Director Mattias Erik Johansson’s clip is dark and Lynchian—there’s a shirtless mime running through a cityscape, a moist person praying beneath a strobe light, a layer of glittery skin being peeled off a person’s face, and somebody screaming underwater.
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TweetDisclosure have dropped a music video for a track from Settle. This one’s for their Sasha Keable-featuring track “Voices” and depicts a supernatural dance party in a very weird prison.
TweetThe story of Vivian Maier has practically become a photography legend: Born in New York City in 1926, she spent much of her youth in France. Returning to the U.S. in 1951, she worked as a nanny in Chicago and New York for 40 years. Reclusive and eccentric, she took pictures all the time, yet never showed them to anyone. From the 1950s to the 1990s, with a Rolleiflex dangling from her neck, she made over 100,000 images, primarily of people and cityscapes.
Maier’s massive body of work, which could have been destined for obscurity, was housed in a storage locker in Chicago for many years. Unbeknownst to her caretakers (three of the grown children she had looked after), the contents of her storage locker had been dispersed due to non-payment. Her negatives were discovered by Chicago-based realtor and historian John Maloof at an auction house in Chicago in 2007. Maloof pieced together the identity of the mysterious photographer, but Vivian Maier died in 2009, before Maloof was able to speak with her. In the years that followed, Maloof has brought her work to the attention of the art world and the general public; and since 2010, nearly 20 exhibitions of photographs by Vivian Maier have been mounted in the U.S. and Europe. Numerous critics have written that her work will be remembered as some of the best 20th-century street photography.
Vivian Maier: Self-Portrait at Howard Greenberg Gallery is the first exhibition to explore the photographer’s numerous self-portraits and the first U.S. gallery exhibition of her coloUr work. Among the highlights is an untitled image from 1950 showing a young Maier with her short cropped hair and no make-up reflected in a framed mirror hanging next to several landscape paintings in an antique store or flea market. She looks professional in a blue jacket with a trench coat draped over one arm, a camera hanging from her neck.
Exhibition runs through to January 18th, 2014
Howard Greenberg Gallery
The Fuller Building
41 East 57 Street
Suite 1406
New York
NY
10022
Throughout the 1960s, from his home in Carroll Gardens, Brooklyn, Danny Fitzgerald (1921-2000) operated a studio under the name Les Demi Dieux with his partner and chief model Richard Bennett. Fitzgerald considered his models “demi-gods”: sublime, muscled beauties on the streets of Brooklyn, beaches of New Jersey, and woods of Pennsylvania. In the flesh, the Brooklyn boys were members of street gangs: greasers smoldering with bravado and swagger. They play cards, smoke cigarettes, and slouch against their Buicks. Occasionally they were photographed in Fitzgerald’s studio, where he shot elegant, sensual nudes. The Brooklyn boys exist on a cusp between innocence and street savvy, boyhood and manhood, mortality and eternity. In a style redolent with both classicism and realism, Fitzgerald’s gritty yet gorgeous nudes surpass the clichés of standard “beefcake” photography.
Fitzgerald began photographing the young men he met at Abe Goldberg’s gym on the Lower East Side of Manhattan. The models were working-class men 20 years his junior, from neighborhoods and families similar to his own. Later, he and Bennett recruited their subjects on the streets of Brooklyn using Bennett’s gregarious personality and bodybuilder physique as bait. Fitzgerald’s knowledge of art and culture and unwavering encouragement of physical beauty sealed the deal.
Exhibition runs through to January 18th, 2014
Steven Kasher Gallery
521 West 23rd Street
New York
NY
10011
Chip Hooper’s purist seascapes have always been about more than just the water. Quiet ruminations in superb black-and-white, Hooper’s classic silver prints of California’s Pacific and New Zealand’s South Pacific and Tasman Sea intimate feeling and atmosphere through the sea’s shades and shapes. Large-format 8×10 film locks in each detail of experience in a meditative process of inspiration and reflection. The ocean is Hooper’s muse, his barometer, and, from his longtime home on California’s Monterey peninsula, his daily routine.
Yet as he’s photographed these vistas, the artist has also turned his camera downwards to the water’s surface, voiding shore, cliff, and horizon line to focus his lens and his pursuit of emotion. Robert Mann Gallery is pleased to present Surf, the first exhibition of these deeply personal photographs taken over the past ten years. Like Vija Celmins in her enigmatic graphite topographies, Hooper approaches abstraction by reducing nature to pattern and value. Turbid waves, intricate ripples, and soft mélanges of sea spray form textural compositions in which water is not the subject, but the medium for conveying intangible elements of consciousness.
Abstraction may be a painter’s legacy, but Kandinsky’s original argument is just as applicable here: the rejection of specific representation in any visual art suspends narrative in favor of perceptual interpretation. Water without place or setting becomes only agitation, tranquility, lightness, and solitude. Thus in a phenomenological sense, Hooper’s waves are more closely aligned with Rothko’s emotive colour-fields than with Ansel Adams’ western landscapes.
Exhibition runs through to February 8th, 2014
Robert Mann Gallery
525 W 26th Street
New York
NY
10001
Hong Kong-based artist Michael Lau presents this Gardener BB figure from his Gardernergala series. The 12″-tall figure depicts BB, a 2-year-old skateboarding dog and the pet of Max, another member of the series. This figure comes complete with two costumes, a furry orange dog costume and a bodysuit depicting the muscle tissue underneath the skin and a skateboard. Limited Edition of 599.
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