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Artist News: Dirk Braeckman to represent Belgium at the 57th Venice Biennale

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"My photos are like unexploded bombs, charged and full of pent-up energy"
-Dirk Braeckman
Dirk Braeckman, 27.1 / 21.7 / 045 / 2014, 2014. Courtesy of Zeno X Gallery, Antwerp.

Dirk Braeckman, 27.1 / 21.7 / 045 / 2014, 2014. Courtesy of Zeno X Gallery, Antwerp.

Dirk Braeckman: “Participating in the Venice Biennale feels like a victory for Belgian photography, which has never had a broad international platform within the visual arts. Nowadays, everyone is capable of taking good photographs and people are only really interested in the end results. I oppose this trend by emphasizing a process-centered exploration. My photos are like unexploded bombs, charged and full of pent-up energy.”

Dirk Braeckman will represent Belgium at the 57th Venice Biennale. His exhibition in the Belgian pavilion at Giardini will be curated by Eva Wittocx, with M - Museum Leuven as the organizing institution. After past editions featuring artists like Vincent Meessen, Berlinde De Bruyckere, Angel Vergara, Jef Geys, Éric Duyckaerts and Honoré d’O, Flemish Minister for Culture Sven Gatz has decided that Dirk Braeckman will now occupy the international stage in Venice.

In his enigmatic photographs, Dirk Braeckman creates a closed, isolated world in which tactility and texture, distance and intimacy are combined. His monumental photographs tell us nothing, yet they suggest entire stories. Braeckman reflects on the photographic image and challenges the medium’s illusions. He experiments in his creative process with different textures and materials, and explores effects such as over and under-exposure through a variety of printing techniques. Braeckman’s images transcend the moment of capture and reach beyond their frame. He finds the subjects for his photographic work in his immediate vicinity—often undefined places or spaces, preferably interior views.

Dirk Braeckman will create a new set of monumental photographs for the Biennale, tailoring their presentation to the architecture of the Belgian Pavilion. His selection of intriguing pictures will respond to the mass production and consumption of images. Pictures and slogans constantly demand our attention nowadays, whether on television, the internet or in the public space. Dirk Braeckman and curator Eva Wittocx will endeavor to create a sense of tranquillity in the Belgian pavilion, allowing visitors to focus their full attention on the images.

The new body of works that Braeckman is making for Venice will be presented in early 2018 at a double show at BOZAR in Brussels and M - Museum in Leuven.

Please visit e-flux for complete read. 

William Eggleston: the stories that inspired David Lynch's favourite photographer

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 Untitled, c.1975 (Marcia Hare in Memphis Tennessee) by William Eggleston CREDIT: EGGLESTON ARTISTIC TRUST

 Untitled, c.1975 (Marcia Hare in Memphis Tennessee) by William Eggleston CREDIT: EGGLESTON ARTISTIC TRUST

By Lucy Davies

By his own count, William Eggleston has taken somewhere between one and two million photographs, though only ever one of each scene. “I have a personal rule: never more than one picture,” he says, “and I have never wished I had taken a picture differently. It simply happens that I was right to begin with.”

Eggleston, now 76, speaks with the courtly lilt of a man born and raised in the tattered decadence of a 12,000-acre plantation in Memphis, Tennessee. Since he began taking pictures in the Sixties, photography has been his sole occupation, which explains the size of his oeuvre, but not its quality, which has enraptured viewers in the intervening years.

For full article please visit The Telegraph


The New York Public Library: Podcast #117: Bruce Davidson and Matt Dillon on Lasting Impressions

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by Tracy O'Neill, Social Media Curator

Award-winning photographer Bruce Davidson's prolific body of work includes documentations of the 1960s Civil Rights movement and the gritty underbelly of New York City in the late 70s. He came to the Library this spring for a conversation with Academy Award-winning actor Matt Dillon, who is a great admirer and collector of Davidson’s work. In this riveting discussion between the two great artists, Davidson and Dillon talk about images, storytelling, and the joy of working in silence.

Please visit NYPL for full video.

Art Rant: Photo London

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West coast flower power: Rose Shoshana; The Mother of photography dealers, always enthusiastic and generous with her time was stuck in a badly lit overly warm corner. Her booth shows magnificent and rare Evelyn Hofer and William Eggleston dye transfer prints going for approximately the same price ($40k or less) as the uninventive pretentious void of a Jean-Baptiste Huynh print. Hello! Dye transfer prints are pure magic! This rare and complicated technique is the most vibrant expression at the heart of the historical renaissance of American color photography. Why have they not sold out?

Source: artwise

The Hyperrealism of William Eggleston

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When you thumb up a color-saturating Instagram filter for your shot of Mt. Hood over an airplane wing or your pastel-hued brunch cocktail, you have William Eggleston to thank. 

Those Instagram filters—to say nothing of the art world at large—might look a lot less colorful had he not experimented with color photography, an unpopular approach in a 1960s art world that still preferred tasteful black-and-white.

Eggleston's work is the opposite: His saturated dye-transfer prints lend a sense of hyperrealism to everyday subjects like gas stations, neon signage, the teal and salmon interiors of diners—even something as seemingly un-evocative as a bare bulb anchoring a ceiling (it's blood red, so pretty evocative as ceilings go).

This Saturday, March 26, 65 of Eggleston's photographs will be on view at the Portland Art Museum, but in keeping with his experimentation, 23 of them are black-and-white images reprinted from his early archives. Ahead of PAM's show, here's what the museum's curator of photography, Julia Dolan, told me about Eggleston's influence on later artists like Cindy Sherman, the art world's problem with color photography, and the distorting lens of our nostalgia for the '50s and '60s.

On Eggleston's early subject matter: "Like many good photographers, he photographs what he knows, and that's often his life in and around Tennessee and Mississippi, and other areas of the American South.... I think what's so wonderful is to see this beginning, this budding, of looking out onto the world at subjects that fine-art photographers at that time would [consider] banal, completely boring, not subject matter at all: empty tables at a café, people walking down the street, automobiles, detritus on the side of a street—these are all things that were not the subjects of fine-art photography for the most part at the time. And I think now for us looking back on it, it's almost a little bit difficult to get a pure idea of it because we have a strong sense of nostalgia for this time period—for the '50s, '60s, even the '70s—and so we see things that feel very Mad Men or of a different time in the United States that we are attracted to."

On Eggleston's black-and-white photography: "If we know about William Eggleston's work, we know about that saturated red ceiling... we're so used to these colors and this vibrancy. To then be able to juxtapose the black-and-white work—which in some ways makes us think a little bit more about composition because that layer of color has been removed—we start to see these patterns of composition in his work, and the way that he evolved before hitting the scene and punching us in the face with these dye-transfer prints that he has manipulated so that certain colors are richer than others. It's a really wonderful experience to see both at the same time."

On Eggleston's pioneering of color photography: "At the time that Eggleston switched to color and started experimenting with it, which was the early 1960s, very few other arts-oriented photographers were... One of the reasons for that was that [fine-art photography] almost always had to be black-and-white, because color photography was linked to advertising and it was considered less artistic, it was considered garish or very base, and for many people who held authority in terms of photography, it was not art."

On the reception of Eggleston's first MoMA show: "Critics went crazy. Critics in the New York Times and other places said the work was boring, the colors were garish, and they couldn't believe it. Some people said it was the worst show of the year."

On Eggleston's impact on younger artists: "[Eggleston's color photography] really encourages people like Nan Goldin, Laurie Simmons, Cindy Sherman even, because Cindy's in school and making black-and-white photographs in the 1970s, and by the early 1980s she's pushing into color... He opens up this world for them in a really magnificent way, and little by little, people start to accept color photography as artistic and worth being seen in galleries and museums."

Source:  The Portland Mercury 

Producer Midland shares his appreciation for Bruce Davidson's 'Subway' series

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UK Producer Midland speaks of his affinity for Bruce Davidson's Subway series with Electronic Beats, a T-Mobile affiliate, to share quality journalism and marketing of music & lifestyle content.

Photo from 'Subway' by Bruce Davidson. Published by Steidl

Photo from 'Subway' by Bruce Davidson. Published by Steidl

"In order to contextualize the work and the environment in which it was born, one has to understand that the subway in 1980 was a place New Yorkers treated with equal parts fear and respect. For many people, it was their only way to get to work, to see family or to navigate the vast city, and so necessity often eclipsed personal safety."

Midland also noted, "great artists show you worlds you thought you understood but in a way you never knew was possible."

Harry 'Midland' Agius oversees two record labels, Graded and Re-Graded. 

For complete read please visit ElectronicBeats

LA Times: What does 'the Asian woman' look like? Artist explores identity with 300 self-portraits

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Sharon Mitzota reviewed Tomoko Sawada's Facial Signature Exhibition for the LA Times on 3 March.

Tomoko Sawada,  Facial Signature , 2015. (© Tomoko Sawada / ROSEGALLERY)

Tomoko Sawada, Facial Signature, 2015. (© Tomoko Sawada / ROSEGALLERY)

"Tomoko Sawada has photographed herself relentlessly, dressing up Cindy-Sherman-style as schoolgirls, twins, brides or other characters since the mid-1990s. Her new work at ROSEGALLERY, “Facial Signature,” consists of 300 self-portraits that are remarkable for how Sawada achieves variation within very narrow parameters: the American notion of “the Asian woman. . .The repetition leads to a much less sanguine conclusion that despite our personal styling, to America, Asian women all still look alike.”

Read the article in it's entirety HERE.


ROSEGALLERY Featured Artist: Stéphanie Solinas

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Stéphanie Solinas, whose series Phénomènes was featured in our show Her First Meteorite, Volume 1, is ROSEGALLERY's featured artist for the month of December. The artist was recently interviewed by Hans Lucas with Findspire Studio at 2015's Rencontres d’Arles and featured on l'Oeil de la Photographie. In this clip, Solinas discusses her interest in using photography as a vehicle for uncovering the connection between an individual and their identity.

The original feature from l'Oeil de la Photographie, written by Wilfrid Estève, can be found here