Spotlight Series: Jo Ann Callis

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“I remember parting her hair and carefully drawing the black line from the top of her head down to her waist in one gesture. I was thinking about what it would feel like to be on the receiving end of that drawn line. It might give a pleasant little chill up the spine and visually it left the door open to interpretation.”

A thin, black line runs down a woman’s pale back, beginning in a mass of blonde hair, at the point where the head curves coyly away from sight. Jo Ann Callis created the composition as part of a body of work exploring and expanding the notion of fetish. Evoking a sensory response, the woman’s back tenses with the texture of the bones visible beneath. The delicateness of the uncovered back evokes an even stronger sense of intimacy when the eye slowly moves down the thin line. When Callis drew the line down her back, she thought not only of the image, but also of the subject’s experience, thinking of what kind of sensations arise with the touch of the pen’s smooth gesture moving down the naked back. 

Jo Ann Callis,  Woman with Blond Hair, 1977

Jo Ann Callis, Woman with Blond Hair, 1977

In both the hair and the line running down the back, the sense of splitting is omnipresent. The slit, suggestive in its form, insinuates what lays just below the frame of the composition. Insinuating a strong sense of sexual intimacy, Woman with Blond Hair, 1977 evokes the fascination of fetish through what is both visually present and implied.

ROSEGALLERY presents PhotoGRAPHIC: The Life of Graciela Iturbide

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ROSEGALLERY presents PhotoGRAPHIC, an exhibition of the upcoming graphic novelPhotoGRAPHIC: The Life of Graciela Iturbide, published by the J. Paul GettyAccompanying works by the legendary photographer, ROSEGALLERY will present the novel in its entirety, with original drawings by Zeke Peña and prose by Isabel Quintero. Photographs, illustrations and prose come together to illuminate the artistic power of Iturbide’s life and work.

Presenting the multifaceted manifestations of her story, the exhibition will run from 8 September 2017 until 21 October 2017, with a public opening on the 8th of September. 

Just as in the graphic novel about her life, Graciela Iturbide’s work exists at the intersection of captivating imagery and poetic language. Born in Mexico in 1942, Iturbide studied photography under the Mexican icon Manuel Álvarez Bravo, a contemporary of Tina Modotti, Frida Kahlo and Diego Rivera. With the uniqueness of her own eye, Iturbide captured her surroundings in intimate and empowering expressions. Often highly metaphorical, Iturbide’s photographs visually and poetically connect her own surroundings with a deeper understanding of the world. 

Told through text, illustrations and Iturbide’s photographs, Photographic: The Life of Graciela Iturbidedelves into Iturbide’s history and photographic works with the guiding vision of the artist herself. From the Sonora Desert to Juchitán, India and the American South, the graphic novel tells of Iturbide’s explorations throughout the world, all caught through the lens of her camera. In the beginning pages of the graphic novel, it states, “Graciela Iturbide is a photographer. She is an icon. Orgullo mexicano. Maestra.” With her masterfully crafted photographs, Iturbide proves each title true. Iturbide’s exploration of often overlooked and eclectic subjects brings a range of perspectives to her work and her own story. Each image transcends the border between reality and myth. Birds come to her through many of her dreams and often reappear in flight in her photographs, tracing a line through her imagination and her world in the poetic language of their collective motion. Following the trail of birds on the walls of PhotoGRAPHIC, one may glimpse into the rhythm of Iturbide’s vision as her story unfolds.

image credit: Pages from Photographic: The Life of Graciela Iturbide © 2018 J. Paul Getty Trust, . Text © Isabel Quintero, illustrations © Zeke Pefia, photographs © Graciela Iturbide.

Spotlight Series: Joachim Schulz

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I BELIEVE THAT HER HEART BELONGS TO ROTHKO."                                    - Joachim Schulz - 

Joachim Schulz’s series Her Heart Belongs to Rothko arose from the experimentation with the artist's Polaroid Colorpack 80, which preferred the abstract shapes and colors akin to a Rothko painting over the representation of our seen reality. Over the course of half a year, Schulz found that his polaroid camera — a small, plastic camera that has been in his family since he was a child — began to gradually manipulate the film inside of it, scratching away the emulsion with each new attempt to take a photograph until, as Schulz observed, “step by step, the camera refused to write exact copies of reality.” Excited with the camera’s own interpretations, Schulz continued producing works with the polaroid, allowing each new abstraction to emerge from the body of the camera. 

Her Heart Belongs to Rothko, Tripticon 1, Polaroid, Polaroid Back, and Polaroid Transfer,  1997

Her Heart Belongs to Rothko, Tripticon 1, Polaroid, Polaroid Back, and Polaroid Transfer, 1997

The interplay between painting and photography runs deeply through each work as the chemical process takes over and the images strongly reference Rothko. As the camera processes the film in its own unusual ways, the series focuses more upon the final picture and its abstract beauty rather than notion of producing a typical, representational photograph. Transferring the polaroids to hand-made paper, Schulz further blurs and broadens the definition of the photographic genre.

Even when the lens was shut, the squared layers of blues, yellows, reds and greens emerged from the darkness of the Polaroid’s body, producing abstract configurations in the same nebulous impression of a Rothko. 

PHOTOGRAPHIC: The Life of Graciela Iturbide

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Friday, 8 September, on view until 21 October, 2017

ROSEGALLERY presents Photographic: The Life of Graciela Iturbide, the forthcoming graphic novel about Graciela Iturbide, published by The Getty Publications in Fall of 2017. Pages from the graphic novel will be exhibited as a narrative along the gallery walls, interlaced with pages from the graphic novel, photographic prints by Graciela Iturbide and original illustrations by Zeke Peña.
The exhibition will be open to the public during our normal business hours of 10 am to 6 pm on Friday, 8 September.

Pages from Photographic: The Life of Graciela Iturbide © 2018 J. Paul Getty Trust, . Text © Isabel Quintero, illustrations © Zeke Pefia, photographs © Graciela Iturbide.

Pages from Photographic: The Life of Graciela Iturbide © 2018 J. Paul Getty Trust, Text © Isabel Quintero, illustrations © Zeke Pefia, photographs © Graciela Iturbide.

Graciela Iturbide at The Ruth Chandler Williamson Gallery

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Graciela Iturbide will be on view at the Ruth Chandler Williamson Gallery from August 26th, 2017 until January 7th, 2018 as part of the exhibition Revolution and Ritual: The Photographs of Sara Castrejón, Graciela Iturbide and Tatiana Parcero, in conjunction with Pacific Standard Time: LA/LA. 

War, indigenous cultures and inner transformation ferment in Revolution and Ritual: The Photographs of Sara Castrejón, Graciela Iturbide and Tatiana Parcero. In this exhibition, the Williamson focuses on the works of three Mexican women photographers who explore and transform notions of Mexican identity in images that range from the documentary to the poetic.

Garciela Iturbide,  Untitled (Bull Walking through Birds) , Jaipur, India

Garciela Iturbide, Untitled (Bull Walking through Birds), Jaipur, India

For more information, please visit ArtFixDaily 

Spotlight Series: Misha de Ridder

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In the morning mist, light shines through the water particles, dispersing the spectrum of light throughout the atmosphere. Within this strange, ubiquitous light, Misha de Ridder sets up his 4 x 5 camera atop a cliff in Normandy in the town of Ault, looking down upon a vast seascape where a harbor and parts of Ault once flourished in the sixteen hundreds before a storm washed them away. The cliffs that de Ridder both photographs and stands upon are in constant collapse, losing about a meter each year to the sea, whose tides rise and fall, slowly consuming the cliffside. De Ridder ventures into this environment, setting up his large format camera on the top and at the base of the cliff, photographing in the short four hours before the Atlantic rises and covers the tide pools beneath him. 

Ault III, 2016

Ault III, 2016

Within this seascape, the feeling of interconnectedness with the enormity of one’s natural surroundings arises in the depth and enigma of the image. The chalk of the cliff face leaves a whiteness on the surface of the water, which echoes the horizon beyond. The experience of looking into de Ridder’s seascapes and cliff faces involves the perception only acquired through intimate and lengthened looking, the kind of perception that de Ridder describes as “the cutting edge where you and reality meet.”

Caught on one of de Ridder’s last slides of Kodak’s E100G film, which was discontinued in 2012, the film captures the colors in “the camera’s own reality,” as de Ridder describes it. The present photographs are direct translations of the slide with no intermediary changes, so that the photographs of these spaces directly capture the colors of reality. Although the colors reflect reality, de Ridder hopes to capture the essence of a space, which in this moment meant waiting an hour for the seagulls to fly away and out of the composition of Ault III

Falaise III, 2016

Falaise III, 2016

Misha de Ridder’s work engages with the experience of beauty through the enormity yet soft vulnerability of the waves and chalky cliffside. Expressed in this ubiquitous light and mediated through the water and air, the eyes and mind drift further and further into the image, visually engaging with the continually transforming environment where the cliffside and sea meet in Ault. 

Misha de Ridder’s Ault III, currently on display in REFERENCE, is the first work to be featured in ROSEGALLERY’s Spotlight Series.  

Fundación MAPFRE, home of the largest collection of Graciela Iturbide works

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Launched nine years ago, Fundación MAPFRE’s photography collection is still in its early days. The remarkable series of photographs by Graciela Iturbide, however, not only constitutes one of the main features of this collection, it also aptly illustrates its ambition: to strive to fully represent artists included in the collection in order to get to know and understand their work as fully as possible.

"Famous for her vision of indigenous Mexican cultures, which marked her entrance into the world of photography, Graciela Iturbide considers her work as an ongoing process of vital exploration, since photographing is above all a pretext for expanding knowledge. Her journeys are an integral part of her research on identity; however, the power of her images does not depend on the exoticism of her world travel, but rather emanates from her exceptional ability to foreground aspects often absent from photographic representation, and which she manages to capture through a simple working method: by integrating into, and cohabiting with, the people she photographs."

Read the full write-up on
For more images by Graciela Iturbide, visit her ARTIST PAGE.

Jo Ann Callis on view in exhibition Dreamers Awake at White Cube Gallery

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Jo Ann Callis will be on view at White Cube Gallery in the group show "Dreamers Awake", a major exhibition exploring the enduring influence of Surrealism from the 1930s to the present day.  Curated by Susanna Greeves

Jo Ann Callis, Untitled, from Early Color Portfolio Circa 1976

Jo Ann Callis, Untitled, from Early Color Portfolio Circa 1976

"This thematic exhibition brings together over 100 works by women artists to explore sexual politics, eroticism, mysticism and identity. Rarely seen paintings by key figures associated with the original Surrealist movement, such as Eileen Agar and Leonora Carrington, are shown alongside modern and contemporary artists including Louise Bourgeois & Tracey Emin, Claude Cahun, Mona Hatoum, Linder, Laurie Simmons, Gillian Wearing, Hannah Wilke and many more."