14 February 2008 re-title.com newsletter - Photography February 2008
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Mireille Mosler Ltd
New York

Ben Brown Fine Arts

Margaret Thatcher Projects
New York

Monika Sprüth Philomene Magers Cologne
Piramid Art Center

Lehmann Maupin New York
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Albrecht Fuchs, Jonathan Meese, Mönchengladbach 2003 Mireille Mosler Ltd
New York

Albrecht Fuchs


8 Feb - 22 Mar 2008

Mireille Mosler Ltd. is pleased to announce Portraits by German photographer Albrecht Fuchs. This exhibition of 37 portraits of artists is Fuchs's first solo exhibition in New York.

Albrecht Fuchs photographs personalities who fascinate him, ranging from politicians to musicians. Most often his subjects are artists. His interest in artist portraiture originated in 1995 with a series of Martin Kippenberger portraits.

For the documentation of M.K.- Projekt 'Metro Net', Fuchs accompanied Kippenberger to Dawson City in Canada. Later, photographs in Kippenberger's Cologne studio and the Black Forest were added. Fuchs was intensely inspired by Kippenberger, who was keenly aware of his photogenic qualities. Since then, many artists portraits have followed, including those of Lawrence Weiner, Mike Kelley, John Baldessari, Jonathan Meese, Elizabeth Peyton, Ed Ruscha, Matthew Barney, Raymond Pettibon, Paul McCarthy, Franz West, Cosima von Bonin, Wolfgang Tillmans, Gregor Schneider and Dana Schutz.

The artist portrait has a long tradition in photography, historically going back to artists such as August Sander, Man Ray and Hans Namuth. Although the framework of classical portraiture is evident in the carefully structured compositions, Fuchs' subjects appear at ease in front of the camera, offering a candid portrayal. All artists are photographed from a respectful distance, often in their home or studio, revealing as much through their surroundings as through their own gaze.

Fuchs was born in 1964 in Bielefeld, Germany and lives and works in Cologne. He received a degree in photography from the Gesamthochshule Essen, and his photography has been regularly featured in magazines and art periodicals. In 2005, he participated in the Goethe Institute Exchange Program, Kuala Lumpur. Fuchs currently teaches photography at the Kunstakademie Düsseldorf. The exhibition coincides with the recent publication of Albrecht Fuchs (Snoeck, Cologne, 2007), a selection of photographs with an essay by Mark von Schlegell, which has been nominated for the Deutsche Börse Photography Prize 2008. A signed and limited edition, Albrecht Fuchs: MK- 95 was released in fall of 2007.
Portraits will be on view through March 22

Albrecht Fuchs
Jonathan Meese, Mönchengladbach 2003
37-1/2 by 30-7/10 inches (95.3 x 78 cm)
Edition of 5

Courtesy of Mireille Mosler Ltd, New York

Mireille Mosler Ltd
35 East 67th Street
New York, NY 10065

Mireille Mosler Ltd, New York

Read on... Mireille Mosler Ltd, New York

Matthias Schaller - Controfacciata, Palazzo Volpi, 2005 Ben Brown Fine Arts

Mattias Schaller :


6 Feb -20 Mar 2008

Matthias Schaller presents an enigmatic insight into a city that has evoked powerful reactions to produce astonishing achievements in the history of culture. Venice; the city of life, lights and death, is famous for it's abundance of art, literature and architecture. Matthias Schaller's photographs are a contemporary representation of the bittersweet paradox that is Venice as a city and how this then transcends into a philosophy of humanity.

Ben Brown Fine Arts is pleased to present the German Photographer Matthias Schaller, showing for the first time in Britain, a series of photographs depicting The Controfacciata ('the back of the façade'). The series was executed between Ponte di Rialto and Piazza San Marco in Venice from 2004 -2007.

For Matthias Schaller these are not just interiors but still lives, the exterior becomes the interior, as the water that surrounds Venice will eventually become Venice. All of the rooms are photographed on the piano nobile, where the composition creates a metaphysical transition from the building to the being that inhabit it. The view he creates can become the head-space from which it is understood. The windows, as the view points to the city, signify the relationship of exterior to interior and how it is understood. The icy sharp colours stimulate the atmospheric tension of the season and the presence of the water is evident in the reflections of the ceilings and floors. We are shown the effects of nature during winter on the stunning Venetian architecture and as a result, a landscape creates the tincture of the portrait.

Associated with the school of Bernd & Hilla Becher and likened to the manipulation techniques of Andreas Gursky, he uses a digital camera to photograph the interior and constructs the image with Photoshop. He approaches the subject of Interior Photography with a poetic understanding to produce a contemplative series of work, that marvel in precision, to reveal not only the glory of Venice but the mysteries and complexities in the relationship of nature to mankind. Schaller has photographed in a city that is disappearing as we exist, parallel to the very nature of life itself and what some believe to be the essence of Photography.

He has had many successful solo exhibitions such as "Studio Gursky", Goethe-Institut, New York City and "Werkbildnis", Biennale di Architettura, Venezia (Italy) and also holds an MA in Cultural Anthropology. He lives and works in both New York and Venice.

Catalogue available with text written by Richard Dyer.

Matthias Schaller
Controfacciata, Palazzo Volpi, 2005
C-print mounted on aluminium
Edition of 6
70 7/8 x 70 7/8 in. ( 180 x 180 cm )

Courtesy of Ben Brown Fine Arts

Ben Brown Fine Arts
21 Cork Street, 1st Floor

Ben Brown Fine Arts, London

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Gary Carsley at Thatcher Projects Margaret Thatcher Projects
New York

Gary Carsley

You Are Here*
Central Park Draguerreotypes D.70-D.76

21 Feb - 5 April 2008

Thatcher Projects is pleased to announce You Are Here*, the first solo New York exhibition for Australian artist, Gary Carsley.

Daguerreotypes are a seminal, large-scale photographic technique that uses iodized copperplates and a camera obscura to produce photographic monotypes. They were a radically new medium when they were introduced. "Draguerreotypes" is a term Carsley uses to describe his digital images that are also outputted as photographic monoprints. Carsley begins this body of work by taking photographs of important international parks (for this exhibition, focusing exclusively on Central Park). He schematizes them into layers of dark and light, and from a vast archive of scanned adhesive laminated faux wood grain motifs, he builds a collaged image fragment by fragment. The results are images that look like highly complex pieces of marquetry, but which in reality exist only as digitized faux copies of nature. As for parks, we proceed from the assumption that they are designed and curated representations of nature rather than nature itself, or as it can be called in this context, "dragged" nature.

The Central Park Draguerreotypes D.70 to D.76 were created for the exhibition You Are Here*. The artist has developed a gallery floor plan/map of Central Park as a "guide" to the exhibition, so that, as one walks through the space, the gallery "morphs" into the familiar landscape of stretches of Central Park. The map serves as the intersection between inside and outside, mashing the two into a series of established codes of scales, colors, and lines used in mapping that are established methods from getting you from one place to the other. The map will be available at the exhibition, and features an essay by Rafael von Uslar who has written brilliantly on the artist before and to whom Thatcher Projects owes a debt of gratitude for the insights in this release.

This past year Gary Carsley completed a major 95- panel installation, Paramatta Park, for the Attorney General's Department Building, Sydney, which is short- listed for the Sir John Sullman Prize. The artist exhibits in Amsterdam, Cologne, Sydney and Singapore.

Gary Carsley will speak about his current body of work at the gallery on Saturday, February 23rd beginning at 5:30 pm.

Gary Carsley
D.76a Lake Foreshore Nocturne
47" x 31.5"
Lambda monoprint

Courtesy of Margaret Thatcher Projects

Margaret Thatcher Projects
511 W 25 St
New York, NY 10001

Margaret Thatcher Projects, New York

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Nina Pohl, DK 2008, Diasec Monika Sprüth Philomene Magers Cologne


22 Feb - April 2008

The greatest attraction of photography lies in its ability to capture a moment in time and preserve it for posterity. Working from within the process of perception itself, the camera creates an illusion of depth and authenticity that serves to distinguish photography and its qualities from other media.

The continuous dialogue between fiction and reality in photography is the subject of Nina Pohl's work. Monumental scenes from nature are presented in oversized vertical formats: "These are images that do not operate as pictures based on their motifs but reveal something about the effect the image has and its inherent reality. The provocation of these images lies in ruthlessly taking advantage of photography's power to freeze brief moments in a lasting frame, while simultaneously questioning the inner logic of prevalent conventions of image composition, which traditionally define the representation of such moments."(1)

The earliest work in the exhibition shows a spectacular and powerful landscape; a great waterfall with a hand-full of tiny figures at the very outskirts of the scene. Condensation rises from the foaming mass of water to create a thick fog. The scene and the way in which it is photographed has a distinct painterly feel, which brings together the two media - photography and painting - an approach already in evidence in her earlier work. In 'Untitled (Wave),' a detail of a Gustave Courbet painting is photographed in such a way that the surface resin reflects the light- source. What seems amateurish at first glance is transformed in this enlarged format into an aesthetic reflection which forms a vital component of the composition as a whole. The reflection of the flash erases the original citation, illuminates the painted ocean and emphasizes the fragmented surface.

The reflective surface lets Courbet's ocean take on a synthetic intensity, but does not allow it to completely dissolve: "The view caught in reflection is an expression of its own twofold desire: to reach the image through the photograph and at the same time turn the photograph itself into an image."(2) The above mentioned works form part of a group in which details of naturalistic landscape paintings are appropriated by Pohl's camera. Whilst still retaining the connotations of a painting, the medium of photography embraces the canvas and turns it into something new.

In two recent compositions, Nina Pohl extends the sense of construction and sculpture in her work. In 'DK' she presents an outsider's fantasy world where an elaborate assembly of tree huts and boards covered in grafitti reach up to the sky.

The synthesis of painting and photography is at the core of Pohl's practice and this, coupled with the utopian scenes she depicts, serve to question our understanding of the concept of reality within the photographic image.

1)Vorwoert, Jan: "dass es geschieht. Über die Arbeiten von Nina Pohl", in: Nina Pohl, Kunstverein Oldenburg, 2007, Snoek Verlag 2) ibid.

Nina Pohl
DK, 2008
C-print / Diasec
258 x 184 cm

Courtesy of Monika Sprüth Philomene Magers Cologne

Monika Sprüth Philomene Magers Cologne
Wormser Straße 23
Cologne D-50677 Germany

Monika Sprüth Philomene Magers Cologne

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Maslen & Mehra, American Eagle - Empire City - New York, 2008 Piramid Art Center


Two Worlds

13 Feb - 9 Mar 2008

Piramid Art Center is pleased to present Two Worlds, the first solo exhibition by collaborative duo Maslen & Mehra in Istanbul. Two Worlds showcases selected works from the Mirrored and Native series.

In an age of digital photography and new technologies, Maslen & Mehra, find themselves immersed in non-digital photographic techniques. For the Native and Mirrored series they create temporary interventions in natural and urban landscapes, which are then captured with a medium format film camera. The imagery from both these series suggests a place where we can have our cake and eat it too. A paradise where we strive to co-habit with the flora and fauna of our planet and a place where we can live in our urban realities but somehow still remain connected to nature.

For the Mirrored series, Maslen & Mehra appropriate imagery of urban people, whose silhouettes are then made into mirrored sculptures. By placing them into more natural landscapes and photographing them in this new context, Maslen & Mehra create unusual imagery. The result of these juxtapositions raises issues of human existence and alludes to the impermanence and fragility of mankind.

In the Native series, Maslen & Mehra research fauna that is, or once was indigenous to the country in which they are photographed. Then, by posing mirrored sculptures of these animals in an urban environment, they in turn often reflect the man-made structures around them. The series includes images made in London, New York, Berlin, Paris, Rome and soon Istanbul.

"Lying behind both the Native images, and the images of the Mirrored series that are their antonym, lies a longing for an Edenic world that perhaps never truly existed in fact. I think it is part of the fascination of these works that they both preach a certain kind of morality, a morality of respect for nature, and at the same time question it. You can inhabit these scenes, but only as a ghost. The problems they pose are ultimately insoluble - there are no slick solutions to be found here." Edward Lucie-Smith" *

(Tim) Maslen and (Jennifer) Mehra currently live and work in London. They have been the subject of several solo exhibitions and participated in numerous group shows. Further solo exhibitions in 2008 include Shadow Lands, at Priska C. Juschka Fine Art, New York (17/01/08 - 23/02/08), Maslen & Mehra, at MK Contemporary in the UK (12/01/08 - 02/03/08) and a two-person exhibition at First Gallery Via Margutta Rome.

Piramid Art Center is founded by Turkish artist-writer and political activist Bedri Baykam in the heart of Istanbul, Taksim Square and functions as a democratic arena for emerging artists as well as established, from all over the world since 2006.

* Indicates quote taken from catalogue essay published by MK Contemporary UK 2008.

Maslen & Mehra
American Eagle - Empire City - New York 2008
(Native series)

Image courtesy Galerie Caprice Horn/Berlin

Piramid Art Center
Feridiye Cad. 23-25

Piramid Art Center Istanbul

Maslen & Mehra

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Juergen Teller, Kiev 2007 Lehmann Maupin New York

Juergen Teller : Ukraine

7 Feb - 15 Mar 2008

Photographer Juergen Teller will present his recent body of work Ukraine, for his fourth exhibition at Lehmann Maupin Gallery. Teller was commissioned, along with four other artists, by the PinchukArtCentre to interpret the Ukraine for the 52nd International Venice Biennale 2007, where a selection from this series was first shown. This exhibition marks the first time, an expanded version, along with other new works, will be shown in the United States.

Faced with how to experience and discover the Ukraine, Teller chose to employ the city as a setting for a W Magazine fashion shoot, characteristically mixing fashion, still-lives of the city, and portraits of ordinary people as a way of representing his own fantasy of a country marked by a brash youthful energy and an obsession with capitalism. In Teller's Kiev the membrane between harsh economic reality and obtainable fantasy is surprisingly thin and these pictures represent a place where beautiful girls wait to be discovered in a place where the desire for luxury has reached a fever pitch.

Teller's work, in books, magazines or exhibitions, is marked by his refusal to separate the commercial fashion pictures and his mostly autobiographical un- commissioned images. The Kiev story takes this same structure, expanded here from both the printed pages of W, and then from the exhibited version in Venice. Teller also adds some recent works - portraits from recent campaigns for Vivienne Westwood and Marc Jacobs including Victoria Beckham, Harmony Korine, an exuberant portrait of Jacobs himself and private photographs of Lily Cole, Gisele Bündchen and his children.

Born in Germany, Juergen Teller has lived and worked in London for 20 years. Recent solo exhibitions include Awailable at Inverleith House, Edinburgh in 2007 and Do You Know What I Mean at the Fondation Cartier pour l'art contemporain in Paris in 2006. He was included in the important photography survey Click Double Click at Haus der Kunst, Munich 2006. Teller was the recipient of the Citibank Photography Prize 2003 and has published numerous books of his work with Steidl including Tracht, Go-Sees, Märchenstüberl, Zwei Schäuferle mit Kloß und eine Kinderportion Schnitzel mit Pommes Frites and Nürnberg.

Kiev No 10, 2007
51 c-prints, dimensions variable

Courtesy of the Artist and Lehmann Maupin Gallery, New York

Lehmann Maupin
540 West 26th Street
New York NY 10001

Lehmann Maupin, New York

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