Mr. Whiskets writes, “To say that Lee Friedlander is a pedestrian would be an understatement. His photographs in Sticks and Stones: Architectural America are almost entirely made from a vantage point confined to sidewalks. He does not venture far from the walking paths that line city and suburban streets – especially since many are made through the windows of his car. His new book from Radius Books, Lee Friedlander: New Mexico, continues his examination of America’s social landscape, and again, the sidewalk acts as his compass.” Read more…

Source: 5B4 via digitalarte.co.uk

“Limited”

Artists: Peter Lloyd Lewis, Sarah Dobai, Lohan Emmanuel, Bettina Buck, Lisa Penny, Mark Harris curated by Dallas Seitz, Lisa Penny & Trevor Hall.

You are cordially invited to the opening on Friday, 3rd October 2008 6pm – late.

Show 4th October to 19th October
Wednesday to Sunday, 12 – 7pm
The Wenlock Building
50-60 Wharf Road
London
N1 7RN
The Wharf Road Project brings more than 20 innovative contemporary art initiatives together for the first time in a central location, creating a seminal showcase for the more unusual and innovative. The Wharf Road Project is not an art fair, but a large-scale exhibition featuring the best of London’s specialist and experimental art spaces, complemented by a programme of performances, screenings, music and guided tours.

Participants have each been allocated one of the 5-storey venue’s rooms to curate exhibitions which reflect their artistic endeavours and curatorial ethos. This mash-up of different organisations will create an opportunity to engage with established art spaces as well as some of the newest and most exciting art initiatives in London.

CURATORS:

Frog Morris with Lee Campbell
www.frogmorris.net
myspace.com/leejjcampbell
Matt Williams
Dallas Seitz, Lisa Penny & Trevor Hall present:
Peter Lloyd Lewis, Lohan Emmanuel, Bettina Buck, Lisa Penny, Sarah Dobai, Mark Harris.

19 – 22 September 2008

An exhibition of works by 20 artists & designers in the basement of Shoreditch Town Hall.

Private View: 18 September 6.30 – 9.30pm
Exhibition Dates: 19 – 22 September 2008
Opening Times: 19 – 21 September 11.00 – 18.00, 22 September 12.00 – 21.00

Participating artists & designers:
Alex Bettler, BDP Sound + Light, Chelsey Browne, John Cake, Margaret Calvert, Michael Czerwinski, Simon Donald, Joel Dunmore, Rosy Greaves, Kay Harwood, Tomas Klassnik, Lee Maelzer, Paulo Munn, Darren Neave, Delphine Perrot, Lucienne Roberts, Amanprit Sandhu, Sinta Tantra, Chris Turrell, Melanie Watkins and Ben Youngman.

Getting There:
By Underground or rail: Liverpool Street or Old Street stations (10 min walk from either).
By Bus: Routes 5, 22A, 35, 47, 48, 55, 67, 78, 149, 242 and 245 stop nearby.

For further information visit:
http://nothingworks2008.blogspot.com

Dan Hays Roderick Harris Marc Hulson Peter Lloyd Lewis

Garden of the Sleep of Love is an exhibition featuring work that investigates ideas of the sublime, artificiality, beauty, mortality and the grotesque in relation to painting.

Through a variety of mediums four artists present works that explore these concepts in terms of contemporary phenomena including the media, digital imagery, rock concerts and horror movies.

Taken from the series Colorado Impressions, Dan Hays’ work utilises digital photographic imagery sourced from the internet as a basis for painting.

Roderick Harris presents a series of works which focus on and refigure images taken from a Michael Jackson concert.

Marc Hulson’s work sites itself at the edge of figuration, exploring the imaginary through both representation and abstraction.

Beginning with painting, Peter Lloyd Lewis uses digital manipulation to blur the relationship between painting, object and photography.

Five Years Gallery
Regent Studios
8 Andrews Road
Unit 66
E8 4QN
http://www.fiveyears-unit66.blogspot.com/

Jim writes, “Like a modern-day Weegee, Harri Palviranta cruises the night streets of Finland, armed with his Hasselblad camera and a big flash, looking for a fight to photograph, or the bloodied face of a drunken party-goer, or the scene of a recent brawl. See his series, Battered, in Lens Culture.” Read more…

Source: Lens Culture via digitalarte.co.uk

Mr. Whiskets writes, “My posts tend to be rather long (which I think is a good thing) but there are times when I’d simply like to be brief and spotlight some books I feel I’ve been neglecting. There are many fine titles that I think are interesting and worth your notice but when I sit to write about them, the words don’t come easily. So as an exercise in brevity I am going to start to throw a few short posts into the mix and hopefully I can do so without short changing anyone’s book — or you, the readers.
Recently I picked up the book A Bird (Blast #130) from the Japanese photographer Naoya Hatakeyama. Since this book is simply a sequence of 17 photographs of an explosion throwing earth into the air I thought it would become stale very quickly but much to my surprise it hasn’t. Of all of Hatakeyama’s work, the blast series is the most interesting to me. The limeworks photographs and his other industrial work do little to grab my attention like a good slow-motion explosion that throws earth at your face can.” Read more…

Source: 5B4 – Photography and Books via digitalarte.co.uk

Jacob Leibenluft writes, “After a New Yorker profile implied that “king of the photo touchup” Pascal Dangin had airbrushed photos taken by Annie Leibovitz for Dove’s high-profile “Campaign for Real Beauty,” the company issued a statement last Friday explaining that Dangin had only removed dust and performed minor color corrections. Is it possible to determine whether the Dove photos were retouched?” Read more…

Source: Slate via digitalarte.co.uk

Mr. Whiskets writes, “Most artists need to find ways of paying the bills and this usually involves stepping outside of their immediate interests. Unless, of course, they were born into wealth and the day to day search for money is unnecessary. I have the notion that good art doesn’t naturally spring from that environment but I only have to point to Cartier-Bresson or Godard to look foolish making a statement like that. Having money has the positive effect of freeing up time to create but does the lack of day-to-day struggle for one’s existence have an effect on the work as well? I’d like to think so but perhaps this is simply because I belong to the group of people that hang from paycheck to paycheck. As I’ve said before I make my living as a printmaker and my work week generally exists of two days worth of jobs. If I worked full time, I would never be a photographer (let alone spend the time to write about books) but yet I think if I had all the money that I needed then perhaps I wouldn’t need to make photographs because there would be less at stake if I didn’t. That said, I’d probably give it a go, if just for the experiment.” Read more…

Source: 5B4 – Photography and Books via digitalarte.co.uk

NIKO KOPPEL writes, “BACK in the 1970s, a gutsy blonde named Jill Freedman armed with a battered Leica M4 and an eye for the offbeat trained her lens on the spirited characters and gritty sidewalks of a now-extinct city. Influenced by the Modernist documentarian André Kertész, with references to the hard-edged, black-and-white works of Weegee and Diane Arbus, this self-taught photographer captured raw and intimate images, and transformed urban scenes into theatrical dramas.Her New York was a blemished and fallen apple strewn with piles of garbage. Prostitutes and bag ladies walked the streets, junkies staked out abandoned tenements, and children played in vacant lots. “The city falling apart,” Ms. Freedman said one day recently in recalling that era. “It was great. I used to love to throw the camera over my shoulder and hit the street.”For reasons involving both changing photographic styles and her personal circumstances, Ms. Freedman faded from the scene in the late 1980s. But at a moment when much of the city is bathed in money and glamour, her work offers a vivid portrait of a metropolis defined by violence, poverty and disarray — a New York that once was. ” Read more…

Source: The New York Times via digitalarte.co.uk

John Matthews invites you to his flat to explore images of Mysteries of the Heath.

Photography exhibition and print sale

Friday 14 March – 7pm until 9.30pm (first night opening)
Saturday 15 March – 11am until 6pm
Friday 28 March – 7pm until 9.30pm
Saturday 29 March – 11am until 6pm

When I want to succumb to something beautiful, mysterious and strangely reminiscent of my childhood home, I walk past South End Green and up Parliament Hill. From here I take the measure of the city and turn away to explore the length of Hampstead Heath. I wander the well-scored paths past broken trees, though calm dells and I smile at my fellow conspirators who share this scene with me.

86 Fleet Road, Flat B (door in alley off Cressy Road), London NW3 – 02072 091368

www.flaneurphoto.com