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Rebecca Morris at 356 Mission
Artist: Rebecca Morris Venue: 356 Mission, Los Angeles Exhibition Title: Rose Cut Date: September 11 – November 1, 2015 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images Courtesy of the artist; Corbett vs. Dempsey, Chicago; and 356 S. Mission Rd., Los Angeles. Photos by Lee Thompson. Press Release: […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

From Easy Chairs to High Tech: Eames Design on Show at Barbican
From Easy Chairs to High Tech: Eames Design on Show at BarbicanFrom the Eames chair to textiles and architecture, the role of Charles and Ray Eames in design is large. A new exhibition at London’s Barbican looks at their careers and the work of the Eames Office, their “laboratory,” in which, for more than four decades, the Eameses produced a series of pioneering works. The show ranges over architecture, furniture, graphic and product design, as well as their paintings, drawings, films, sculptures, photography and installations. The exhibition, organized in collaboration with the Eames Foundation, offers a thorough look at the work of these figures of mid-century modernism. “For Charles and Ray, design was not simply a professional skill, it was a life skill – more than that, it was an essential attribute of life itself,” said Eames Demetrios, director of the Eames Office. “The unprecedented array of objects and stories at the Barbican is not simply for admiration, but inspiration to folks in myriad fields.” The coupe’s multi-faceted work is in many ways a look into the trajectory of visual and design culture in the post-war period. The Eameses were pioneers of quality design for mass production. They were also keen to use film, exhibitions, technology, and education to transmit their ideas about what modern design could, and should, be. The exhibition brings together more than 380 products and objects they produced during their lifetime, as well as a wealth of documentation from the Eames Office. It also includes items from their personal collections, highlighting the creative and personal relationships that the couple maintained with some of the leading artistic figures of the 20th century – from design professionals such as Osamu Noguchi and George Nelson, to Buckminster Fuller and Billy Wilder. There is a full scale model of La Chaise (1948-1950), the first molded plastic chair created for MoMA’s International Competition for Low Cost Furniture Design; a selection of films produced by the Eameses, now preserved in the Library of Congress, Washington, D.C.; and a range of furniture prototypes on loan from Vitra Design Museum, Yale University, and the V&A Museum in London. Curated by Catherine Ince, and designed by 6a architects, the exhibition is also accompanied by a program of talks and events.   The World of Charles and Ray Eames runs through February 14, 2016 at Barbican Art Gallery.  Select Photo Gallery: The World of Charles and Ray Eames at Barbican: SlideshowPublished: October 26, 2015 Read full article here

Q&A: Jeff Wall on His New Works at PAMM and Marian Goodman
Q&A: Jeff Wall on His New Works at PAMM and Marian GoodmanIn 1978 when Jeff Wall created The Destroyed Room, a radiant tableau that formally 
linked a ruined domestic space to Eugène Delacroix’s 1827 painting The Death of Sardanapalus, he established himself
 as one of the most prominent figures in conceptually oriented photography. A writer and practitioner, he created a body of work—often rife with allusions to art history itself—that changed the way photographic images can be created and displayed. Contributing editor Hunter Braithwaite spoke to Wall about his upcoming exhibitions at the Pérez Art Museum Miami (October 22 through January 17, 2016) and Marian Goodman Gallery in New York and London (opening October 20 and 29, respectively), which will feature six new pieces. Let’s talk about the photographs you’re working on for the Pérez Art Museum Miami [PAMM].Tobias Ostrander, the museum’s chief curator, asked me if I’d like to do something there. He wanted it to 
do with the subject of the streets, and what’s going on around the museum. There’s a lot of homelessness. I don’t do exhibitions based on themes really, but I realized I had just done a new photograph that I hadn’t exhibited yet precisely on that topic: It showed a homeless person. And so I thought this would be a way to approach that subject. I’m showing a pretty large color photograph (also of a street scene) and a very small photo that 
I shot with my mobile phone. It’s really pretty consistent: three images—two in color, one in black and white—all dealing with people who are somehow either living on the streets, or close to it. Those photos were shot in Vancouver and Los Angeles. Miami also has a problem dealing with its homeless population, specifically downtown, where PAMM is located. Does the exhibition have a social motivation?Although Tobias sees this show as aimed at a particular issue in Miami, that’s not how I’m approaching it. It’s just not the way I see it, even though I have no criticism or objection to seeing it that way. I like my pictures to be seen as works of art first and foremost. I feel that we can never really know what people take from the experience of a work that they enjoy. It’s quite possible that someone would like the pictures for aspects that have nothing to do with the subjects, and would go out of the museum, enjoying the show, liking the pictures, and never giving a thought to the homeless. I don’t consider that to be any less valid than someone who would be very much involved in the subject matter. Still, your photographs have long presented different forms of social injustice. Do you think photographs have a moral or political responsibility? Do they have the capability to effect change?Not really, but I don’t think that’s an easy question to answer, because we don’t know what change means in terms of what pictures can do. I don’t have any plan, or program, or ambition along those lines. I make photographs of subjects because they somehow appeal to me, or they strike me when I see them. I don’t know that I can claim that I’m trying to take a position. I’m trying to give them some kind of artistic presence. They’re not just modern subjects—itinerant people, poor people—they’ve been subjects of art for a long time, hundreds of years. So there’s nothing very original in doing that, I don’t think. That’s not really my intention, or even my main interest. If other people want to put it into their discussion about how they see the world, that seems to me perfectly appropriate. They’ll do it in their way, I’ll do it in my way, and somebody else will do it another way. You’ve divided your practice into two modes: the documentary and the cinematographic. Could you talk a bit about this distinction?The two color pictures [at PAMM] are documentary photos. They were taken
in the street, with no preparation of any kind. The third one is cinematographic, meaning that some preparation has been involved in making the picture. I don’t usually specify more than that, because there are so many orders, levels, and degrees of preparation. So it may involve a performance, it may not. It may involve my doing something to the scene, it may not. In this case, there was a performance, I’ll tell you that, and there was preparation of the place to make
the picture. That picture is essentially cinematographic in those terms. You’ve said that you “like photographs that don’t look altogether the way that photographs are supposed to look.” How do you arrive at this difference?When I began to take pictures, most photographs were still pretty small and meant to be seen in publications. Without going into detail about it, those pictures have characteristics that are marked, noticeable, and have to do with scale. When a photograph is seen on a small scale it’s structured differently than if it’s seen on a large scale. For example, if you’re working on life scale the way
I usually do, things shouldn’t be closer than a certain point, because they become over-scale. In my pictures there usually isn’t something blooming in the foreground that is bigger than it ought to be. And some of those photographs by, say, Robert Frank, look great at 8 by 10 inches, but they might get weird if they’re pushed up to life-size, because someone’s hat in the foreground might be five times life-size if they’re too close to the camera. You’ve mentioned a “photo ghetto” that as a young artist it 
was important to escape. Do you see this having changed at
all with the younger generation of photographers?It just didn’t suit me to follow along the main line at the time, which would have been somewhere between the road of Robert Frank, or John Szarkowski’s notion of windows and mirrors and doors—that kind of classic photography of the 1960s and ’70s. That just didn’t interest me. It seemed closed off, and there were other dimensions of photography—color, artifice, and scale—that seemed to be underdeveloped and underappreciated at the time. Now, of course things have changed, and that’s clearly not the case. There’s been an expansion of what’s tolerable inside accepted notions of photography as an art, maybe for
the better, maybe not. It’s really not clear if photography now, with all the different options that people have, is actually artistically any better than it was 30 or 40 years ago. Speaking of artifice, is your cinematographic mode related
 to cinema?I use the term cinematography just because I prefer it to staged photography, which suggests a stage and a whole apparatus and a theatrical aspect. But because it’s so fluid, and it can happen anywhere, and it can be done very simply (there is no stage, no stage apparatus, no this, no that, there’s no elaboration), cinematography’s just a better term to deal with that issue. But I’m not a cinematographer, because I don’t do cinema. I’ve just taken this aspect that was highly developed by cinema away from that medium. Or at least I’ve defined something for myself that photographers have been doing for a long time, and I’m defining it this way because I think that the relationship between what happens in the cinema and what happens outside is really interesting. Cinematography doesn’t have to be cinema. And so I do cinematography, but as a photographer. I know it’s a little bit confusing, but I think the terms are meaningful in the way I’m trying to use them. Between casting, costuming, choosing a site, altering that site—everything before the shutter clicks—how long can it take to set up a photograph?It can take anywhere between 10 seconds and two years. People often think all
 my photos are elaborately built up, with huge amounts of labor and many people, and all that sort of thing. That’s the case occasionally, and only when necessary. Lots of them are done with one person or two, quickly. Your work over the years became associated with light-box presentation, but I gather that you’ve stopped using that.Well, I haven’t really stopped. I’m just not doing it right now, and I haven’t done new ones for seven or eight years. I’m making a lot of transparencies, to create reserve prints for all my existing ones. But I haven’t entirely stopped; it’s a medium I can go back to any time I want. I have nothing against it. It’s a part of my repertoire now. At one time it seemed like the whole spectrum of what I could do, and I’ve never liked that.
I haven’t done transparencies exclusively for almost 20 years now. Once I started making black-and-white prints in the ’90s, I saw that there were different kinds of photographs one can make, and I wanted to make different ones. What are your thoughts on the relationship between photography today and contemporary technology such as smartphones and tablets?It seems as if a lot of people feel that rapid transmission capacity is somehow a new artistic dimension. I’m not convinced of that, because I don’t think that the essence of the artistic achievement is in how rapidly it’s transmitted around the world. A lot of artworks never move. They’re rarely reproduced, and they’re not even seen very often, but they’re important and great. My work doesn’t move fast, and I don’t want it to.
I don’t have any interest in entering that image stream, because it just doesn’t seem to me particularly interesting or a deeply satisfying way to look at pictures. I don’t really like seeing them on my laptop that much. I’d rather see them on a wall
or on a piece of paper, but I’m old-fashioned, I suppose. Also, I’m probably not the kind of person who’s going to determine how photography as an art is going to evolve. A version of this article appears in the October 2015 issue of Modern Painters. Published: October 26, 2015 Read full article here

Can the Single-Venue Gallery Survive?
Can the Single-Venue Gallery Survive?In March 2013, Jérôme de Noirmont closed the door of his Paris gallery on the elite art strip of Avenue Matignon. “In order to continue,” he wrote in a frank farewell letter to clients, “it would mean enlarging our premises, recruiting numerous employees, including several on a high level, and greatly expanding the list of represented artists. Such a significant development implies huge investments in terms of finance, time, and energy along with major risk taking… Such an expansion seems unrealistic to us.” Noirmont represented Jeff Koons in France between 1997 and 2010, with three solo exhibitions, including “Popeye Sculpture” in 2010. He lost that exclusive franchise with the opening of Larry Gagosian’s gallery—his ninth—in Paris that same year. Similar stories of increased difficulties lurk behind a spate of recent gallery closings in art centers around the globe. Yvon Lambert closed his renowned 48-year-old Parisian gallery in the Marais last December, three years after shuttering a stunning, 5,500-square-foot space on West 21st Street in Chelsea. Berlin/Beijing dealer Alexander Ochs, who specializes in contemporary Chinese art, representing artists such as Fang Lijun, discontinued his Kreuzberg gallery in Berlin last year, only to reopen as a “private salon” in his 3,200-square-foot apartment in Charlottenburg. And this August saw the shutting down of both Manny Silverman Gallery in Los Angeles and McKee Gallery in New York. Other notable dealers have chosen to end eponymous enterprises to join larger entities at a partnership level. Such was the case with Gérard Faggionato, who recently joined David Zwirner in London, and Valerie Carberry, who merged with Chicago’s Richard Gray last spring. Veteran contemporary art dealers Esther Schipper and Jorg Johnen are in the process of consolidating their Berlin operations. Noirmont believes there are two choices for dealers today, either to run a lightweight, cost-effective operation that supports young artists or adopt the megagallery model. Nicole Klagsbrun—who, in closing her eponymous and high-profile 15-year-old Chelsea gallery in March 2013, memorably remarked, “I’m not sick and I’m not broke; I just don’t want the gallery system anymore”—has opted for the former, operating in a more nimble, freewheeling style that includes pop-up exhibitions. Last May she staged “Lee Quinones,” a survey of the Puerto Rico–born graffiti artist, at 291 Grand Street on the now gallery-dense Lower East Side of New York. “It was very hard for my type of gallery to become a big one,” Klagsbrun says, commenting on the pressure to grow while retaining the intimacy of a bespoke, boutique-scaled business; she cites challenges such as having artists poached by big galleries and putting up stands at the art fairs. The dealer, who in September partnered with Jeffrey Deitch in SoHo on an exhibition of the late Los Angeles–based artist and occult practitioner Cameron, sees a big plus in her evolving modus operandi: “Obviously, I’m happy to be outside because I have the freedom to really choose what I want to do and when to do it and really focus on projects.” Similar pressures and opportunities cropped up for Chicago primary- and secondary-market dealer Valerie Carberry before her merger with the established Richard Gray Gallery last May. The two entities had been cordial neighbors and business allies for years on the 38th floor of the John Hancock Center on Michigan Avenue, most visibly in August 2014, when the galleries collaboratively staged “Retreat,” a group exhibition conceived and organized by the lionized Chicago artist Theaster Gates. Carberry, whose gallery was elected to the Art Dealers Association of America in 2008 and regularly participated in Art Basel Miami Beach, the Art Show, and the Armory Show in New York, views the change in a proactive light. “It’s a sign of the times,” says Carberry, who specializes in mid-century abstraction. “After hitting great milestones for a midlevel gallery, you need support, and I felt joining forces with Gray—who also has a New York space—[would] take it to the next exciting level.” As Carberry analyzed her prospects, she recognized that the increasing need “to take your show on the road” posed a great risk. “The cost of doing art fairs represents a big line item for a small business, and they’re unpredictable and risky,” she says. “If you don’t do well, it matters.” The dealer views the merger with Gray “more like continuity than an ending. It is very much my program and identity that are merging with this esteemed, long-standing gallery.” As for losing her stand-alone appellation, Carberry says that “the opportunity overshadows any bittersweet feelings I might have.” Brick-and-mortar entities are feeling the pressure to change gears in a fast-moving art market that long ago collectively shed its old-fashioned allegiance to any bespoke gallery or auction house in favor of whoever offers the best deal. This has affected and motivated even seasoned secondary-market dealers like New York’s Hollis Taggart, who recently staged the critically well-received “Audrey Flack: The Abstract Expressionist Years.” In back-to-back changes, Taggart closed his 2,000-square-foot space at 958 Madison Avenue in July, setting up shop for private viewings in a smaller town house at 18 East 64th Street and simultaneously opening a 4,000-square-foot, seventh-floor gallery space at 521 West 26th Street in Chelsea. “What I’ve found,” said Taggart as he arranged his stand at Art Southampton in late July, “is that it’s not necessary to maintain an expensive Madison Avenue presence to sell secondary-market material, since it’s become less personal and more object oriented. Basically, you make connections and sell secondary-market work by sending it out on approval or [having] people come in to see something. But it doesn’t much matter where you are; it’s more important what you have. Now you go to the outside world to present your material in art fairs, or—as a lot of dealers have been doing—just put things up at auction, because if you can’t beat ’em, join ’em.” Taggart didn’t mince words about the power of the auction houses. “Not only do they have access to the material, but obviously they also have access to the clientele that no one dealer can compete with.” He continued, “A lot of dealers are participating with the auctions in private-treaty deals, using their marketing muscle and connections. And on the other hand, you just have to go your own way. The luck of whoever can get the goods is really the whole game.” Even galleries that sprang up in the 21st century to champion emerging artists seem to be facing similar challenges, as evidenced in part by the recent closing in Chelsea of Wallspace and the pending close of Mixed Greens. With their lease expiring, Wallspace founding partner Jane Hait reluctantly decided with her partner Janine Foeller to close up shop at 619 West 27th Street in August after a dozen years in business. Their last exhibition was a striking show, organized by Jay Gorney, of paintings and drawings from 1963 to 1983 by the late Deborah Remington, which critic David Ebony characterized as “revelatory.” “For a long time,” says Hait, “we were in denial about our finances because we very badly wanted to continue, but at the end of the day, we didn’t want to move into a space that would limit our artists.” Hait adds that even a lateral move to another 2,000-square-foot space would “cost twice as much as what we’re spending, at least.” She isn’t exaggerating. Commercial rents in New York’s Chelsea district have skyrocketed over the past decade; ground-floor space currently rents at around $125 a square foot annually and upper floors at $65 to $75 a square foot, according to longtime real estate broker Susan B. Anthony. Perhaps predictably, gallery rents on the Lower East Side, where many dealers migrated, are now just as high. “Dialing back 10 years,” says Anthony, “ground-floor space in Chelsea was $40 a square foot and upper floors were $25 to $30 a square foot. I don’t know how people are coping.” Hait notes that over the course of the past decade in Chelsea, “many of the galleries of our generation closed for a range of reasons.” Those included Clementine Gallery in 2008, Bellwether in 2009, John Connelly Presents in 2010, and Taxter & Spengemann in 2011. For Wallspace, “we were looking to grow, and it just became really clear that that wasn’t possible.” Digging into those brick-and-mortar woes, Magnus Resch, a 31-year-old, Switzerland-based academic and art adviser has penned a dry but data-filled book, recently released in English as Management of Art Galleries, based on responses from more than 1,300 galleries in the United States, Britain, and Germany to a questionnaire that revealed that some 30 percent lost money in their gallery operations while the average profit margin for those lucky ones in the black was a lowly 6.5 percent. Given the now-obsolete or about-to-be-Rust-Belted model of the tradition-bound gallery, what do younger galleries turn to in the current environment? “The increase in the importance of art fairs has really hollowed out the midsize and small gallery market,” said Brett Schultz, cofounder with Daniela Elbahara of Mexico City’s Yautepec Gallery and the three-edition-old Material Art Fair in Mexico City. “It’s difficult for those galleries to survive unless they have an enormous amount of capital to be able to do fairs around the world and tackle that aggressively. That’s why we’re seeing such an increase internationally in this kind of smaller project space, like Lulu in Mexico City and Queer Thoughts in New York, some that are run by artists and some that are run by curators or what have you. These galleries are operating a lot more lightly. They can focus on their program but without the commitment of taking on artists and being responsible for them.” “This idea of the independent dealer,” said Faggionato, shortly after closing his David Chipperfield–designed gallery after 22 years in Mayfair, “is a romantic one, and I understand it and like it, but maybe the reality is slightly different.” The dealer, who had handled the Francis Bacon estate in tandem with New York’s Tony Shafrazi for a decade and sold the artist’s last triptych (from 1991) to the Museum of Modern Art in 2003, observed, “the competition is very different from what it used to be. Now everything is more about the market than individuality.” Upon closing his Richard Gluckman–designed space in August after a quarter century at 745 Fifth Avenue, David McKee—who represented Philip Guston from 1974 until the artist’s death in 1980, and then his estate up until recently—said, “we believed that fundamentally it was the work that should achieve its place in history, and not by promotion and hype, and we still believed it until the end. Today,” he adds, “it’s all happening too fast and it’s too market driven. The art world has become a stressful, unhealthy place.” A version of this article appears in the October 2015 issue of Art+Auction. Published: October 26, 2015 Read full article here

Language Undefined Location Website: Website: Email: eoleary@hebrewhome.orgDisplay: Don't displayUse alternative description in place of "Hours" (Edit text below): Directions: <strong>BY EXPRESS BUS<br /></strong><br />BxM2 (from West Midtown), BxM1 (from East Midtown) or BxM18 (from downtown):<br /><br />Get off at the Riverdale Ave/W. 263rd Street stop. Walk down W. 261st Street toward the River; turn left on Palisade Ave. Main gate is located on the right side of the street.<br /><br />BxM2 Schedule: <a rel="nofollow" href="" target="_blank" onmousedown="UntrustedLink.bootstrap($(this), "aff6c", event);"><span style="color: #3b5998"></span></a><br />BxM1 Schedule: <a rel="nofollow" href="" target="_blank" onmousedown="UntrustedLink.bootstrap($(this), "aff6c", event);"><span style="color: #3b5998"></span></a><br />BxM18 Schedule: <a rel="nofollow" href="" target="_blank" onmousedown="UntrustedLink.bootstrap($(this), "aff6c", event);"><span style="color: #3b5998"></span></a><br /><br /><br /><strong>BY SUBWAY AND LOCAL BUS<br /></strong><br />1 train to W. 225th Street or A train to W. 207th Street. Take the Bx7 bus to W. 261st Street. (The Bx10 also goes to W. 261st Street and stops at the W. 131st Street stop on the 1 train). Walk down W. 261st St toward the River; left on Palisade Ave. Main gate is located on the right side of the street.<br /><br />Bx10 Schedule:<br /><a rel="nofollow" href="" target="_blank" onmousedown="UntrustedLink.bootstrap($(this), "aff6c", event);"><span style="color: #3b5998"></span></a><br /><br />Bx7 Schedule: <a rel="nofollow" href="" target="_blank" onmousedown="UntrustedLink.bootstrap($(this), "aff6c", event);"><span style="color: #3b5998"></span></a><br /><br /><br /><strong>BY METRONORTH<br /></strong><br />Take the Hudson Line to the Riverdale station. <br /><br />On foot: Exit train station, turn left on Palisade Ave. The main gate is a half mile up the road on the left. <br /><br />Via Rallink Bus: The MNR Raillink shuttle bus that stops at in front of the station can be taken to W. 261st Street/Riverdale Ave. The Raillink bus costs $2.25; fare can only be paid by Metrocard or cash (change only).<br /><br />Hopstop is also useful and provides customized directions:<br /><a rel="nofollow" href="" target="_blank" onmousedown="UntrustedLink.bootstrap($(this), "aff6c", event);"><span style="color: #3b5998"></span></a>Address: Javascript is required to view this map.Neighborhood: RiverdaleMonday - Close: 12:00amTuesday - Open: 12:00amTuesday - Close: 12:00amWednesday - Open: 12:00amWednesday - Close: 12:00amThursday - Open: 12:00amThursday - Close: 12:00amFriday - Open: 12:00amFriday - Close: 12:00amLocation Phone: +1 718 581 1596Saturday - Open: 12:00amSaturday - Close: 12:00amSunday - Open: 12:00amSunday - Close: 12:00amMonday - Open: 12:00amAdmissions: FreeHas Cafe: Has Store: Has Film: Is Free Listing: Opening Hours Alternative Text: The Art Collection, Gilbert Pavilion Gallery and Grounds: Every day, 10:30 am 4:30 pm<br>Derfner Judaica Museum: Sun-Thurs, 10:30 am 4:30 pmLocation Logo: location fax: Guide Landing page: Region on the Guide Landing page: None Read full article here

Shadi Ghadirian’s Evocative Photos of Iranian Women in Lyon
Shadi Ghadirian’s Evocative Photos of Iranian Women in Lyon“Shadi Ghadirian: Retrospective” at the Lyon Municipal Library (La Bibliothèque municipale de Lyon) is a major exhibition celebrating the work of influential Iranian photographer Shadi Ghadirian. Presented in association with the Silk Road Gallery in Teheran, the exhibition surveys Ghadirian’s entire photographic oeuvre from 1998 to the present day and includes a new video work titled “Too Loud a Solitude” which the artist describes as “a slice of instants, similar to photography, in which the subjects move.” Since graduating from Azad University in Tehran with a B.A. degree in Photography, Ghadirian has established herself as one of Iran’s leading creative talents. She is best known for her evocative staged portraits which address a wide range of issues including female identity, censorship, and gender roles. Drawing inspiration from her own life experiences, Ghadirian uses humour and parody as the points of departure for poignant investigations into the paradoxes of women’s lives in Iran. According to Anahita Ghabaian Etehadieh, associate curator of the exhibition and Director of the Silk Road Gallery, in the late 1990s Ghadirian became one of the first Iranian photographers to change people’s perceptions of Iranian art and contemporary society. “Using a unique style of expression, she began contradicting the harsh and brutal images commonly seen and associated with Iran, challenged Eastern social dilemmas and how the world saw Iran, through the language of art.” On the occasion of “Shadi Ghadirian: Retrospective” at the Lyon Municipal Library, Somogy Editions dÁrt has published a retrospective monograph of Ghadirian’s work (available here). It is the first retrospective monograph to bring together her works and different series from over fifteen years of her career. To find out more about her work and the exhibition at Lyon Municipal Library, which is on show until January 9, 2016, BLOUIN ARTINFO got touch with Ghadirian and asked her a few questions. You were born in Iran in 1974 at a time of great conflict in the region. What impact have the events of the generation of Iranians that you belong to had on your work as well as the development and trajectory of your career as an artist? The Islamic revolution was the first and most important event of my childhood which I have a vague recollection of. At only 4, occupied with my childhood fantasies, I was thrown in the midst of a political turmoil that had swept over the whole society. Since we lived downtown I could often hear the commotion and chaos outside and could see the anti-Shah writings and slogans on the street walls, where they remained till I learned how to read 3 years after. After that the situation calmed down at least for me, but that only lasted a short while until the war broke out in 1980. At first the war was far from home and near the borders but it slowly crept in and disrupted our lives. My teenage years were spent with the sound of air raids and explosions. I remember how the horrifying sound of bombing and missile attacks woke me up in the middle of the night, and how I thrust myself into my mother’s arms, my only safe haven at the time. I graduated from high school around the same time the War’s end in 1988, the city was covered with photographs and murals of martyrs and was not very hopeful about continuing my education. My two older sisters had studied art so I was somehow more familiar with it, so I picked art and photography as my major. I had two reasons for this the first was that I knew more about photography and the second that it was quicker; all I knew then was that photography was about looking at things creatively and more carefully. The book “Shadi Ghadirian: Retrospective” is published on the occasion of your exhibition at the Municipal Library Lyon. What works appear in the exhibition and what do they reveal about your practice? In this exhibition are all the series of photographs that I have created. There is also a new work which I will be showing for the first time. It is a video with the title “Too Loud a Solitude.” This exhibition will show how I started my art career and how it has continued until today. In your work you explore your status as a woman living in Iran as well as the broader social and cultural implications of womanhood. What do you want to convey and express with your work and how do you aim to achieve this with the images you create? I try to tell the different stories of Iranian women, which is somehow my own story too. I want to show a woman from different points of view. Women’s issues are important for me! I don't know how I could help and make the situation better with my photos! But I hope to make some changes, which I know is hard work. You use a number of different pictorial devices and a range of symbolic imagery to convey your message. What are the sources of your imagery and from where do you draw inspiration for the different ways you pose, compose, and construct your images? These pictorial devices come directly from my life! I believe that we are living in a society with huge contrasts. So I just look at my environment! It is very easy for me to look and think and talk about the closest things to me. Iran continues to remain a hotbed of political, social, and cultural tensions. What do you believe are your responsibilities and obligations as a female Iranian artist and what is your view on the broader role that art has to play in resolving the current issues that Iran faces? I don't think art can solve anything. The only thing that we should do is to help people to look around and at themselves. Helping people to have a better view and make them think is like a full-time job for me. That is why I prefer to show my photos not just in the galleries! I love to show my works in public places where more people can pass and see them. Select Photo Gallery: Shadi Ghadirian at the Lyon Municipal LibraryPublished: October 26, 2015 Read full article here

Shadi Ghadirian at the Lyon Municipal Library
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Anna Schwartz Sydney to Reopen as Non-Commercial Space
Anna Schwartz Sydney to Reopen as Non-Commercial SpaceLeading Australian gallerist Anna Schwartz has announced that she will cease commercial operations at her Sydney gallery at the Redfern-based Carriageworks multi-arts precinct at the end of 2015 and will hand over the space to Carriageworks as the location for a new five-year series of major visual arts projects by Australian and international artists. Schwartz has gifted $500,000 to Carriageworks to fund the series which will launch in January 2016 with an exhibition of works by renowned Ghana-based artist El Anatsui. “El Anatsui: Five Decades” will present works spanning the artist’s entire career around Carriageworks and in the Anna Schwartz Gallery space where a large-scale installation will be unveiled as part of Sydney Festival 2016. Anna Schwartz said: “I am thrilled to work with Lisa Havilah to develop the programme in the gallery space I created at Carriageworks to provide a major opportunity for Australian and International artists and their audiences. By combining forces, we will be able to deliver unprecedented experiences in a unique context which optimizes the attributes of a private and a public gallery.” Lisa Havilah, Director of Carriageworks, said that she is delighted to be working with Anna Schwartz. “This bequest will leave a lasting legacy and develop the international profile of visual art in this country.  These new visual art projects will build upon Carriagework’s existing commitment with a series of large-scale installations and exhibitions that will sit at the leading edge of contemporary practice” Anna Schwartz Gallery will continue to represent its full stable of leading contemporary Australian and international artists out of the Melbourne gallery. The final exhibition at Anna Schwartz Gallery, which will change its name to Schwartz at Carriageworks following the transition, will showcase new works by influential Australian artist Shaun Gladwell from October 31 to December 19. Published: October 25, 2015 Read full article here

Kemang Wa Lehulere: Sincerely yours, at Gasworks Gallery, London
The first presentation within the new gallery space at Gasworks in London is a solo exhibition by South African artist ... Read full article here

Week in Review: October 25, 2015
Welcome to Week in Review, our Sunday round-up of the last seven days of activity here at Contemporary Art Daily. Please subscribe to our RSS feed, follow us on Twitter, follow us on Tumblr, and become a fan on Facebook. We would like to extend special gratitude to our annual sponsors, NADA and Sotheby’s Institute of Art. NADA is […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

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