Filtering by Tag: contemporary photography

Wayne Lawrence Selected in Best of Miami by V Magazine

Added on by ROSEGALLERY.

We are proud to share that V Magazine has selected Wayne Lawrence's Cinnamon, on view at the ROSEGALLERY booth at PULSE Miami, as a fair highlight in their latest Miami dispatch.

To read the article, please click here.

Tomoko Sawada SIGN Reception

Added on by ROSEGALLERY.

We had a great time with Tomoko Sawada at the opening of her ROSEGALLERY exhibition SIGN. Didn't make it to our opening? See pictures below from our evening with Tomoko. If you have not checked out our exhibition, you will have until November 16 to stop by the gallery and see Tomoko's latest work.

PAC/LA Thursday Night with Tomoko Sawada

Added on by ROSEGALLERY.

THURSDAY NIGHT AT ROSEGALLERY WITH TOMOKO SAWADA

Join us at the opening of Tomoko Sawada's latest works SIGN and SKIN at ROSEGALLERY. The gallery has arranged a meeting with the artist for PAC/LA members. September 26, 6-8 PM.

Not a member of PAC/LA? To participate in events like Thursday Night with Tomoko Sawada, click here.

PAC/LA is an independent, non-profit organization fostering individual and community-wide appreciation of the photographic arts.

Throughout the year, PAC/LA offers:

  • Artist Talks
  • Studio Visits
  • Educational Programming
  • Gallery Visits
  • Private Collection Tours
  • Curator-led Walkthroughs of Museum Exhibitions
  • Travel Opportunities beyond Los Angeles

Added on by ROSEGALLERY.

(© Asako Narahashi, courtesy Rose Gallery, Los Angeles)

Once again from the Pier 24 photography space in San Francisco, this is a view of Mount Fuji from the surface of Lake Kawaguchiko, taken in 2003 by Asako Narahashi. Of course, the true subject of the work is its world-famous doppelganger, “The Great Wave off Kanagawa”, woodblock printed by Katsushika Hokusai in about 1831. The differences matter as much as any likenesses. Hokusai shows us the disembodied view of a kind of omniscient narrator – an “omniscient looker”, you could say – who seems to glimpse the struggling sailors almost by accident as he takes in distant Mount Fuji. (Shades of W.H. Auden’s “Musee des Beaux Arts”). Whereas with Narahashi, we see the mountain through modern eyes immersed in the water but made impervious to it by technology. Water splashes onto the glass of the floating photographer’s lens but has no effect; the sun’s flare off the surface of the lake is forced to take on the hexagonal shape of the camera’s aperture. Narahashi reflects on her culture’s past, from its present.

-Blake Gopnik