profits.

.

The prison industrial complex exploded in 1980, under the auspices of President Ronald Reagan, who reaped what Richard Nixon had sewn a decade before when he created the “War on Drugs” as a cover story to destroy minority communities. Over the past 36 years, the prison system has quadrupled in size, creating a crisis level event that is hidden from public sight.

.

Read the Full Story at Crave Online

Categories: Art, Crave, Exhibitions, Photography

Kansuke Yamamoto

Posted on May 1, 2016

Photo: Kansuke Yamamoto. Reminiscence, 1953/2015. Platinum and palladium prints on archival paper. Image size: 40.6 x 49.3 cm. Paper size: 50.6 x 60.7 cm

Photo: Kansuke Yamamoto. Reminiscence, 1953/2015. Platinum and palladium prints on archival paper. Image size: 40.6 x 49.3 cm. Paper size: 50.6 x 60.7 cm

The son of an amateur Pictorialist, Kansuke Yamamoto (1914–1987) developed and interest in poetry as a teenager. After spending a year in Tokyo studying French poetry at the French Literature Department of Meiji University, he dropped out and returned to Nagoya, his hometown, where he acquainted himself with the poetry of Chiru Yamanaka. An important Surrealist artist who published Ciné, a magazine of Surrealist poetry, Yamanaka took Yamamoto as his protégé. Yamamoto embraced photography as a visual means to communicate ideas. He first began taking photographs in 1931 at the age of seventeen, creating an incredible body of work that speaks to the Surrealist impulse.

.

Yamamoto owed much to his father, Goro Yamamoto, who owned a photo-supply shop in Nagoya and cofounded the Aiyu Photography Club, the largest amateur photo-club in the town. Although Yamamoto did not embrace the Pictorialist trends prevalent in the Club and the salon style exhibitions of the day, the exposure to photography was invaluable.

.

Read the Full Story at Crave Online

Categories: Art, Crave, Exhibitions, Japan, Photography

Border Cantos: Richard Misrach | Guillermo Galindo

Posted on April 3, 2016

Richard Misrach. Wall, East of Nogales, Arizona, 2015. Pigment print, 60 x 80 inches. Edition 1 of 5. © Richard Misrach, Courtesy Fraenkel Gallery, San Francisco, Pace/MacGill Gallery, New York, and Marc Selwyn Fine Art, Los Angeles.

Richard Misrach. Wall, East of Nogales, Arizona, 2015. Pigment print, 60 x 80 inches. Edition 1 of 5. © Richard Misrach, Courtesy Fraenkel Gallery, San Francisco, Pace/MacGill Gallery, New York, and Marc Selwyn Fine Art, Los Angeles.

A barrier 1,969 miles in length runs through the southwestern desert separating Mexico and the United States, a physical symbol of the international politics of the new millennium. It is not one continuous wall, but rather a series of walls and fences strategically placed to inhibit the illegal border crossings. The barriers were built as part of three larger “Operations” in California, Texas, and Arizona enacted by President George W. Bush in 2006 with the intention to create a border protection/anti-terrorism/illegal immigration triple threat.

.

For the past decade, the wall has been a source of great debate, a subject that inflames the hearts of countless Americans on both sides of the issue. More recently, the wall has been invoked by Donald Trump, who cast it in a starring role in his campaign, stating, “I would would a great wall—and nobody builds walls better than me, believe me —and I’ll build them very inexpensively. I will build a great, great wall on our southern border, and I will make Mexico pay for that wall. Mark my words.”

.

The border wall is more than a symbol of the power to divide; it is a symbol of the ability to control minds. The United States is a country populated exclusively by the descendants of immigrants and survivors of genocide; when Trump invokes the creation of a great wall he overtly aligns himself on the wrong side of history.

.

In a curious confluence of events, photographer Richard Misrach and composer Guillermo Galindo have collaborated on Border Cantos, a new exhibition at the San Jose Museum of Art, California, now through July 26, 2016. The exhibition features 36 monumental landscape photographs by Misrach alongside 17 hand-crafted musical instruments created by Galindo from found objects recovered from the border. A discarded food can becomes the resonating chamber of an instrument modeled on a single-stringed Chinese erhu; empty shot gun shells are strung together to create a variation of a West African shaker. Accompanying the artwork is a sound installation featuring three pieces composed by Galindo made from the sculptures on view, bringing the experience of crossing the desert to life in a way that alternately be stills and overwhelms.

.

Read the Full Story at Crave Online

Guillermo Galindo. Micro Orchestra, 2014. Found child’s tennis shoes. Dimensions variable. Courtesy of the artist.

Guillermo Galindo. Micro Orchestra, 2014. Found child’s tennis shoes. Dimensions variable. Courtesy of the artist.

Categories: Art, Crave, Exhibitions

Arlene Gottfried: Bacalaitos & Fireworks

Posted on March 21, 2016

Photo: Puerto Rican Day Parade. ©Arlene Gottfried, courtesy of Daniel Cooney Fine Art.

Photo: Puerto Rican Day Parade. ©Arlene Gottfried, courtesy of Daniel Cooney Fine Art.

Arlene Gottfried is a New York original. Hailing from Brooklyn, Ms. Gottfried moved from Coney Island to Crown Heights when she was just ten years old, living in the area during the 1960s, as white flight and Civil Rights changed the face of the neighborhood. In the 1970s, Gottfried lived in the Village while studying photography at F.I.T. After her father had died, the family moved to the Lower East Side. Back then, it was a Puerto Rican neighborhood, rich in traditions native to the island, which, when combined with local influence, produced its very own style: Nuyorican.

.

Nuyorican is rhythms, horns, strings, and winds—or it is simply spoken word filling the air. Best exemplified by Miguel Piñero’s Nuyorican Poet’s Café, it is a state of mind in the place to be. Nuyorican is a street vendor selling fried codfish fritters and fireworks on July 4, announcing his wares as he made his way up and down the street shouting: “Bacalaitos y Fireworks!”

.

Read the Full Story at Crave Online

Communion. ©Arlene Gottfried, courtesy of Daniel Cooney Fine Art.

Communion. ©Arlene Gottfried, courtesy of Daniel Cooney Fine Art.

 

Categories: 1970s, 1980s, Art, Books, Crave, Exhibitions, Manhattan, Photography

Carrie Mae Weems: Considered

Posted on March 16, 2016

 A Distant View. Gelatin silver print . 20” x 20” © Carrie Mae Weems. Courtesy of the artist and Jack Shainman Gallery, New York

A Distant View. Gelatin silver print . 20” x 20” © Carrie Mae Weems. Courtesy of the artist and Jack Shainman Gallery, New York

American photographer Carrie Mae Weems got her first camera when she was 21 as a birthday present from her then-boyfriend. She remembers, “At that point politics as my life, and I viewed the camera as a tool for expressing my political beliefs rather than as an art medium.”

.

Over the past four decades, Weems has developed a complex body of art that employs photographs, text, fabric, audio, digital images, installation and video to explore the complexities African American life and history in her artwork. It is a mission she has chosen, and to which she has dedicated her life. Weems observes, “Despite the variety of my explorations, throughout it all it has been my contention that my responsibility as an artist is to work, to sing for my supper, to make art, beautiful and powerful, that adds and reveals; to beautify the mess of a messy world, to heal the sick and feed the helpless; to shout bravely from the roof-tops and storm barricaded doors and voice the specifics of our historic moment.”

.

Read the Full Story at Crave Online

Categories: Art, Crave, Exhibitions, Photography, Women

Donald Ellis Gallery: Plains Indian Ledger Drawings 1865–1900

Posted on March 3, 2016

Artwork: Attributed to Bears Heart (Nokkoist) b. 1851 d. 1882. Southern Cheyenne. Executed at Fort Marion ca. 1875-78. watercolour, graphite and coloured pencil on paper, width: 11 1/4”, height: 8 5/8”. Private collection, Philadelphia, PA.

Artwork: Attributed to Bears Heart (Nokkoist) b. 1851 d. 1882. Southern Cheyenne. Executed at Fort Marion ca. 1875-78. watercolour, graphite and coloured pencil on paper, width: 11 1/4”, height: 8 5/8”.

 

In the mid-nineteenth century, the American West was transformed into a mythical landscape, a wide open frontier of flora and fauna populated by a native race that was all that stood between newly-arriving American dreams of Manifest Destiny. Many had the idea that they were pioneers, making a “discovery,” and in doing so a new era came to pass. Herds of buffalo were systematically exterminated and native peoples were forced on to reservations. In brief, America effectively began to erase itself.

.

Historically speaking, the term “Plains Indians” refers to tribal groups originating in the vast grasslands lying between the Rocky Mountains and the Mississippi River, including the Lakota, Cheyenne, Crow, Blackfoot, and Comanche, among others. Rich with traditions of oral and pictorial histories, the Plains Indians told their story as the environment demanded. The earliest records show petroglyphs and pictographic painting on rock walls; later they embellished buffalo hide tipi covers, shields, and personal garments with scenes bearing witness to major events. After the buffalo disappeared, they began to work on muslin, canvas, and commercial prepared hides, as well as on pages from lined accounting ledgers made widely available to Plains Indians peoples in the reservation period, roughly after 1860.

.

A selection of these artworks is currently on view at Donald Ellis Gallery, New York (Booth #238). This is the gallery’s first time at The Armory Show, and is indicative of an rising interest of the Plains Indian ledger drawings (1865-1900). Ellis, who established his gallery in 1976, is considered the foremost dealer of historical Native American art. He remembers his first encounter with ledger drawings was in 1996 at and exhibition at the Drawing Center. He recalls, “It set New York on its ear. People flipped out. That planted the seed. I consider this one of the most important aspects of American art history.”

.

Read the Full Story at Crave Online

Categories: Art, Crave, Exhibitions, Manhattan

« Older entries    Newer entries »

Categories

Archives

Top Posts

  • Home
  • About
  • Marketing
  • Blog
  • Azucar! The Life of Celia Cruz Comes to Netflix in an Epic Series
  • Eli Reed: The Formative Years
  • Bill Ray: Watts 1966
  • Jonas Mekas: I Seem to Live: The New York Diaries 1950-1969, Volume 1
  • Mark Rothko: The Color Field Paintings
  • Imprint

Return to top

© Copyright 2004–2025

Duet Theme by The Theme Foundry