15 April 2010


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Sprüth Magers, London
Robert Miller Gallery, New York
Galerie La Ferronnerie, Paris
Craig Krull Gallery, Los Angeles
Sprüth Magers, London
Jean-Luc Mylayne, No. 301, Mars Avril 2005 
April 16 - May 29 2010
Sprüth Magers London is pleased to present the first solo exhibition by the artist Jean-Luc Mylayne at the London gallery. In 1976, Jean-Luc Mylayne made the decision to sell his house, car and possessions in the pursuit of his craft, accompanied only by his wife and collaborator, Mylčne. From the environs of Mylayne's native Amiens, he was drawn to the skies and parched earth of Santa Fe, New Mexico and, more recently, to Fort Davis in Texas, the 'stages' for the works shown in this latest exhibition.
A self-taught photographer and keen scholar of philosophy, Mylayne's artistic endeavour would initially appear to hinge upon surreptitiously capturing images of birds. Upon closer inspection, however, Mylayne is engaging in an exploration of temporality and the relationship of humankind to both nature and the environments in which we live and how we perceive them. It was not until 2004, on a ranch situated near the McDonald Observatory at Fort Davis, that Mylayne was able to realise a childhood ambition: 'Since I was ten years old,' the artist has noted, 'I knew that I would come here for the Bluebirds. In particular I wanted to work with these three species of North American Bluebirds because they have the most incredible blue colour. I looked for a long, long time to find a place to see all three species at the same time.' Whilst the colour of the bluebird is a vital part of its appeal, recalling as it does the blue of the skies and waters of its environment, the titles of the works reveal the length of time invested by Mylayne in taking each photograph. It is this engagement with the temporality of image-making that brings us closer to the sheer sense of endeavour involved in these photographs. In No. 508, February March April, 2007, it took three months to set up Mylayne's equipment and capture this one image of a bird. Once the equipment is in place, he waits for the arrival of his skittish subjects who, in the process of becoming accustomed to Mylayne and his photographic paraphernalia, respond by resting long enough to be caught on film. A preoccupation with the discourse of time is further revealed in the absence of information concerning the location and species of bird.
In contrast to the staple equipment of the wildlife photographer, Mylayne uses a large format 8 x 10 film camera and eschews the intrusive telephoto lens, preferring to rely on 50 plus hand-made lenses to alter the depth of field to his precise requirements. What Mylayne captures is not always in focus, nor is it always central to the frame; often hidden or partially visible, his images symbolise the paradoxical nature of time and our experience of it. For the bird the moment is fleeting, once captured on film, however, it assumes a degree of permanence and posterity. With multiple focal point perspectives, Mylayne replicates the experience of looking whereby the eye roams over the picture, as he describes, 'just as it would if we were to perceive it with our eyes'. In other words, we see these painstakingly captured images as though we were in situ with Mylayne surveying the scene. We perceive the bird as we would perceive it in nature and what we see in Mylayne's images is an essentially human viewpoint on the transience of the natural world.
Jean-Luc Mylayne was born in Marquise, France in 1946 and lives and works throughout the world. In November 2010, Mylayne will have a major retrospective at the Museo Nacional Centro de Arte Reina Sofia in Madrid. His first show with Sprüth Magers took place in 2002 in Cologne, Germany. Recent solo exhibitions include the Parrish Art Museum, Southampton, New York (2009), Museum of Contemporary Art, Cleveland (2008), the Blaffer Gallery, and the Texas Gallery, Houston, U.S.A. (2007). The Lannan Foundation, Santa Fe, funded his stay at the Bernal Ranch, culminating in an exhibition at the Foundation in 2005. In 2004 Laurent Busine curated a show of his work at MAC, Grand Hornu, Belgium. His first UK exhibition was held at The Photographers' Gallery in London in 2007. In his native France he has had major exhibitions at the Musée d'Art Moderne, Saint-Etienne (1991 and 1994), ARC/Musée d'Art Moderne de la Ville de Paris (1995), the Musée de l'Abbaye Sainte-Croix, Les Sables d'Olonne (1993), the Musée Bonnat, Bayonne, 'Le Carré' (1992), the Bibliothčque Nationale, Paris (1990) and the Musée des Beaux-Arts, Calais (1989).

Jean-Luc Mylayne
No. 301, Mars Avril 2005
123 x 123 cm (framed)
Courtesy of Sprüth Magers Berlin London

Sprüth Magers London
7A Grafton Street
T +44 (0) 207 4081613
Robert Miller Gallery, New York
Dirk Braeckman, N.P.-M.I.-05
April 8 - June 12, 2010

Robert Miller Galleryis pleased to present In Praise of Shadows, an exhibition of works by Dirk Braeckman and Bill Henson.
In 2002, Dirk Braeckman was commissioned to make portraits of Belgium's King Albert and Queen Paola which are permanently installed along with other of his works in the Royal Palace in Brussels. Braeckman's photographs have been shown in a retrospective exhibition at the Stedelijk Museum voor Actuele Kunst (SMAK) in Ghent. His recent solo shows were at the Bernier/Eliades Gallery in Athens, Greece and at the De Pont Foundation for Contemporary Art, Tilburg, Netherlands. He lives and works in Ghent. Braeckman's photographs, the majority of them in black and white, focus on abstract spaces, domestic interiors and other loci of the built environment. The subtle range of tone and the extraordinary matte surface of his gelatin silver prints give these images an enigmatic presence. Flatness and depth become difficult to discern, paradoxical. A dining room seems three dimensional but it is powerfully unified in tone. A figure appears to have been captured in real life but may in reality be a photograph of a photograph. Braeckman's lens focuses on the details in a corner, on a body, on a specific interior or a sterile public space. Yet the effect is anything but confining. Printed large scale in lush tonality, the photographs have both an expansive and tactile quality. Braeckman concentrates on the personal and the tentative. He says, "To me, it's about sensing and playing on certain photographic conditions-the frame, the ephemerality of an exposure, the way one reads black & white or color, the blurriness, the light."
Bill Henson, UNTITLED, 1998/1999/2000
Bill Henson's works are found in many international collections including the Solomon R. Guggenheim Museum, New York, the San Francisco Museum of Modern Art, the Los Angeles County Museum of Art, the Bibliotheque Nationale de Paris, the Montreal Museum of Fine Arts and the Museum of Fine Arts, Houston and in every major public collection in Australia. His photographs, first exhibited at Robert Miller in 2004, demonstrate the artist's interest in the duality of nature and artifice, in adolescence, and in the distinction between male and female. These beautiful and mysterious images are characterized by chiaroscuro, translucent skin tones, and jewel-like colors that add an ethereal quality to ambiguous settings. The 2004 exhibition was followed in 2006 by a show that included work made after Henson's retrospective Mnemosyne at the National Gallery of New South Wales, Sydney and the National Gallery of Victoria, Melbourne. This body of work extended Henson's abiding interest in staging, tableau and a belief in the artifice of theatrical presentation as a profound form. Henson's figures emerge from and merge into darkness, and shadowy landscapes are shot through with constrained light and contain vestiges of human presence.

Dirk Braeckman
Gelatin silver print
471/4 x 71 inches
120 x 180 inches
Courtesy of Robert Miller Gallery, New York

Bill Henson
UNTITLED, 1998/1999/2000
Type "C" color photograph
50 x 70 7/8 inches
127 x 180 cm
Courtesy of Robert Miller Gallery, New York

Robert Miller Gallery
524 West 26th Street
New York, NY 10001
T +1 212.366.4774
E rmg @
Galerie La Ferronnerie, Paris
Sanna Kannisto, Close Observer, 2010 
Sanna Kannisto
Close observer
April 8th to May 28th 2010
In the exhibition Close observer Sanna Kannisto embraces the idea of the photograph as an objective document, but at the same time a strong need for a personal expressive narrative is also present. The artist observes natural phenomena such as rain, streams, spider webs, bird calls, plant reactions, snake movements but also her own individual position of the actor/ experiencer in producing and interpreting the data. Sanna Kannisto's project relates to a topic that has aroused interest in visual art circles in recent years, namely the terrain that separates the arts and sciences. In many ways, the project also relates to the history of scientific visualisation. Her pictures also incorporate humour and a sense of the absurd, which point to surrealism and structuralism, to the relationships between avant-garde and anthropology.
'...Sanna Kannisto has focused on plants and animals in tropical rain forests for years. She has gradually accumulated an impressive body of work that examines, in a style both rigorous and deli-cate, not just the wondrous species of the tropics but the metaphors of seeing, science, photography and art. Her work presents us with a collection and a theatre; it focuses attention on plants and animals that one could rarely hope to see in their natural habitat, and even more miraculously reveals and unleashes the mechanisms of this theatrical presentation wherein lie its two wonders.'
(Harri Laakso, 'Lucidities of the image ~ On the Photography of Sanna Kannisto', 2009, Foam magazine, #19, p. 151-154)
In her work, Sanna Kannisto explores the relationship between nature and culture and the theories and concepts which are used to approach nature within the arts and sciences. Her methods, field studies and the objective scientific way of presenting the objects, refer not only to anthropological and archaeological ways of working, but also to studio portraiture and staged photography.
Sanna Kannisto was born in 1974 in Härmeelinna, Finland. She currently lives and works in Helsinki. She studied photography both at the Turku School of Art and Communication and at the University of Art and Design in Helsinki. She has exhibited her works in many solo and group shows widely since 2002, including the Masters of Arts at The Finnish Museum of Photo graphy in Helsinki, Personally at Kulturhuset in Stockholm, Self Timer at Kunsthalle Fridericianum in Kassel and The Faraway Nearby at the White Box in New York, Repeat All at the Centro Cultural Matucana 100 in Santiago de Chile, Research and Invention at Fotomuseum Winterthur, Switzerland, Arctic Hysteria Onscreen at the Museum of Modern Art in New York and elles@centrepompidou at the Centre Pompidou in Paris.
(Published by Foam international photography magazine, #19/Wonder, Summer 2009)
Sanna Kannisto
Close Observer, 2010
c-print Fuji Crystal archive
108 x 132 cm
Courtesy of Galerie La Ferronnerie Brigitte Négrier, Paris
40, rue de la Folie-Méricourt
75011 Paris
T +33 (0)1 78 01 13 13
Craig Krull Gallery, Los Angeles
Michael Light, Barney's Canyon Gold Mine, Near Bingham Canyon, UT 
Michael Light: InterMountain
Marc Valesella: Not Negotiable
April 24th - May 29th, 2010
Craig Krull Gallery is pleased to present InterMountain, an exhibition of recent work from Michael Light's ongoing aerial photographic investigation of the inhabited arid American West. In his previous exhibition here, Light presented images of the vast grid of Los Angeles at night. His new work moves east from California towards Utah, Arizona, Idaho, Wyoming and Colorado. Light continues his clear-eyed examination of the way we inhabit and alter our surroundings through a 4x5" aerial view camera from his self-piloted light aircraft or rented helicopters. His perspective addresses what critic Stephen Vincent calls "the mythology and consequences of American westward expansion." In fact, the mammoth hand-made photo books that Light creates (measuring 36x44" when opened) are a response to the efforts of 19th century photographers such as Timothy O'Sullivan, who created volumes of photographs for government sponsored geological surveys that were intended to identify resources and attract settlement. The photographs in this exhibit range from images of the world's largest excavation at the Bingham Copper Mine near Salt Lake City, to the wholesale transformation of Wyoming's Green and Powder River Basins by relentless natural gas and coal extraction, to the architectures of economic stratification in Phoenix. The exhibit will also include two of Light's most recent photobooks, one in color focusing on the Snake River and Twin Falls, Idaho and the other a black and white journey above snow blanketed environs of Denver. A component of the exhibition will be on view concurrently at The Gallery at The Archer School for Girls (11725 Sunset Blvd. L.A.). A reception for Michael Light will take place at Craig Krull Gallery on Saturday April 24th from 3-5pm. The reception at the Archer School for Girls will be held the same afternoon from 4-5:30 with an artist talk to follow at 5:30. (Reservations for the talk can be made by calling 310/873-7043.)
Marc Valesella, Not Negotiable, 5, 2004
In conjunction with the Michael Light exhibition, the gallery will present a series of photographs by Marc Valesella entitled Not Negotiable. The title refers to a statement made by then President George H.W. Bush during a 1992 Earth Summit. When asked why he was resistant to making changes that could help the environment, the President replied that the American way of life is "not negotiable." Valesella's black and white 20x24" photographs, made with an 8x10" camera, document dark and desolate landscapes of Southern California that have been ravaged by wildfires in an era of repeated annual droughts and some of most devastating fires on record.

Michael Light
Barney's Canyon Gold Mine, Near Bingham Canyon, UT
Archival Pigment Print
Edition: 5.
h: 40 x w: 50 in
Courtesy of Craig Krull Gallery
Marc Valesella
Not Negotiable, 5
Gelatin Silver Print
Edition: 10
h: 20 x w: 24 in
Courtesy of Craig Krull Gallery

Craig Krull Gallery
Bergamot Station
2525 Michigan Avenue, Building B3
Santa Monica
Los Angeles, CA 90404
T +1 310.828.6410
E info @
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