A pioneer of color photography, Mr. Epstein has been making pictures, films, and photographic books for 35 years. His Vietnam pictures from the 1990s offer the artist's characteristic balance of formal rigor and nuanced wit; and they are a vivid example of what critic Joanna Lehan calls Epstein's "jaw-dropping use of color." These photographs are also an important marker in Epstein's evolution as an artist, a bridge between his early street work and his large format work to come.
The pictures in this exhibition are a poetic odyssey through post war Vietnam. These photographs suggest that under beauty lies violence; and under the remnants of war is a society grappling with new freedoms and continued censorship.
Between 1992 and 1995, as Vietnam started to open its borders to outsiders after two decades of isolation, Mitch Epstein made six trips there. He collaborated on a book with a dissident Vietnamese novelist, thereby gaining an understanding of and access to the country that few outsiders had. In 1995, however, Epstein learned he would have to submit his pictures to the Vietnamese government for censorship. In the name of artistic freedom, Epstein broke the collaboration and his book, Vietnam: A Book of Changes, was published with a text by the artist. These photographs are still virtually unseen in the country from which they emerged, except by the intelligentsia that smuggled in the book.
This exhibition illuminates a pivotal point in Epstein's career. In Vietnam, the artist's method became more deliberate and painterly. He mastered and reinvigorated the still life. His slower, increasingly formalist approach naturally led to the 8x10 view camera he now uses. Vietnam also signaled a new period where politics would indirectly, yet significantly affect Epstein's work. His next projects all evoke--as the Vietnam photographs do--a keen sense of society's machinations. In Vietnam, The City, Family Business, and the ongoing American Power, Epstein subtly conveys that the power of a patriarch, a city, or a nation leaves its mark on private lives and the public landscape.
Jiang Zhi’s photographs consistently communicate with the viewer from the mind of a poet or writer. Poignant in meaning and stunning in their visual arrest, Jiang Zhi’s photographs continue to decode the meaning and fragility of the human heart, and are successful in speaking across native cultures to the greater global, human condition. Longing, memo...
Women of Power consists of 29 color photographs depicting Polish witches, healers, sorceresses, visionaries, spiritual leaders and shamanic techniques practitioners.
According to what Ewelina Jarosz wrote about Women of Power : "The title points to Katarzyna Majak's intenti...
C’est à une invitation à la sérénité et à un retour sur soi que nous propose Yves Marcellin dans cette exposition inédite, installation photographique consacrée aux cinq remémorations du Bouddha.
Empreint des écrits du vénérable moine bouddhiste Thich Nhat Hanh, et plus particulièrement sensi...
With "The Family of Dog", Michael Ruetz has created, over the last 50 years, a unique body of photographic work. Superficially, these images might appear to pay tribute to the established forms of animal photography. But a second, more focused view shows that the reverse is true. Ruetz' pictures are as far removed from those of the animal specialist...
Failed States is an exploration of coincidence and poetics amid the barriers and bureaucracy of governmental power.
In January 2010, while on a trip to research the history of snipers in Austin, Texas, Magid witnessed a mysterious shooting on the steps of the State Capitol. After attempting to speak with a state empl...
Une Ford Pick-up, une Pan/Shovel 66, une Custom 2004 (Jeffrey), une Triumph 69 (Vince), une El Camino 64, une Bel Air 65 (peinte par Vince), une Duo Glide 62, une Comet (qui appartenait à Steve Mc Queen), une Special Construction 2000 (toutes, OM), une Harley 1969, une Dyna 2003 (Wes),une Pan 59, une Pan 62, une Pan 65 (John Copeland), une Sportster 68 (Dr...
Le conte photographique l’Emouvantail, se veut être « l’Echo » d’une histoire d’amour entre un épouvantail etune jeune femme, la Dame de l’O qui pourrait être celle de chacun d’entre nous… Mais pas seulement…
J'ai toujours été fasciné par la photographie vernaculaire, dénuée de toute prétention artistique, les catalogues de vente par correspondance, les clichés de maisons dans les annonces immobilières, les cartes postales...
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