Celebrating the photographers who have played a critical role in bringing hip-hop’s visual culture to the global stage, CONTACT HIGH: A Visual History of Hip-Hop is an inside look at the work of hip-hop photographers, as told through their most intimate diaries: their unedited contact sheets. Curated by Vikki Tobak—produced in partnership with United Photo Industries—and based on her book of the same name, the photographic exhibition includes over 120 works from more than 60 photographers. Taking the audience into the original and unedited contact sheets—from Barron Claiborne’s iconic Notorious B.I.G. portraits, to early images of Jay-Z, Kendrick Lamar and Kanye West as they first took to the scene, to Janette Beckman’s defining photos of Salt-N-Pepa, to Jamel Shabazz and Gordon Parks documenting hip-hop culture—CONTACT HIGH allows visitors to look directly through the photographer’s lens and observe all of the pictures taken during these legendary photo shoots. The exhibit also includes rare videos, memorabilia, and music to demonstrate how the documentation of a cultural phenomenon impacts not just music, but politics and social movements around the world. CONTACT HIGH: A Visual History of Hip-Hop is on view through August 18 at Annenberg Space For Photography 2000 Avenue of the Stars, Los Angeles. photographs courtesy of the gallery
With The Black Image Corporation, Theaster Gates has conceived a participatory exhibition which explores the fundamental legacy of Johnson Publishing Company archives. Featuring more than four million images, they have contributed to shape the aesthetic and cultural languages of African American identity.
Central to the exhibition are the works of two photographers, Moneta Sleet Jr. and Isaac Sutton, who both worked for Johnson Publishing. The publishing company created two landmark publications for black American audiences in the 1940s and ‘50s: the monthly magazine Ebony and its weekly sister outlet Jet, which quickly became two of the major platforms for the representation and discussion of black culture. The magazines covered historic milestones such as the March on Washington in 1963 and the first African-American astronaut, politics, sports and celebrities, as well as the complex realities black Americans faced in the US post-war era. The Black Image Corporation is on view through July 28 at Gropius Bau Niederkirchnerstraße 7 10963, Berlin.
Initiated in 2013, Printed Matter’s LA Art Book Fair (LAABF) is the companion fair to the NY Art Book Fair. Free and open to the public, the two fairs are among the leading international gatherings for the distribution of artists’ books, celebrating the full breadth of the art publishing community.
Held at The Geffen Contemporary at MOCA in downtown Los Angeles over three days, the 2019 LA Art Book Fair hosted 390 exhibitors from 31 countries, including a broad range of artists and collectives, small presses, institutions, galleries, antiquarian booksellers, and distributors. The event draws more than 35,000 individuals including book lovers, collectors, artists, and art world professionals each year. With a commitment to diversity and representation, the fair serves as a meeting place for an extended community of publishers and book enthusiasts, as well as a site for dialogue and exchange around all facets of arts publishing. photographs by Oliver Maxwell Kupper
Peel is a group show featuring works by Farah Al Qasimi, Meriem Bennani, Dora Budor, Oto Gillen, Win McCarthy, Troy Michie, Elle Pérez, Em Rooney and Heji Shin. “All the odd things people pick up for food. Out of shells, periwinkles with a pin, off trees, snails out of the ground the French eat, out of the sea with bait on a hook. Silly fish learn nothing in a thousand years. If you didn’t know risky putting anything into your mouth. Poisonous berries. Johnny Magories. Roundness you think good. Gaudy colour warns you off. One fellow told another and so on. Try it on the dog first. Led on by the smell or the look. Tempting fruit.” Ulysses, James Joyce Chapter 8: Lestrygonians. Peel will be on view through April 28 at Ghebaly Gallery 2245 E. Washington Blvd, Los Angeles. photographs by Lani Trock
SIS is a solo exhibition by Rikkí Wright analyzing the themes of the sibling relationship and exploring how it shapes the future of those involved in it. “This series of images are based around a subject matter that’s dear to me, sisterhood. Analyzing the themes of the sibling relationship and exploring how it shapes the future of those involved in it.” - Rikkí Wright. SIS is on view through March 29th at Nous Tous 454b Jung Jing Road, Los Angeles. photographs by Lani Trock
The form known as Iast common ancestor is the most recent population of organisms from which all organisms now living on Earth have a common descendant. Born 3.5 billion years ago in a primordial soup or a deep sea vent, this tentative existence bore life to us all. 355 of your very own genes projected over the enormity of a billion years. How simple or complex could this life have been, how many iterations, dead ends and spectacular transformations has this tiny candle of life undergone to lead us to our current body?
Occupying a liminal space between the real and the imaginary Mountford’s latest body of work explores evolutionary theories of origins, creation, and mortality through photography, time sensitive sculpture, video and live performance.
Last Common Ancestor is on view through March 17 at NOH/WAVE 420 East Third Street, Los Angeles. photographs by Summer Bowie
Tender presents a segment of contemporary Czech photography with deliberately wide range of photographic strategies – from snapshot-like images that have appeared in the context of fashion editorials to post-conceptual works by artists skeptical of the very photographic medium. Curated by Michal Nanoru. Tender is on view through March 28 at The Czech Center 321 East 73rd Street, New York. photographs courtesy of Czech Center
Swingers is a group show featuring seven artists who explore structures of desire within the context of the culture industry. Taking its title from Lutz Bacher’s 2018 series, the exhibition focuses on artists who use photography and video to scrutinize how desire has been calculated, monetized, and leveraged by consumer culture. While some works target the modern subject’s participation in a neoliberal paradigm where individuality and desire are harnessed as forms of capital, other artists pursue more personal approaches to mine the ways one’s subjectivity can merge with its own objectification. Aware of their status within this creative economy, the works in Swingers take different approaches to uncover how the representation and commodification of desire in turn mediates the relationship between self and other. Swingers is on view through December 15 at Greene Naftali 508 West 26th Street Ground Floor & 8th Floor New York. photographs by Emma Orfield Johnston
The landmark, decade-long project, ‘Analogue’ (1998 – 2009) is comprised of 412 photographs arranged in grids and organized into 25 chapters. Originally conceived as a chronicle of the rapidly changing Lower East Side, where Leonard once had her studio, ‘Analogue’ evolved into a parable of cultural production, touching on issues of gentrification and the exchange of commodities as an extension of colonialism. The images in this installation depict storefronts and objects on the brink of obsolescence due to an expanding global economy and rapid technological advancements emerging at the turn of the millennium. An allegory for globalization, Leonard’s photographic series is the result of a peripatetic process that led her from the declining mom and pop shops of New York City to roadside markets in the Middle East, Africa, Eastern Europe, Cuba, and Mexico, tracing the circulation of recycled merchandise. The exhibition is on view through January 20, 2019 at Hauser & Wirth 901 East 3rd Street, Los Angeles. images courtesy of Hauser & Wirth
Manifesto (2015), the 13-channel film installation by visual artist Julian Rosefeldt. Manifesto pays homage to the moving tradition and literary beauty of artist manifestos, ultimately questioning the role of the artist in society today. ‘Manifesto’ draws on the writings of Futurists, Dadaists, Fluxus artists, Suprematists, Situationists, Dogme 95 and other artist groups, and the musings of individual artists, architects, dancers and filmmakers. Passing the ideas of Claes Oldenburg, Yvonne Rainer, Kazimir Malevich, André Breton, Sturtevant, Sol LeWitt, Jim Jarmusch, and other influencers through his lens, Rosefeldt has edited and reassembled thirteen collages of artists’ manifestos. Manifesto is on view through January 6, 2019 at Hauser & Wirth 901 East 3rd Street, Los Angeles. images courtesy of Hauser & Wirth
Beach Therapy is the first solo exhibition in Italy based on the series of the same name by British photographer Martin Parr. During his long career as a photographer, Parr has always photographed on beaches, particularly in the UK. He has often used the beach as a laboratory to experiment with new cameras and techniques. So, for example, when he changed from black and white to medium-format colour in the early 1980s, his first major project was about New Brighton, a run-down seaside resort near Liverpool. In recent months, he has started exploring the beach with the aid of a telephoto lens. This lens is rarely used in the world of art and documentary photography so it is a challenge to find new ways of using it. Often, this involves incorporating the vegetation on the perimeter of the beach as a backdrop, both in and out of focus. Over his long career he has thus tried everything from a close-up macro lens, a medium-format wide-angled camera and, finally, this latest offering with the telephoto.
On the occasion of the exhibition, a major monograph entitled Beach Therapy was published by Damiani. The book is also available in a special Collector’s Edition of 90 copies that includes the book and a pigment print entitled St Ives, Cornwall, England, 2017 each numbered and signed by the artist. In addition, there is also an even more special Collector’s Edition of 20 copies. It comes with a fabric cover and 5 prints signed and numbered by the artist. After Think of Scotland, Beach Therapy is the second monograph by Martin Parr published by Damiani.
Beach Therapy is on view through February 8, 2019 at Spazio Damiani, Via dello Scalo 3/2 ABC 40131, Bologna. photographs courtesy Spazio Damiani
Zoe Crosher, enamored by Los Angeles, has an obsession that began during her time receiving her MFA from CalArts. Here, she has reimagined her “Day for Night” photographic works. In “Day for Night,” Crosher uses a photography technique used during the Film Noir days of Hollywood, by shooting images in such a way that they look like they were taken at night. She documents the disappearance of the Los Angeles River, using the sunlight to spotlight the image in frame. For this show, she has taken that process a step further and made light boxes out of the photographs, further emulating the film-like aspect by placing light behind the image, creating, in essence, a single-shot movie. Sunlight as Spotlight is on view through November 24 at Patrick Painter B2, 4031, 2525 Michigan Avenue, Santa Monica.
When asked to picture the streets of Paris, it might be challenging to deviate from images of the crowded boulevards, full of the café-concerts made popular by the end of the nineteenth century, with bodies dancing through the streets to the notes of Joe Dassin’s Les Champs Élysées or Edith Piaf’s La Vie en Rose. Arturo Oliva Pedroza’s Kissed Face offers something else. Instead, Pedroza gives calm, straightforward shots of hangouts in Paris—the romance of dimly lit spaces, of an evening’s early stages of debauchery, and of a slice of pizza.
These photographs emerged from Pedroza’s studies in Paris during 2009 and 2010. While photography itself functions in degrees of stillness—capturing, suspending, and depicting moments for infinite pictorial existence—Pedroza’s photographs have an echo to them. These sounds reverberate in the washed-out backgrounds of Pedroza’s nightly strolls, in the objects once loved, but set aside, and in the fleeting engagements with strangers. There is a softness in each frame that invites a viewer to stay awhile, to share a drag of a cigarette, and to watch the smoke make its way quickly into the sky.
Opening Reception Thursday, October 4th 5-10PM
Closing Reception Saturday, October 20th 5PM
Book & Job Gallery 838 Geary St, San Francisco, CA 94109
Chris Engman’s Containment (2018) is a site-specific installation created as a part of the FotoFocus Biennial 2018, which starts today. The piece is part of a larger exhibition, titled Chris Engman: Prospect and Refuge at Alice F. and Harris K. Weston Art Gallery. This is the largest biennial for photography and lens-based art in the country. This edition counts over 400 artists, galleries, museums, and cultural partners across Cincinnati, Dayton and Columbus, Ohio. As part of the Biennial, LA artist, Chris Engman creates a new site-specific installation for the Biennial, accompanied by a selection of his mind-bending photographic constructions of landscapes. Curated by Carissa Barnard, FotoFocus Deputy Director, Containment is on view through November 18 at Weston Art Gallery 650 Walnut Street, Cincinnati, Ohio. photographs by Tony Walsh
Glass Sabbath, a solo presentation of new works by Melanie Schiff is the artist’s first exhibition at the gallery. Schiff’s photographs revel in an assertion of the physicality of objects. Isolated from their use value, items are connected by an attention to shape and texture that nods to the tradition of still life painting. Glass Sabbath is on view through October 6th at Night Gallery, 2276 East 16th Street, Los Angeles, CA, 90021. photographs by Lani Trock
How likely is it that only I am right in this matter? is an exhibition of new and recent work by Wolfgang Tillmans. Tillmans here eschews his signature style of floor-to-ceiling installations in favor of a more minimal, linear presentation concise in subject matter as well as scope. Featuring photographs, video and sound, and a spoken-word piece, the show revisits themes explored by the artist throughout his thirty-year career, but also initiates a subtle reevaluation of how to portray a world consistently in flux. How likely is it that only I am right in this matter? is on view through October 20 at David Zwirner 519, 525 & 533 West 19th Street, New York. photographs by Adam Lehrer
Taking the name from the second chapter of Germaine Greer’s landmark text “The Obstacle Race” from 1979, “How They Ran” brings together a selected group of LA-based artists whose diverse practices represent the heartbeat of the Los Angeles art scene today. Greer’s book presented an art historical account of artists who are missing from academic literature and how they overcame historical obstacles to achieve notoriety anyway. Through this lens, Over the Influence will present a group exhibition of LA-based artists from different backgrounds, practices, and generations. "How They Ran" is on view through September 5th at Over The Influence 833 East 3rd Street Los Angeles. photographs by Lani Trock
Rikki Wright presents new work and a short film at J3Collection Gallery. This series of images are based around sisterhood. Wright analyzes the themes of the sibling relationship and explores how it shapes the future of those involved in it. Photos by Lani Trock
Scott Nichols Gallery will be presenting a delicious display of rock n' roll photography from the likes of Ebet Robert. Michael Zagaris, Jim Marshall, Baron Wolman, Linda McCartney, Bob Gruen, Brad Temkin, William Coupon, and more. A highlight from this exhibition is Bob Seidemann's controversial, banned photo artwork for Blind Faith's 1969 self-titled EP. Opening reception for It's Only Rock and Roll will be held on August 6th and the exhibition will run until September 16, at Scott Nichols Gallery. 49 Geary St # 415, San Francisco, CA
Rita Lino is a photographer that Autre has been following for a little over five years now. The first picture she ever sent us is a photograph of her reading a National Geographic atlas with a hand down her panties. We've also featured editorials and an exclusive short video feature. What we didn't know is that Lino was in the process of a decade long photographic exploration of her own sexuality and femininity through a series of self portraits that are captured in a gorgeous and provocative new monograph called Entartete (German for Degenerate) – published by Éditions du LIC. "Despite their raw unselfconsciousness, Lino’s images are more than mere snapshots; touching simultaneously on voyeurism, loneliness, the manipulative power of the camera, and the urge to connect with others, through, within, and apart from technology and media. Repeatedly concealing their message, necessarily strange and ambiguous, Lino´s images construct a self that is mutable and elusive." With Entartete, it is proof that this emerging Portugese photographer is moving to a newer, more mature chapter of her artistic career. Click here to purchase.