Photography

Sun, Shadows, Stone: The Photography of Terry Toedtemeier

Episode 95: Rock Hushka, Senior curator of the Tacoma Art Museum returns to the podcast to chat with me about the Sun, Shadows, Stone exhibition. Adrienne Edmondson, director of marketing, joins in as well. It’s a great chat. We learn about photographer and former geologist, Terry Toedtemeier (1947–2008), who has had a diverse and interesting career. It opened October 20, 2018 and goes through February 17, 2019.

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Indian Cove, 2004. Inkjet print, 15 5/8 × 20 inches. Estate of Terry Toedtemeier, Collection of Prudence F.Roberts and courtesy of PDX Contemporary Art, Portland.© Tacoma Art Museum, photo by Lou Cuevas

Owyhee River from the N End

Owyhee River from the N. End of the Tongue, Malheur Co., Oregon, 1999. Gelatin silver print14 1/4 × 17 1/8 inches. Estate of Terry Toedtemeier, Collection of Prudence F.Roberts and courtesy of PDX Contemporary Art, Portland.© Tacoma Art Museum, photo by Lou Cuevas

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Steven Bowers

Episode 88: Today I talk to Steven Bowers. He’s an intellectual property attorney who is also an accomplished artist. His fascination is street portraiture. He has some really great projects, including Just Johnson, which humanizes the homeless.

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Through A Foggy Berlin Cafe Window c. Steven Bowers

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(c) Steven Bowers  2018

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(c) Steven Bowers  2018

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(c) Steven Bowers  2018

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(c) Steven Bowers  2018

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(c) Steven Bowers  2018

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Sandra Stark: Natural Still Lifes

Episode 64: Today I meet & chat with Howard Yezerski, of The Howard Yezerski Gallery in Boston, Massachusetts, about Sandra Stark’s  atypical artwork.  You’ll get to see my opinion change in real-time.

Eliot's Pot flowers squirrel

Eliot’s Pot, 2017, Archival digital prints, 23 x 20 in.

By Fire

By Fire, 2017, Archival digital prints, 18.5 x 25.5 inches

For Egon, Flora and Jeffrey meat bug watches necklaces

For Egon, Flora and Jeffrey, 2017,
Archival digital print,
25.25 x 18.25 inches

All images used with permission.

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Woman House

Episode 68: Today I chat with Assistant Curator, Orin Zahra from the National Museum of Women in the Arts, in Washington DC. We talk about the Woman House exhibition, which is on view  from March 9–May 28, 2018. It is inspired by Judy Chicago & Miriam Schapiro’s feminist installation of the same name.

Cindy Sherman, Untitled Film Still #35, 1979; Gelatin silver print, 15 7/8 x 12 3/8 in.; Courtesy of the artist and Metro Pictures, New York

Birgit Jürgenssen, Ich möchte hier raus! (I Want Out of Here!), 1976/2006; Black-and-white photograph, 22 7/8 x 18 7/8 in.; Estate of Birgit Jürgenssen, Courtesy of Galerie Hubert Winter, Vienna; © 2018 Artists Rights Society (ARS), New York/Bildrecht, Vienna

Laurie Simmons, Walking House, 1989; Chromogenic print, 64 x 46 in.; Collection of Dr. Dana Beth Ardi; Photo courtesy of the artist and Salon 94, New York

Zanele Muholi, Katlego Mashiloane and Nosipho Lavuta, ext.2, Lakeside, Johannesburg, 2007; Lambda print, 30 1/8 x 29 3/4 in.; Private collection

Miriam Schapiro, Dollhouse, 1972; Wood and mixed media, 79 3/4 x 82 x 8 1/2 in.; Smithsonian American Art Museum, Museum purchase through the Gene Davis Memorial Fund

All images used with permission

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Burnt Generation

Episode 27: On this episode, I talk to Fariba Farshad, of Candlestar in the UK. We talk all about the Burnt Generation exhibition, which she created. It was displayed at Columbia College in Chicago, Illinois.

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This group exhibition seeks to convey the variety of ways in which decades of political unrest and social upheaval have impacted the Iranian people through a mix of documentary photography, portraiture and fine art photography. Moving through urban and rural locales, the exhibition will offer a rare opportunity to set aside the stereotypical, mediated imagery of Iran and enter directly into the worlds of artists who have lived and worked in the country. Many of the images featured in the exhibition have not previously been displayed in the United States. This exhibition is produced by Candlestar, a cultural consultancy based in London and is curated by Fariba Farshad, Director of Candlestar.

The 2015-2016 season is sponsored by The Andy Warhol Foundation for the Visual Arts, the Illinois Arts Council Agency, the Abramson Arts Foundation, and Nixon Peabody LLCP.

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‘Many commentators have said that some of the most exciting photography in the world today is being made in Iran,’ says Candlestar Director Fariba Farshad, who has curated Burnt Generation, Candlestar’s new exhibition of Iranian Photography. We hope that this exciting exhibition will confirm this view… ‘ Burnt Generation, which was on display at Somerset House from 10 April to 1 June 2014, brought together work by eight contemporary photographers that had rarely been seen outside Iran.  The photographers were Azadeh Akhlaghi; Gohar Dashti; Shadi Ghadirian; Babak Kazemi; Abbas Kowsari; Ali Nadjian/Ramyar Manouchehrzadeh; Newsha Tavakolian and Sadegh Tirafkan. By presenting rarely-seen work by these photographers, Burnt Generation presented an opportunity to move to a place beyond cliché; a moment to forget the stereotypical images of Iran and enter the distinctive personal, cultural histories of these highly original and intellectually engaged image makers.

 

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The exhibition garnered wide spread press interest, both national and global. Please see below for press coverage to date. The Guardian has featured an article about Newsha Tavakolian and her work, read the article online here.  The British Journal of Photography has also written an article about the exhibition which you can also read online. The Financial Times has also reviewed Burnt Generation which you can access here.

You may have access to the exhibition leaflet hereBurnt Generation Leaflet

 

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The Accidental Tourist

Episode 25 : On this episode, Nicole Royse joins me again to discuss The Accidental Tourist exhibition at the Bokeh Gallery at the MonOrchid, in Phoenix, Arizona.

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The Accidental Tourist Exhibit at The MonOrchid, Bokeh Gallery

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“Due of the amount of photos being taken by cellphones and the quality is just getting better and better, not to mention there are so many artists and non-artists in Arizona that can not afford a DSLR.”

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OShana was honored to jury this exhibition, receiving numerous submissions, resulting in the selection of an eclectic group of 12 local artists. The chosen rooster of artists includes: Amanda Abbott, Chadwick Fowler, Brandon Greer, Andrew Hutchinson, Miguel de Jezus, Johnny Kerr, Heather Kirk, Jon Linton, Michael Mutature, Alex Plasko, George Voellmer and Onna Jeanna Voellmer.

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All images used with permission

 

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The Likeness of Labor

Episode 24:   On this episode I talk to Christopher Oliver, curator of the Likeness of Labor exhibit at the Virginia Museum of Fine Arts. We talk about the haunting history of child labor in the early U.S.

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Obj. No. 75.60 Lewis W. Hine (American, 1874–1940) Addie Card, 12 Years, Spinner in Cotton Mill, Vermont, 1910 Silver gelatin print 4 11/16” × 3⅝”W 11.91 cm × 9.21 cm Image must be credited with the following collection and photo credit lines: Virginia Museum of Fine Arts, Richmond. Virginia Museum Art Purchase Fund Digital photo: David Stover © Virginia Museum of Fine Arts

Ultimate trust…

Lewis W. Hine, American, 1874 - 1940 (Artist); Italian Madonna,

75.54; Lewis W. Hine, American, 1874 – 1940 (Artist); Italian Madonna, Ellis Island; 1905; silver gelatin print; Sheet: 7 × 5 in. (17.78 × 12.7 cm) Image: 6 11/16 × 4 7/8 in. (16.99 × 12.38 cm); Virginia Museum Art Purchase Fund; Virginia Museum of Fine Arts, Richmond

 

A man hides his rotten teeth with a callused hand…

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Obj. No. 89.28 Dorothea Lange (American, 1895-1965) Migratory Cotton Picker, Eloy, Arizona, 1940 Gelatin silver print 10⅜”H x 13⅜”W 26.35 cm x 33.97 cm Image must be credited with the following collection and photo credit lines: Virginia Museum of Fine Arts, Richmond. Arthur and Margaret Glasgow Fund. Digital photo: Travis Fullerton © Virginia Museum of Fine Arts

 

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Obj. No. 2011.17 Wright Morris (American, 1910–1998) Uncle Harry Entering Barn, 1947 Gelatin silver print Sheet: 10”H × 8”W (25.4 cm × 20.32 cm) Image: 9⅝”H × 7⅝”W (24.45 cm × 19.37 cm) signed on verso Wright Morris Image must be credited with the following collection and photo credit lines: Virginia Museum of Fine Arts, Richmond. Floyd D. and Anne C. Gottwald Fund Digital photo: David Stover © Virginia Museum of Fine Arts

 

 

The Power of Pictures

Episode 22  : Today I chat with Dr. Susan Edwards Ph.D about The Power of Pictures exhibition that is going on at the Frist Center until July 4th.

Press Release

 

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Arkady Shaikhet, Express, 1939. Gelatin silver print, 15 5/8 × 21 1/8 in. Nailya Alexander Gallery, New York. Artwork © Estate of Arkady Shaikhet, courtesy of Nailya AlexanderGallery

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From early vanguard Constructivist works by Alexander Rodchenko and El Lissitzky to the modernist images of Arkady Shaikhet and Max Penson, Soviet photographers played a pivotal role in the history of modern photography. The Power of Pictures: Early Soviet Photography and Film examines how photography, film, and poster art were harnessed to disseminate Communist ideology, revisiting a moment in history when artists acted as engines of social change and radical political engagement. Covering the period from the 1917 Bolshevik Revolution through the 1930s, the exhibition explores how early modernist photography and film influenced a new Soviet style while energizing and expanding the nature of the media. Through more than 150 works, The Power of Pictures reveals how striking images by master photographers and filmmakers were seen as powerful propaganda tools in the new Soviet Union, and looks at photography and film together as influential and formally related media.

 

 

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Ansel Adams

Episode 15:  On this episode, I talked with Curator, Allison Slaby of Reynolda House Museum of American Art in Winston Salem, NC. We talked all about the Ansel Adams exhibition as well as an upcoming exhibition she created on Grant Wood and the American Farm.

Ansel Adams exhibit gets record breaking attendance

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Ansel Adams (1902-84), perhaps the best-known photographer in American history, developed a system for creating luminous, vivid landscape photographs in sharp contrasts of black and white. He then printed his film negatives with meticulous attention to craft.  Adams’s manner of framing and capturing both magnificent, large-scale landscape formations, and small, exquisite natural objects created icons of the American wilderness.

 

Mount Denali and Wonder Lake, Denali National Park, Alaska, 1948

Ansel Adams (1902-1984); Sunrise, Mount McKinley, Mount McKinley National Park, Alaska; 1948; Gelatin silver print; Amon Carter Museum of American Art, Fort Worth, Texas; P1969.26

Adams subscribed to the romantic tradition of American landscape, an artistic lineage that included major American painters—including Thomas Cole, Frederic Church, and Albert Bierstadt —whose work anchors the collection of Reynolda House Museum of American Art. 

Adams took his first photos with a Kodak Brownie camera at age 14 during a family vacation to Yosemite National Park, and he would return to Yosemite regularly throughout his life. An early and passionate environmentalist as well as an artist, Adams advocated powerfully for wilderness preservation, national park creation, and the Sierra Club, with which he was affiliated from the age of 17.  His goal was “to rekindle an appreciation of the marvelous.” 

This exhibition’s debut in North Carolina coincides with the centennial of the National Park Service, which marks its 100th anniversary in August 2016. The National Parks Conservation Association has joined Reynolda House as the National Outreach Partner for the exhibition. During the exhibition season, Reynolda House will embark on a series of events and talks focused on themes of sustainability and preservation, highlighted by an Earth Day event co-presented by Wake Forest University.

 

Vernal Fall, Yosemite Valley, California, ca 1948

Ansel Adams (1902-1984); Vernal Fall, Yosemite Valley, California; ca. 1948, printed 1963; Gelatin silver print; Amon Carter Museum of American Art, Fort Worth, Texas; P1966.11.6

These forty breathtaking photographs by the renowned artist-photographer have never been on view together, and Reynolda House is the exhibition’s only venue.

This exhibition’s debut in North Carolina coincides with the centennial of the National Park Service, which marks its 100th anniversary in August 2016. The National Parks Conservation Association has joined Reynolda House as the National Outreach Partner for the exhibition. During the exhibition season, Reynolda House will embark on a series of events and talks focused on themes of sustainability and preservation, highlighted by an Earth Day event co-presented by Wake Forest University.

 

Moonrise Over Hernandez, New Mexico, 1941

Ansel Adams (1902-1984); Moonrise over Hernandez, N.M.; 1941, printed 1965; Gelatin silver print; Amon Carter Museum of American Art, Fort Worth Texas; P1965.41

Oak Tree, Snowstorm, Yosemite Valley, California, 1948

Ansel Adams (1902-1984); Oaktree, Snowstorm, Yosemite; 1948, printed ca. 1972; Gelatin silver print; Amon Carter Museum of American Art, Fort Worth, Texas, Gift of Friends of Photography; P1972.43.2

Ansel Adams: Eloquent Light has been organized by the Amon Carter Museum of American Art, Fort Worth, Texas.

 

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