Category Archives: PHOTOGRAPHY

CINDY SHERMAN — METRO PICTURES

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Chance does have a major role to play. Using a live person—myself especially—allows for chance… Because each picture in a roll of film can be completely different, that’s the element of chance that works for me. This is why whenever I’ve tried to do more still life-type shots—with mannequins and dolls—it’s so much harder as I have to decide what it is I’m looking for while I’m setting it up. — Cindy Sherman*

A new body of work by Sherman comprising ten photographs—”androgynous characters… dressed primarily in men’s designer clothing”—is on view at Metro Pictures through the rest of the week, in person or via its online viewing room.

CINDY SHERMAN

Through October 31, by appointment.

Metro Pictures

519 West 24th Street, New York City.

*“A Conversation with Cindy Sherman by Hans Ulrich Obrist,” Paradis 6 (2012): 92.

Cindy Sherman, Metro Pictures, September 26, 2020–October 31, 2020, from top: Untitled #603, 2019, dye sublimation print; Untitled #610, 2019, dye sublimation print; Untitled #612, 2019, dye sublimation print; Untitled #615, 2019, dye sublimation print; Untitled #609, 2019, dye sublimation print; Untitled #611, 2019, dye sublimation print. Images © Cindy Sherman, courtesy of the artist and Metro Pictures.

SUNIL GUPTA IN CONVERSATION

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Those were halcyon times, our salad days indeed…raising our “consciousnesses” and creating a lifelong family of friends. — Fakroon (below), friend and photographic subject of Sunil Gupta

On the occasion of FROM HERE TO ETERNITY—Sunil Gupta’s first comprehensive retrospective exhibition in Great Britain—the artist and photographer will join curator Mason Leaver-Yap for an online conversation.

See links below for details.

ARTIST TALK—SUNIL GUPTA

Wednesday, October 28

10:30 am on the West Coast; 1:30 pm East Coast; 6:30 pm London; 7:30 pm Paris..

SUNIL GUPTA—FROM HERE TO ETERNITY

Through February 21.

The Photographers’ Gallery

16-18 Ramillies Street, Soho, London.

Exhibition catalog published by Autograph. Click here for an artist’s video tour of the show.

Sunil Gupta, From Here to Eternity, The Photographers’ Gallery, October 9, 2020–January 24, 2021, from top: Sunil with NY Review of Books, circa 1975; Shalini, Rudi, Sunil, Léo, 3425 Stanley, circa 1974; India Gate, 1987, from the series Exiles; Untitled #9, from the series Sun City; Fakroon, circa 1974; Untitled #50, from the series Christopher Street, 1976/2020; Shroud, 1999, from the series From Here to Eternity; Sunil Gupta, Queer (2011) exhibition catalog courtesy and © the artist, Vadehra Art Gallery, and Prestel; Sunil Gupta, Lovers: Ten Years On (2020) exhibition catalog cover image courtesy and © the artist and Stanley / Barker, design by The Entente; Sunil Gupta, From Here to Eternity (2020) exhibition catalog cover courtesy and © the artist and Autograph, graphic design Fraser Muggeridge Studio; Untitled #13, 2008, from the series The New Pre-Raphaelites; Untitled #22, from the series Christopher Street, 1976; Untitled #7, 2008, from the series The New Pre-Raphaelites; Jama Masjid, 1987, from the series Exiles. Images © Sunil Gupta, courtesy of the artist, Hales Gallery, Stephen Bulger Gallery, and Vadehra Art Gallery, © DACS 2020.

STATES OF CHANGE

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This feels to us like the most significant election of our lifetimes. The outcome will likely be decided by just a handful of states. And make no mistake: attempts are being made right now to unfairly tip the playing field and influence the vote—from voter intimidation to outright misinformation.*

STATES OF CHANGE—a fundraiser supporting forty-two organizations fighting voter suppression in Arizona, Florida, Michigan, Pennsylvania, and Wisconsin—is offering $150 prints by over 150 artists. See link below for details.

STATES OF CHANGE*

Through October 18 at midnight, PDT.

From top: Carrie Mae Weems, Hear No Evil, (from See No Evil, Hear No Evil, Speak No Evil Triptych), 1995; Roe Ethridge, Blue Roses, 2017; Susan Worsham, Margaret’s Azaleas Through Section of Cat’s Esophagus, 2014; Samantha Box, Lilies, 2019; Susan Meiselas, Traditional Indian dance mask from the town of Monimbo, adopted by the rebels during the fight against Somoza to conceal identity, Nicaragua, 1978, image © Susan Meiselas / Magnum Photos; Kim Gordon, Finley ave, 2020; Luc Sante, We’ll, 2019; Jack Pierson, 7/28/20, 7:57:38 PM, 2020; Dawoud Bey, Lauren, 2007; James Casebere, Blue House on Water #2, 2018; Sharon Lockhart, Light Is More Powerful Than Dark, 2020; Richard Renaldi, Seth at the Hollywood Celebrity Hotel, Hollywood, CA, 1999; Yto Barrada, Untitled, Tangier, 2015; Cass Bird, Untitled, 2015; Hannah Whitaker, Blood Red, 2020; Elinor Carucci, Eden in the fire escape, Corona days, 2020. Images courtesy and © the artists.

ELECTRONIC — FROM KRAFTWERK TO THE CHEMICAL BROTHERS

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Evoking the experience of being in a club, the exhibition ELECTRONIC—FROM KRAFTWERK TO THE CHEMICAL BROTHERS will transport you through the people, art, design, technology, and photography that have been shaping the electronic music landscape.*

See link below for details.

ELECTRONIC—FROM KRAFTWERK TO THE CHEMICAL BROTHERS

Through February 14, by appointment.

Design Museum

224–238 Kensington High Street, Kensington, London.

Electronic: From Kraftwerk to the Chemical Brothers, Design Museum, London, July 31, 2020–February 14, 2021, from top: Adam Smith and Marcus Lyall’s sensory experience for the Chemical Brothers’ track “Got to Keep On,” photograph by Guy Bell / Rex / Shutterstock; Kraftwerk, photograph by Guy Bell / Rex / Shutterstock; installation view, photograph by Felix Speller; Yuri Suzuki and Jeff Mills, The Visitor; masks from the Aphex Twin video Windowlicker (1999), photograph by Speller; Smith and Nyall’s “Got to Keep On” installation; Haçienda club designs by Ben Kelly and Peter Saville; Electronic: From Kraftwerk to the Chemical Brothers exhibition catalog; Jean-Michel Jarre’s imaginary studio, photograph by Speller; Weirdcore, Aphex Twin’s Collapse; 1024 Architecture, Core; Bruno Peinado, Untitled (The Endless Summer), 2007, photograph by Speller. Images courtesy and © the artists, the photographers, and the Design Museum.

GORDON PARKS — THE ATMOSPHERE OF CRIME 1957

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What do we mean by “crime” in America? The question should be easy to answer—we have detailed codes and statutes that forbid certain conduct defined as a criminal offense. We have an elaborate system of policing, prosecution, punishment, and incarceration that involves millions of people. But there’s a great deal more to how we think and talk about crime, and certainly to how we see and enforce criminal laws.

From the beginning, the prosecution and punishment of crime in this country have been profoundly shaped by race, poverty, power, and status. For centuries politicians have stoked fear of crime and exploited perceived crime waves, while our public discourse about crime has been compromised by persistent inattention to our history of racial violence. There is a different narrative about “crime in America” that we have for the most part ignored…

In 1957, Life magazine editors engaged staff photographer Gordon Parks and writer Robert Wallace to explore crime in the United States. The published article, by Wallace and staff editors, was a myopic rendering of the dominant narrative about crime and criminality, emblematic of a discourse shaped by politicians, law enforcement officials, and criminologists not interested in reckoning with pervasive racially motivated criminality.

Parks’ photographs told a different story. As an African American survivor of racial injustice, he was keenly aware of race and class in America, and this palpably informed his photography and his art. He consistently humanized people who were meant to be objects of scorn and derision. It’s this dissonance with a conventional crime narrative that makes his “crime” photos for Life so compelling today. — Bryan Stevenson*

The complete 1957 crime series by Parks—only a few images of which were published in Life—is available now in an exhibition catalog from the suspended Museum of Modern Art exhibition. See links below for details.

GORDON PARKS—THE ATMOSPHERE OF CRIME 1957

*Bryan Stevenson, “The Lens of Gordon Parks: A Different Picture of Crime in America,” in Gordon Parks: The Atmosphere of Crime 1957, ed. Sarah Meister (Göttingen: Steidl; Pleasantville, NY: Gordon Parks Foundation; New York: Museum of Modern Art, 2020).

Gordon Parks, The Atmosphere of Crime 1957. Images courtesy and © the Gordon Parks Foundation, the Museum of Modern Art, and Steidl.