MARBLE HILL CAMERA CLUB
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January 2017
Women's March - Washington D.C. on January 21st
From the organization's website:
The Women’s March on Washington will convene on Saturday, 10:00 am, January 21, 2017. The starting point will be the intersection of Independence Avenue and Third Street SW, near the U.S. Capitol. The Women’s March on Washington is a grassroots effort comprised of dozens of independent coordinators at the state level. The effort is helmed by four national co-chairs and a national coordinating committee who are working around the clock to pull it all together.
Susan Lipper - Grapevine at Higher Pictures through January 21st
From the press release:
"Higher Pictures is pleased to present its first exhibition with Susan Lipper, which is also the first U.S. solo presentation of her legendary project Grapevine (1988–92). The exhibition comprises fourteen large-scale gelatin silver photographs that were printed in 1993 for the debut of Grapevine at The Photographers’ Gallery in London in 1994.
The series takes its name from Grapevine Branch, West Virginia, a small community where Lipper took up intermittent residency for four years. In time she became an inside member of this closed community and developed intimate relationships with the residents, whom she interviewed and photographed with a medium-format camera. Although Lipper’s images seem to be constructed within the established vocabulary of documentary photography, she broke from this tradition by granting her sitters the theatrical license to perform as actors—as versions of themselves that may or may not have been true."
Jeffrey Ladd - Lay of the Land at Secret Dungeon through February 18th
Curated by Nicholas Calcott
From the press release:
Several times a year, usually around holidays, I would catch a bus ‘home’ and spend a long weekend with my family. Weather permitting, it would not be long before I asked for the keys to my father’s white Toyota truck with a full tank of gas (always on his dime) and drive around with my panoramic camera resting in my lap.
My routes often retraced the neighborhoods I was familiar with before I moved north to New York City. I drove by houses of distant cousins, by houses of friends long gone, and past yards once dominated by skateboard half-pipes on which I would throw my body around like a dishrag without caring much about the future or the past. When I needed a break from making pictures, I’d head to thrift stores and buy arm-loads of novels for only a couple dollars. Back ‘home,’ I would try to photograph my family until they became weary and water-eyed from my persistent ash. Sunday would come fast but not fast enough and I’d board a Greyhound back to the city.
– Jeffery Ladd
Eli Durst, Lindsay Metivier, Erin O'Keefe, Irina Rozovsky - Photo II at Transmitter/ through February 12th
Curated by Carl Gunhouse
From the press release:
In the late 1970’s, when post-modernism in photography was born, two well-defined camps evolved, pitting straight (or traditional) photography against set-up (or conceptual) photography. These divisions were a point of contention. One could not only lose friends but also risk opportunities to be shown or published by identifying with one or another side. While the intensity of these disagreements might seem silly and romantic in retrospect, at a time when few galleries showed photography and publishing a book was rare, the limited opportunities to have one’s work seen heightened tensions over what might constitute a good photograph going forward.
Matthew Leifheit - at MAW through February 19th
From the press release:
Your Giorgio presents 13 translations from the secret scrapbooks of George Platt Lynes made by artist Matthew Leifheit in the past year. These works—comprised of a collaged book, short short film, and original photographs of varying scale—attempt to reanimate the queer archive through various poetic approaches to documentary. Although the works draw upon photographs of the actual materials Lynes left behind, they remain assertively personal and elegiac.
Ruth Patir - at Danspace Project January 19th & 20th ($10 admission on the 19th)
From press release:
Interdisciplinary artist Ruth Patir’s research into dreams and the political imagination has been ongoing since 2014. Patir’s most recent video work, Sleepers, was shot at Danspace Project in the St. Mark’s Church sanctuary in September 2016 in the midst of a tumultuous election season. The dreams of Hillary Clinton and Barack Obama described in the work were collected by writer Sheila Heti as part of a 2008 project, idreamofhillary.blogspot.ca.
“The dreams,” Patir writes, “tell a tale of desire and fear.”
Henry Horenstein - Book signing and conversation with Allen Frame, January 25th at The Camera Club of New York from 6-9 P.M. (Remarks at 8)
Veteran photographer & educator Henry Horenstein will be signing two of his books Histories: Tales from the 70's and Shoot What You Love
From the website:
The best professional advice Henry Horenstein ever received was to “shoot what you love.” He’s been doing that for more than four decades, capturing photographs that often richly evoke older cultures and places, especially ones that are disappearing: country musicians in Branson, horse racing at Saratoga Springs, nightlife in Buenos Aires, fais do-dos in Cajun Louisiana, old highways everywhere.
Deana Lawson, Judy Linn, Paul Mpagi Sepuya - at Sikkema Jenkins & Co through February 18th
From press release:
Sikkema Jenkins & Co. is pleased to present a group exhibition of work by three photo-based artists: Deana Lawson, Judy Linn, and Paul Mpagi Sepuya. The exhibition explores photographic documentation of relationships – between the artist and subject or between the subjects themselves – and suggests familial connection, specifically the families we choose to construct.
Peter Clough & Jennifer Gustavson: Wood, Flesh - at Fresh Window through January 22nd
From press release:
Fresh Window is pleased to present Wood, Flesh, an exhibition of new photographs and sculptures by Peter Clough and Jennifer Gustavson. Clough and Gustavson are long-time friends and collaborators whose styles and practices influence each other often. Wood, Flesh brings together a body of self-portraits in which each artist disassembles and reconstitutes their own queer body in arrangements that are at once intimate, political and humorous.