Fred Cray’s UNIQUE PHOTOGRAPHS

Janet Borden
Please join us Wednesday, 8 January, from 6—8 pm

 for the opening of Fred Cray’s UNIQUE PHOTOGRAPHS.
These are indeed unique photographs, so come early to get the best selection.
The exhibition runs 8 JANUARY—15 FEBRUARY 2014 

These pieces feature the accidental and unexpected connections of an almost aleatoric process. In these experiments, Cray formalizes the coincidental by emphasizing the conscious process of composition. Cray s multiple layers imply movement, both of time and image, which set sacadence that is both visually rigorous and seductively intimate. The results present a new development in Cray’s ongoing interest in visual labyrinths. Two separate limited edition books, UNIQUE PHOTOGRAPHS and CHANGING THE GUARD are available. Each copy comes with three unique photographs enclosed.

FRED CRAY (American, b. 1957) is a graduate of Middlebury College, and Yale Graduate School of Painting. His work is included in many collections, such as The Museum of the City of New York; Brooklyn Museum of Art; California Museum of Photography. He currently lives in Brooklyn

Janet Borden
560 Broadway, New York NY 10012 | TEL 212 431 0166 | FAX 212 274 1679

CONCRETE - FEROZ Galerie

CONCRETE
 A. Aubrey Bodine , Marcel Broodthaers , Chargesheimer , Sean Hemmerle , Jory Hull , Peter Keetman , Adolf Lazi , Herbert List , Lisette Model , Andrew Phelps , Albert Renger-Patzsch , August Sander , Elfriede Stegemeyer , Claude Tolmer , Barbara Wüllenweber , 

Friday, 6 December 2013—Friday, 17 January 2014
Feroz Galerie    Prinz-Albert-Str. 12, D-53113 Bonn
 galerie@feroz.tv     www.feroz.tv   
FEROZ Galerie is pleased to present the photography exhibition, CONCRETE. The title of this exhibition as a word represents both a mental position to view and think about the works as well as a designation of a physical material. Julian Sander, the owner of FEROZ Galerie uses the anxious spectrum of this word in the broadest sense as a concept for curating this exhibition.
The fact is that we live in a world of media, and we are constantly surrounded by contextualized visual information. The information presented to us in various contexts requires constant interpretation. As a result, only a part of the information is determined by the information itself. The rest of the meaning is produced by our own perceptions, and our ability to conceive hints, even if they are not very concrete.
This observation is both fascinating and terrifying at the same time. In the worst case, we are a society of information overload, and with such tools can be easily controlled. In order to keep things in perspective, it is important to keep a certain amount of distance. In a positive sense, these same contexts precisely highlight easily overlooked details that might otherwise be lost.
It is these facts that have encouraged Julian Sander to make CONCRETE, as a series of visual hurdles. The selections of individual works for the exhibition, and their placements have been chosen to deliberately push the attention of the viewer. Not necessarily to represent a different truth, but rather to draw attention to the possibilities presented by contextualization.
The great grandfather of the Galerist, the German photographer August Sander wrote the following in a photo album that he gave to his grandson Gerd Sander (Julian’s father) as a child:
    Gott gibt uns die Nüsse, aber er bricht sie nicht auf – God gives us the nuts but does not crack them.
This quote from his great grandfather and its underlying request for us to think about things for ourselves has driven Julian Sander to realize his concept of CONCRETE. This exhibition includes work by the following artists; Barbara Wüllenweber, Andrew Phelps, Sean Hemmerle, Adolf Lazi, Lisette Model, August Sander, Herbert List, Chargesheimer, Aubrey Bodine, Jory Hull, and Claude Tolmer. Among other things, CONCRETE will be an encounter that prompts the viewer to relate their position in practice.

Barbara Wüllenweber
Backside Grab, Skatepark Liege, Belgium, 1989
Vintage gelatin silver print
28 x 20,2 cm
© Barbara Wüllenweber, courtesy of Feroz Galerie

Adolf Lazi
Ball-Bearings, ca. 1936
Vintage gelatin silver print
22,9 x 16,8 cm
©Estate of Adolf Lazi, courtesy of Feroz Galerie

Dennis Oppenheim
Mindtwist: A Portfolio of Burnt Out Thoughts:
Branded Mountain (1969)/Burnt Grass/Hillside Near Martinez, California, 1977
Chromogenic print
76,2 x 101,6 cm
©Estate of Dennis Oppenheim, courtesy of Feroz Galerie

Peter Keetman
Nebel Lauf, 1956
Vintage gelatin silver print
17,1 x 23,2 cm
©Estate of Peter Keetman, courtesy of Feroz Galerie

Alvin Booth, Come to Your Senses

photography-now.com                    eNews         

Alvin Booth
Come to Your Senses

© Alvin Booth

November 14, 2013 – January 11, 2014
 acte2galerie   41 rue d'Artois . 75008 Paris
acte2galerie@orange.fr     www.acte2galerie.com   
Mon-Fri 10am-7pm . Sat 1-6pm    
Galerie ACTE 2   

© Alvin Booth

 

© Alvin Booth

 Come to Your Senses
 When asked in an early interview about the photographers who had influenced him the most, Booth listed three sculptors: Rodin, Aristide Maillol, and Gaston Lachaise. As a photographer, Booth finds his focus through the body, a constant that is apparent in his directional shift from photography to sculpture. 
While still a raw celebration of the human form at its vital peak,the current work of Come To Your Senses  introduces a simmering suggestion of loss. In hyperbolic huddles of ears, noses, fingers, and lips, Booth finds humor in the disconnect between the realistic divorced from the real, the essential divorced from its molded replica. Booth’s expired hearing aid batteries form bold multiplicities that speak to the singularly human capacity for invention and adaptation. No longer external components furtively inserted into the body to shore up a diminished sensory capacity, the silvery studs become an idealized female nude. Their collective imperfection transcends limitation for as long as the eye can maintain its unblinking gaze.
 Come To Your Senses  also includes a large collection of spongy silicone, glowing fingers that beckon from their metal frame. Booth’s own scarred thumb, nearly severed in a recent accident, appears several times. In celebrating beginnings and acknowledging endings, Booth’s wry commentary notes the escalation of desire that accompanies the risk of life lived long.

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