DOCSLIB.ORG

Houston Center for Photography Spring 2006

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Houston Center for Photography Spring 2006 HOUSTON CENTER FOR PHOTOGRAPHY SPRING 2006 $7.00 U.S. e 7.00 Europe SPRING 06 1 Spring 2006 In this Issue Volume XXIII Number 2 Editor Allison Hunter Editorial Board Peter Brown David Crossley Steven Jacobs Spring 06 Stephen Zamora Paul Zeigler In this Spring 2006 issue, we introduce two Design Antonio Manega exciting new sections—the SPOT Portfolio Gazer Design Group and the SPOT Project. Our Portfolio section Printing 4 True North BeachPrint features a suite of photo-based artwork by a interview with Isaac Julien single artist (or collaborative group); the Project section offers an exhibition SPOT is published twice yearly, in conjunction with the fiscal year of the Houston Center for by Lara Taubman “space” using the pages of the magazine. Projects can take advantage Photography. The yearly volume consists of Issue Number One published in October and Issue Number of our full-color pages and can incorporate written text (poetry, prose, or Two published in March. Subscriptions are free to members. SPOT is a journal of independent opinions otherwise). SPOT Project contributors will have the opportunity to consult 8 Warren Neidich published by Houston Center for Photography as one of its many services to the photographic community. with our designer and editorial team as needed. We welcome proposals for interview by Hans Ulrich Obrist The ideas expressed do not represent positions of Houston Center for Photography’s administration both sections. (Proposals for our next issue are needed by May 1st in order to or membership and are solely the opinions of the writers themselves. appear in the October 2006 issue.) 14 Edgar Martins: The Diminishing Present Subscriptions are US $20, US $30 International. Copyright 2005. All rights reserved. This issue also features new work by photographers from Portugal via No portion of SPOT may be reproduced by Angus Carlyle without the permission of London (Edgar Martins), New Orleans (Jane Fulton Alt), and Houston (Paul Houston Center for Photography. Zeigler) and interviews with established artists Warren Niedich and Isaac Houston Center for Photography is an educational and 18 Porfolio Look and Leave cultural organization that deepens the understanding Julien. Long-time contributor, Ed Osowski, contributes to this issue with and appreciation of the photographic arts. two exhibition reviews from Arles, France and Houston (Les Rencontres photographs by Jane Fulton Alt Houston Center for Photography is supported by its membership and in part by Institute of Museum and d’Arles and Paul Hester). Osowski once served as Board President for HCP, Library Services; National Endowment for the Arts; Texas Commission on the Arts; Humanities Texas; and founded the HCP members’ library, now boasting over 2,000 volumes, 20 SPOT Project Nothing to say City of Houston through the Cultural Arts Council of Houston/Harris County; Houston Endowment, Inc.; on the basis of donated publications. If you would like to donate a book or Fondren Foundation; The Andy Warhol Foundation for by Paul Zeigler the Visual Arts; The Wortham Foundation, Inc.; Brown a magazine subscription, we would greatly appreciate it. We also welcome Foundation, Inc.; Gardere, Wynne, & Sewell, LLP; Target Stores; Vinson & Elkins, LLP; ParkerHayden, letters to the Editor, exhibition reviews, interviews, book reviews, and other and Antonio Manega, Gazer Design Group. new ideas from our readers. Please contact me via snail mail with your For details about membership or advertising, contact Exhibitions Houston Center for Photography. proposal and samples of your work or writing. Houston Center for Photography This month marks my 1-year anniversary directing HCP. With this 1441 West Alabama Houston, Texas 77006 occasion, I am proud to announce we have begun building the Learning 22 Les Rencontres d’Arles 2005 Telephone 713.529.4755 Fax 713.529.9248 Center expansion next door. Look for our new building façade and state-of- by Ed Osowski [email protected] www.hcponline.org the-art classroom facility opening in May. Other expansions include adding Executive Director two full-time staff members last month: Program Director, Madeline Yale 26 Changing Houston Allison Hunter and Education Coordinator, Rachel Hewlett. These new hires will help HCP by Ed Osowski Program Director Madeline Yale expand programs as well as our educational mission. Finance Administrator Over the past year, I have seen incredible dedication to HCP from its Brenda Mendiola 28 Regarding the Rural members, Board, and staff. Most recently, HCP received close to 100 Executive Assistant by David Brickman Jennifer Hennessy donations from prominent national and international artists and galleries Education Coordinator for our annual fundraising photography auction. The event was a smashing Rachel Hewlett success, earning almost $80,000 in one evening! The enthusiasm and Weekend Gallery Manager Book Reviews Paul Elhoff interest in the event symbolized a growing dedication and interest to the Volunteers / Interns photographic arts by artists, collectors, and the community in Houston. I Ashlyn Davis 30 Photography: A Critical Introduction Katherine Fowler thank all of you who donated and contributed to the success of that evening. cover: Rosie Jenkins Suzanne Street and Worth at Least A Thousand Theories, Too Isaac Julien I hope we can equal the fun this October as HCP celebrates 25 years as the Ashley Williams True North Series (Untitled), 2004 by Terence Doody color photograph, 100 cm x 100 cm center for photography in Houston! Courtesy of Victor Miro Gallery, London and Metro Pictures, New York 31 The Covarrubias Circle: this page, detail: Edgar Martins Nickolas Muray’s Collection Untitled, from the series The Rehearsal of Space, 2005 of Twentieth-Century Mexican Art courtesy of the artist Editor and Executive Director and the Moth House. by Lois Parkinson Zamora 2 SPOT SPRING 06 3 Isaac Julien I was so struck in the photographs and the film by this black True North Series (Untitled), 2004 woman who is an explorer or nomad who is in a sheer dress, color photograph, 100 cm x 100 cm Courtesy of Victor Miro Gallery, London making her look as if she is on a beach in the West Indies or and Metro Pictures, New York Africa even though she is on a beach with ice chunks on it. Clearly, it’s a freezing environment and the implied contrast is so shocking. I am interested in this woman who is in a place where you would not expect to see a black woman or a female explorer, for that matter. You set up some glaring ironies there that are interesting. Author’s Note In July 2005, the exhibit True North It probably begins by making a piece of work about ice and snow. opened at the MAK Center for Art and Architecture I am very interested in debates that took place about a decade ago about representations of whiteness. I always thought that I couldn’t in Los Angeles, California in collaboration with the just make a piece that would be about those questions in a film event Outfest: The 23rd Gay and Lesbian Film because it wouldn’t really substantiate what I saw as the theoretical Festival. Curated by Lauri Firstenberg, photographs interests in these debates that had been taking place in various from the film True North starkly, but elegantly, domains of humanities. So, I guess I have always been interested in contrast the 1920s modernist architecture of R.M. translating some of these ideas into the realm of the thematic or the Schindler in this exhibition space hidden away in a realm of visual arts. niche of West Hollywood. I was able to interview When I came across Matthew Henson’s story I found the perfect Julien on the day of his opening in the MAK vehicle. I could declare some expediency here in enjoying the idea Center’s garden about the exhibit, the film, and of trying to re-frame the black protagonist in this setting because, how it relates to larger cultural issues. for me, Matthew Henson’s journey to the North Pole creates this co- or inter-dependence. I think it’s really interesting that you have an African-American who is forging this journey into the sublime, into blankness, into whiteness, and almost into a certain disappearing- Lara Taubman: Can you tell me why you entitled the piece ness because Henson disappears from history. That’s one of the True North? reasons. The second reason is the incongruousness that one may Isaac Julien: Well, the title, True North, oddly enough, came from associate with this particular ecological landscape and the way that discussions with a production company I worked with when I shot this subject is, of course, a subject that wouldn’t be considered this piece in Iceland which was called True North. I think it’s very an authentic part of that landscape. In a way, it is about trying to much a pun on the idea of true north and magnetic north. When you re-position grand narratives to obfuscate or obscure those histories get to the North Pole, true north, in a way, disappears and you have that have taken place. And, of course, the reason that people want magnetic north and it changes actually. to go to these far away spaces and conditions has a certain colonial aspect to it. What is magnetic north? It is interesting to think about Peary’s journey into this landscape Magnetic north is when you get to the point of the North Pole that we associate with heroic white masculinity, and it is interesting where you can no longer navigate by walking and you have to get to think about the way people tackle this subject. I came across a there by compass, but the compass is not able to read the markings book through my research by Lisa Bloom, which is called Gender for specific geographical locations.
Load more

Recommended publications
  • List of Exhibitions Held at the Corcoran Gallery of Art from 1897 to 2014
    National Gallery of Art, Washington February 14, 2018 Corcoran Gallery of Art Exhibition List 1897 – 2014 The National Gallery of Art assumed stewardship of a world-renowned collection of paintings, sculpture, decorative arts, prints, drawings, and photographs with the closing of the Corcoran Gallery of Art in late 2014. Many works from the Corcoran’s collection featured prominently in exhibitions held at that museum over its long history. To facilitate research on those and other objects included in Corcoran exhibitions, following is a list of all special exhibitions held at the Corcoran from 1897 until its closing in 2014. Exhibitions for which a catalog was produced are noted. Many catalogs may be found in the National Gallery of Art Library (nga.gov/research/library.html), the libraries at the George Washington University (library.gwu.edu/), or in the Corcoran Archives, now housed at the George Washington University (library.gwu.edu/scrc/corcoran-archives). Other materials documenting many of these exhibitions are also housed in the Corcoran Archives. Exhibition of Tapestries Belonging to Mr. Charles M. Ffoulke, of Washington, DC December 14, 1897 A catalog of the exhibition was produced. AIA Loan Exhibition April 11–28, 1898 A catalog of the exhibition was produced. Annual Exhibition of the Work by the Students of the Corcoran School of Art May 31–June 5, 1899 Exhibition of Paintings by the Artists of Washington, Held under the Auspices of a Committee of Ladies, of Which Mrs. John B. Henderson Was Chairman May 4–21, 1900 Annual Exhibition of the Work by the Students of the CorCoran SChool of Art May 30–June 4, 1900 Fifth Annual Exhibition of the Washington Water Color Club November 12–December 6, 1900 A catalog of the exhibition was produced.
    [Show full text]
  • To Honor All Children – Part 3
    320 Unit IV: Hiding, Escape, and Rescue Unit Goal: Students will develop an understanding of the extensive efforts made by the Jews and other victims of the Nazis to hide and to escape from their grasp and the vital role of the rescuer in saving many lives. Performance Objectives Teaching/Learning Strategies and Activities Instructional Materials/Resources Students will be able to: A. Teacher note: Opening essay for the 1. Essay on Hiding, Escape, and Rescue 1. Demonstrate an understanding and teacher to provide background information included in guide. recognition of the influence that our values may be used with the students at teacher and beliefs have on the behavior of each discretion. of us. B. Hiding and Escape 1. Jacob's Rescue by Malka Drucker and 2. Describe and recognize positive and 1. Obtain and read book with students Michael Halperin negative types of human behavior. and complete activities in the lesson for Jacob's Rescue by Malka Drucker 2. Hide and Seek by Ida Voss and Daniel's 3. Understand that behavior reflects the and Michael Halperin. Story by Carol Matas provide opportunties choices and decisions that each person to examine other experiences with fictional makes. 2. Uri Orlev's The Island on Bird Street. materials of approximately same reading Reading and lesson included provides level. 4. Demonstrate an understanding and an opportunity to explore the 3. Uri Orlev's Island on Bird Street. Excerpt appreciation for the complexity of the loneliness and difficulties of hiding included in guide. problems involved in attempting to run successfully and the need for human 4.
    [Show full text]
  • Women Rabbis and Jewish Community in 21St Century New Mexico Miria Kano
    University of New Mexico UNM Digital Repository Anthropology ETDs Electronic Theses and Dissertations 12-1-2013 Storied Lives in a Living Tradition: Women Rabbis and Jewish Community in 21st Century New Mexico Miria Kano Follow this and additional works at: https://digitalrepository.unm.edu/anth_etds Part of the Anthropology Commons Recommended Citation Kano, Miria. "Storied Lives in a Living Tradition: Women Rabbis and Jewish Community in 21st Century New Mexico." (2013). https://digitalrepository.unm.edu/anth_etds/37 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Anthropology ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Miria Kano Candidate Anthropology Department This dissertation is approved, and it is acceptable in quality and form for publication: Approved by the Dissertation Committee: Suzanne Oakdale, PhD, Chairperson Louise Lamphere, PhD Les Field, PhD Mari Lyn Salvador, PhD i Storied Lives in a Living Tradition: Women Rabbis and Jewish Community in 21st Century New Mexico by MIRIA KANO B.U.S., University Studies, University of New Mexico, 1999 M.A., Anthropology, University of New Mexico, 2002 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctorate of Philosophy Anthropology The University of New Mexico Albuquerque, New Mexico December, 2013 ii DEDICATION For our beautiful Hannah with love -- Your brief life and enduring memories will always be a blessing. iii ACKNOWLEDGEMENTS I would like to thank Dr. Suzanne Oakdale, my dissertation chair, for her copious support during the lengthy process of fieldwork, write up and defense that resulted in this dissertation.
    [Show full text]
  • Gay Block LOVE: South Beach in the 80S March 29 – April 27, 2013
    For Immediate Release Howard Greenberg Gallery Gay Block LOVE: South Beach in the 80s March 29 – April 27, 2013 New York – Miami’s South Beach, before it became an international scene, is the focus of an exhibition of portrait photography by Gay Block, on view at Howard Greenberg Gallery from March 29 through April 27, 2013. LOVE: South Beach in the 80s depicts a time when Jewish retirees led simple lives in affordable Art Deco buildings. The exhibition will be held in HGG Two, located next to the main gallery at 41 East 57th Street in New York City. An opening reception will be held on Thursday, March 28, from 6 to 8 p.m. From 1982-1985, Block interviewed the elderly residents of the Art Deco hotels in Miami Beach, wrote down their stories, and photographed them. LOVE: South Beach in the 80s features more than 20 archival inkjet prints of these former inhabitants of South Beach in their sunny paradise. As Block writes, “When I first went Miami’s South Beach in 1982 it was love at first sight. I was awed by the beauty of the small Deco hotels, but even more by the old people sitting on the porches. The first night, when I stopped at one of those porches after dinner, I knew right away that I would return again and again to talk with and photograph them. Here were the bubbes and zaydes (grandmothers and grandfathers) I wished I’d had.” Among the highlights in the exhibition are Untitled (Good Friends), South Beach, Miami, a portrait of two elderly women walking arm in arm by the beach, protected against the sun with floppy hats, sunglasses, and paper shields covering their noses.
    [Show full text]
  • Santa Fe Artb Institute Board of Trustees Elects New Co-Presidents
    Santa Fe Art Institute For Immediate Release September 29, 201 0 Santa Fe Artb Institute Board of Trustees Elects New Co-Presidents Effective August 25, 2010, The Santa Fe Art Institute Board of Trustees elected board co-presidents, Alicia Metcalf Miller & Kathy E. Bartlett, to replace outgoing president, Gay Block. Block, who has been on the SFAI Board since June of 2002, was elected president in March 2006, and served in that role until August 2010. The SFAI is grateful and Michelle Laflamme-Childs Residency Director & honored to have had such an accomplished artist on the board for so long, both as a Marketing/PR Director member and as president. Block will remain on the Board as a trustee. As a portrait photographer, Gay Block began in 1973 with portraits of her own affluent Jewish community in Houston and later expanded this study to include 1600 St. Michaels Drive Santa Fe, NM 87505 South Miami Beach and girls at summer camp. Her landmark work with writer Mail to: PO Box 24044 Malka Drucker, RESCUERS: Portraits of Moral Courage in the Holocaust, both a Santa Fe, NM 87502 book and traveling exhibit, has been seen in over fifty venues in the US and abroad, including The Museum of Modern Art, NY, in 1992. In 2003 Block's 30-year portrait t 505.424.5050 of her mother in photographs, video, and words, Bertha Alyce: Mother exPosed, was f 505.424.5051 published by UNM Press and began as a traveling exhibit. Also published in 2003 by [email protected] www.sfai.org Skylight Paths is another collaboration with Drucker, White Fire: A Portrait of Women Spiritual Leaders in America.
    [Show full text]
  • The Righteous: the Unsung Heroes of the Holocaust / Martin Gilbert
    Henry Holt and Company, LLC Publishers since 1866 115 West 18th street New York, New York 10011 Henry Holt® is a registered trademark of Henry Holt and Company, LLC. Copyright © 2003 by Martin Gilbert All rights reserved. Library of Congress Cataloging-in-Publication Data Gilbert, Martin, 1936– The righteous: the unsung heroes of the Holocaust / Martin Gilbert. p. cm. Includes bibliographical references (p.) and index. ISBN: 978-1-4299-0036-2 1. Righteous Gentiles in the Holocaust. 2. World War, 1939–1945—Jews—Rescue. 3. Holocaust, Jewish (1939– 1945) I. Title. D804.65.G45 2003 940.53'1835'0922—dc21 2002027306 Henry Holt books are available for special promotions and premiums. For details contact: Director, Special Markets. The Righteous The Unsung Heroes of the Holocaust Martin Gilbert DRAWING FROM TWENTY-FIVE YEARS OF ORIGINAL RESEARCH, SIR MARTIN GILBERT RE-CREATES THE REMARKABLE STORIES OF NON-JEWS WHO RISKED THEIR LIVES TO HELP JEWS DURING THE HOLOCAUST According to Jewish tradition, “Whoever saves one life, it is as if he saved the entire world.” In The Righteous, distinguished historian Sir Martin Gilbert explores the courage of those who, throughout Germany and in every occupied country from Norway to Greece, from the Atlantic to the Baltic, took incredible risks to help Jews whose fate would have been sealed without them. Indeed, many lost their lives for their efforts. From Greek-Orthodox Princess Alice of Greece, who hid Jews in her home in Athens, to the Ukrainian Uniate Archbishop of Lvov, who hid hundreds of Jews in his churches and monastaries, to Muslims in Bosnia and Albania, to British prisoners-of-war, many risked, and lost, everything to help their fellow man.
    [Show full text]
  • 2021 Virtual Print Auction Final Online 1
    2021 Virtual Print Auction 2021 VISION: PAST – PRESENT – FUTURE CELEBRATING 40 YEARS OF HOUSTON CENTER FOR PHOTOGRAPHY 2021 Virtual Print Auction Thursday, February 18, 2021 6 PM PROGRAM SCHEDULE Celebrating 40 years of HCP All Online Bidding 6 pm Auction powered by Live Auction with Guest Auctioneer, Sarah All lots will be available for bidding online on February 4, Krueger, Head of Department, Photographs 2021 at 10am CST / 11am EST. at Phillips 7 pm Proceeds benefit HCP’s exhibitions and public programs For more information visit Silent Auction will close on Friday, February 19,2021 at 4 www.hcponline.org/print-auction PM. Exhibition on View at HCP Auction Sponsorship January 22 - February 12, 2021 $4,000 -- Cheers to Forty Years! Table for 10 $400 -- 1981 Vintage Ticket for 1 Virtual Tour of the Preview Exhibition with Anne Wilkes Tucker will be available for sponsor $40 -- Look Who’s Forty! Ticket for 1 level ticket holders Reservations are required Please contact Zitlaly Valenzuela Jimenez Gallery Hours at [email protected] or 713 529 4755 ext. 16 Wednesday and Thursday, 11am–9pm Friday, 11am–5pm Saturday and Sunday, 11am–7pm On the Cover Lot 9: LORI NIX AND KATHLEEN GERBER, Vacuum Showroom (2006, Printed 2013), From the series The City, Chromogenic Print, Edition 6 of 15, 20 x 24 inches (image), Courtesy of the artist and ClampArt Gallery, New York, lorinix.net, Signed on verso with ink on label, Retail value $3,500 Auctioneer HCP STAFF AUCTION SPONSORS Sarah Krueger, Phillips Linda Shearer, Cheers to Forty Years! Interim Executive
    [Show full text]
  • Read a Free Sample
    himself at a remove from the experimental practices and Thomas Florschuetz, in 1989, as well as the of various photographers as well as from the artistic exhibition British Photography from the Thatcher Photography avant-gardes of the times. Among the rare exceptions Years, in 1991. were A European Experiment, in 1967, featuring the In the Department of Photography, Szarkowski’s (sometimes abstract) work of three French and Belgian vision was complemented during his tenure by other at MoMA photographers (Denis Brihat, Pierre Cordier, and curatorial voices that sometimes ventured far from it. Jean-Pierre Sudre), and, the same year, the Surrealist The most distinctive was that of Peter C. Bunnell, photomontages of Jerry Uelsmann. In 1978 he organized a curator from 1966 to 1972, whose two principal Mirrors and Windows: American Photography since 1960 exhibitions, Photography and Printmaking, in 1968, and around the poles of photography as a window on the Photography into Sculpture, in 1970 (fi g. 3), refl ected an world, the pure and documentary vision of the medium idea about photography that was open to other artistic Edited by that was dear to him (with work by Arbus, Friedlander, disciplines such as printmaking and sculpture. Stephen Shore, Winogrand, and others); and photography Exhibitions from outside the departmental orbit in the Quentin Bajac as a mirror or a more introspective and narrative concept 1970s revealed other photographic sensibilities: Lucy Gallun (with work by Robert Heinecken, Robert Rauschenberg, Information, organized by Kynaston McShine in 1970, Roxana Marcoci and Uelsmann). included conceptual works with a strong photographic Sarah Hermanson Meister Szarkowski’s American tropism, however, should presence, by Bernd and Hilla Becher, Victor Burgin, be placed in the broader context of MoMA’s general Douglas Huebler, Dennis Oppenheim, Richard Long, and acquisition policy from the early 1960s: the institution, Robert Smithson.
    [Show full text]
  • Μ˙ the Museum of Fine Arts, Houston ANNUAL REPORT 2017–2018
    μ˙ μ˙ The Museum of Fine Arts, Houston annual report The Museum of Fine Arts, Houston of Fine The Museum 2017–2018 ANNUAL REPORT 2017–2018 MFAH BY THE NUMBERS July 1, 2017–June 30, 2018 Attendance • 1,067,307 visits to the Museum, the Lillie and Hugh Tuition $4.7 Roy Cullen Sculpture Garden, Bayou Bend Collection Revenue 7% Other $2.0 $6.9 and Gardens, Rienzi, and the Glassell School of Art 3% 10% Membership Revenue • 106,210 visitors and students reached through learning $3.4 THE MUSEUM OF 5% and interpretation programs on-site and off-site FINE ARTS, HOUSTON, FY 2018 • 67,338 youth visitors ages 18 and under received free Operating Operating Revenues Endowment or discounted access to the MFAH Fund-raising (millions) Spending WARMLY THANKS $16.4 $35.3 24% 51% • 37,492 schoolchildren and their chaperones received THE MORE THAN free tours of the MFAH 1,000 DOCENTS, • 6,947 Houstonians were served through community engagement programs off-site Total Revenues: $67 million VOLUNTEERS, AND • 103 community partners citywide collaborated with MEMBERS OF THE the MFAH Exhibitions, Curatorial, and Collections $14.9 Auxiliary 23% MUSEUM’S GUILD FOR Activities $3.2 • 1,625,865 visits recorded at mfah.org 5% THEIR EXTRAORDINARY • 361,687 visits recorded at the online collections module Fund-raising $6.0 9% DEDICATION • 298,236 people followed the MFAH on Facebook, FY 2018 Education, Instagram, and Twitter Operating Expenses Libraries, AND COMMITMENT. (millions) and Visitor Engagment $12.5 • 70,851 online visitors accessed the Documents 20% of 20th-Century
    [Show full text]