_______________dogonpremise

This Is The End of The End III, Subway DuPont Circle DC

2012-03-05T22:43:00.003-05:00

Taken at Dupont Circle

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This Is The End of The End III, Subway DuPont Circle DC

2012-03-05T22:43:00.001-05:00

Taken at Dupont Circle

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Subway Holeway Enter II, DuPont Circle, DC

2012-03-05T22:34:00.003-05:00

Taken at Dupont Circle

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Subway Holeway Enter II, DuPont Circle, DC

2012-03-05T22:34:00.001-05:00

Taken at Dupont Circle

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DuPont Circle Subway, DC

2012-03-05T22:29:00.001-05:00

Taken at Dupont Circle

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Chinatown, DC or Gate Gate.

2012-03-05T19:21:00.003-05:00

Taken at Chinatown Arch

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Chinatown, DC or Gate Gate.

2012-03-05T19:21:00.001-05:00

Taken at Chinatown Arch

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John Hancock Memorial, Granary Burying Ground, Boston

2012-03-03T05:22:00.001-05:00

andrewhirodogrøb©

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SHARED VISION: The Sondra Gilman and Celso Gonzalez-Falla Collection of Photography

2012-03-02T12:42:00.001-05:00

http://www.aperture.org/gallery/

SHARED VISION: The Sondra Gilman and Celso Gonzalez-Falla Collection of Photography

Opening Reception:
Tuesday, March 6, 6:00–8:00 pm

Exhibition on View:
Friday, March 2–Saturday, April 21, 2012

Aperture Foundation presents Shared Vision: The Sondra Gilman and Celso Gonzalez-Falla Collection of Photography, a selection from one of the world’s best private collections of photography. An exhibition organized by the Museum of Contemporary Art (MOCA) Jacksonville, a cultural resource of the University of North Florida, curated by Ben Thompson, MOCA’s curator, and Paul Karabinis, assistant professor of photography at UNF.

Selected from the collection of Sondra Gilman and Celso Gonzalez-Falla, Shared Vision features two hundred iconic images, which reflect the rich and diverse nature of the past one hundred years of photography. Street scenes, the human form and environment, unique viewpoints, children, and spectacular landscapes represent just a portion of the amazing holdings amassed by two individuals that Art News ranks among the world’s top ten photo collectors. The exhibition features prominent photographers, including Ansel Adams, Eugène Atget, Margaret Bourke-White,Walker Evans, Loretta Lux, Sally Mann, Doug and Mike Starn, Robert Mapplethorpe, and Alfred Stieglitz.

“Few passions in the history of collecting have persisted as long and have yielded equally unparalleled results as Gilman and Gonzalez-Falla’s self-admitted love affair with photography,” said Marcelle Polednik, director of MOCA Jacksonville. “Over the course of more than four decades, the couple’s steadfast devotion to the medium has guided the gradual growth of their collection, which began in the 1970s, when Gilman acquired three exceptional prints by Eugène Atget.”

Gilman and Gonzalez-Falla’s collaboration hinges on a few underlying principles— mainly, to acquire works of major importance by leading photographers of their generation, and to focus on vintage prints. Although each of the collectors brings a different point of view to the photography—Gonzalez-Falla analyzes color and form, while Gilman responds to images on a more visceral level—these distinct approaches merge into a single, shared vision and emanate from the same goal: to collect photographs that move and inspire them.

“The whole issue is that you see the image and walk away from the image—and the image is still haunting you,” said Gonzalez-Falla. “It’s like it is saying, ‘Come back, come back.’ And until you do that, you are not satisfied.”

Shared Vision is accompanied by a fully illustrated catalog published by MOCA and produced by Aperture Foundation. This catalog will feature selected photographs from the exhibition, with historical context about each image and the photographer, curatorial remarks from Thompson and Karabinis, and an exclusive interview with the collectors.

This exhibition and supporting public programs are made possible by Sondra Gilman and Celso Gonzalez-Falla; The Haskell Company; Marilyn and Charles Gilman, III; and Joan and Preston Haskell.

This exhibition is supported by AXA Art

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Peroni, Italy, Boston.

2012-02-28T21:43:00.001-05:00

andrewhirodogrøb©

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Andy Warhol: Photographer Photographs from the Hedges Collection

2012-02-28T11:44:00.001-05:00

Sandy Brant, c. 1968 (detail)

Andy Warhol: Photographer
Photographs from the Hedges Collection.

Opening March 1st.
6-8pm.

March 1- April 21

Given how much he is still with us, it is hard to believe that Andy Warhol died 25 years ago. Yet the quarter of a century since his death has only affirmed his artistic genius and prescience. With his paintings now iconic emblems of twentieth century art and his aphorisms and insights now a part of the vernacular it would seem there are few stones in Warhol's oeuvre left unturned – yet his photography remains one of the least known aspects of his work.

This is ironic given how much of Warhol's work was photo based. And as Warhol told an interview in 1963, "The reason I'm painting this way is because I want to be a machine". In Warhol's photography – he became the machine. His photographs present an opportunity not only to see how much he experimented with medium and form, but to understand the vast range of his interests – from the biggest stars to the handsomest boys to the most mundane objects.

Most surprisingly, in the world of multiples that was so much Andy's world and vision, the photographs are nearly always unique. Whether taken in a photo booth, or with a Polaroid, or printed from 35mm negatives, Warhol never editioned or re-printed his photographs.

The exhibition - "Andy Warhol: Photographer" comprised of 143 unique prints is the first gallery show to focus on all the varieties of Warhol's photographic output.

WARHOL'S PHOTOGRAPHS - An appreciation by Christopher Bollen:

Warhol's photographs always were things. While his choice of camera—the Polaroid or the latest 35mm point-and-shoot—belied his interest in jettisoning any technical proficiency (in the same way that the screen-print neutralized the mastery of the brush stroke), Warhol was first and foremost an artist who relied on the camera as a personal recording device. If his paintings largely repel the human presence, his photographs solicit and revere them.

The famous myth about Warhol claiming that he wasn't even in the factory studio when many of his canvases were produced smoke-screens an artist who relied heavily on human contact, who in a sense needed his eye to be present and engaged so much that he often called the camera strapped around his neck his "date" at parties. Warhol's notorious cult of personality traded on his being there, on valuing his own perspective, on the root or constructed character of his subjects, which he glamorized, lampooned, or heroicized based on his own evaluation. Warhol's own photographs undermine the popular notion of Warhol as blank agent.

The Hedges Collection of Andy Warhol photographs covers the range of Warhol's output – from photo-booth portraits to stitched photographs - but it is composed primarily of two distinct inventories of photographic prints. The first are his iconic color Polaroids of celebrities and society figures. The second, lesser known group are the black-and-white 8x10s that are almost diaristic in proposition, detailing personal trips and intimate encounters. Together they etch with dramatic dimension a side of the artist that is still being explored.

Of the former, these close-up, background-free, unremittingly direct portraits of the period's bold-faced names are often misrepresented as mere source work for his screen print portraits (which were Warhol's bread and butter throughout the 1970s and 80s). Among the seductive role-call of celebrities found here are John Lennon, Sylvester Stallone, Carolina Hererra, Dennis Hopper, Liza Minnelli, Diana Ross, along with New York City trannies, and even somber, black-shadowed Polaroids of Warhol himself.

To be sure, Warhol's endless intrigue in the pomp and power of fame gets full play here. Each subject is wrenched out of time, existing in a perfect white vacuum almost reminiscent of imperial Roman busts. In one sense, each individual shot is a fetishistic prize, a compendium of desire, adulation, allure, which gives a sexual frisson in owning and observing this piece of fame. At the same time, Warhol starkly manages to humanize each sitter, reducing him or her to size, weeding out the elaborate trappings of the limelight until there is the haunting sense of a showdown between the persona and the candid mortal staring into Warhol's lens.

As in all of Warhol's best work, the mix of building up and breaking down, of humor, sorrow, and transience infiltrate these portraits. If several of these Polaroids were ultimately used as the basis of screenprint portraits or Interview Magazine covers, it is these final painterly renditions that are ultimately reproducible, endlessly repeatable, and easily disseminated. The single Polaroid with no negative from which to reprint alone exists as the un-reproducible piece in the process. These stand-alone images represent Warhol at his most tangible. He is there, on the other side of the camera, inches from his sitter, plying and encouraging and finding his own judicious angle.

Warhol was one of the most ravenous social animals of the second half of the 20th Century. It is nearly impossible to strip his artistic contribution from the whirlwind of clubs, connections, factory goings-on, and a protracted longing to be at the center of the social storm. The second half of the collection, the black-and-white 8x10s shot on various point and shoot cameras, covers much of Warhol in motion, a roving inquisitor of the 1970s and 80s scene he largely birthed.

In several shots, Warhol can be found sidling up to Yoko Ono, or Martha Graham, or Truman Capote. Not enough can be made of his hungry obsession, documented in these reportage-style shots that would become a provocative photographic style of its own in art and fashion decades later. But alongside these public displays are frozen deeply personal moments, where the camera catches the trajectory of Warhol's emotions, love and beauty, romance and friendship. These photographs are startling accents in the Warhol vocabulary, as much for their sentient aesthetic as for the humanity that underwrites them.

One shot of a beach in Montauk, where the artist kept a second home, revels in the sporadic pattern of footprints, as if the image functions as a corollary to his famous painting of calibrated dance diagrams. In another, a translucent lingerie nightgown hangs from clothespins and sways mournfully in the wind. Several images glimmer Warhol's hope for love, whether indirectly by way of the historic Paramount Pictures archway, which to the abstract audience could be read as Warhol honoring his beloved stars of the studio system, or for the knowing, a silent tribute to his boyfriend Jon Gould, who worked there; or directly, in the shape of a heart scooped out of the snow on a skiing trip in Colorado and framing Gould who seems to be walking away from the emblem. These photographs are not the work of a disinterested mind who felt that making art required merely pressing a button. They showcase a furious, poetic eye who knew that a camera could celebrate the famous and also preserve the simple, silent corners of the world where a real interaction could be made.

- Christopher Bollen

To see some of the images in the show, click here.

Danziger Gallery
527 West 23rd Street
New York, NY 10011
Telephone 212.629.6778
info@danzigergallery.com

Gallery Hours
Monday & Tuesday by appointment
Wednesday to Saturday 11 - 6

See the full gallery on Posterous

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The Old South Meeting House, Boston Or Gull Waits Impatiently

2012-02-26T08:48:00.001-05:00

andrewhirodogrøb©

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Paul Graham: The Present Feb 24, 2012 - Mar 24, 2012

2012-02-24T08:29:00.001-05:00

Photographer Paul Graham’s first solo exhibition at Pace since the gallery announced exclusive representation of the artist in 2011. The show will feature new diptychs shot on the streets of New York that capture moments in the life of the city. The nearly life-sized color photographs will be hung inches from the floor, immersing viewers in the scene. The exhibition follows a 25-year survey of the artist’s work at the Whitechapel Gallery in London.

http://thepacegallery.com/

See the full gallery on Posterous

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Trees of Macri Park #23

2012-02-23T21:55:00.001-05:00

andrewhirodogrøb©

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Barney Rosset Rest In Peace

2012-02-23T20:15:00.001-05:00

Barney Rosset, the flamboyant, provocative publisher who helped change the course of publishing in the United States, bringing masters like Samuel Beckett to Americans’ attention under his Grove Press imprint and winning celebrated First Amendment slugfests against censorship, died on Tuesday in Manhattan. He was 89. (from NY Times)

http://www.nytimes.com/2012/02/23/arts/barney-rosset-grove-press-publisher-dies-at-89.html?_r=1&pagewanted=all%3Fsrc%3Dtp&smid=fb-share

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The Book, L Train Brooklyn Bound.

2012-02-23T17:25:00.001-05:00

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Godzilla Vs Armed Brooklyn News Chopper #brooklyn #williamsburg Brooklyn #L Train # graffiti #dogonpremise

2012-02-20T17:26:00.001-05:00

Taken at L Train Lorimer Stop, Brooklyn NY

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Professionally Treated or Ditrac Bait Blocks EPA # 12455-80, NYC

2012-02-12T02:25:00.001-05:00

andrewhirodogrøb©

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In The Headlights, Daytime Brooklyn. or Bright Light Big City Bike, Brooklyn

2012-02-10T22:10:00.001-05:00

andrewhirodogrøb©

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A Pretty Face in The Cock Pit, LGA NYC

2012-02-10T05:44:00.001-05:00

andrewhirodogrøb©

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Alec Soth Broken Manual. Sean Kelly Gallery NYC

2012-02-09T07:53:00.001-05:00

http://www.skny.com/

http://littlebrownmushroom.wordpress.com/2012/01/30/alec-soth-opening-thursday-feb-2-nyc/

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In Ear, R Train, Between 14th & 8th Street, NYC

2012-02-09T05:17:00.001-05:00

andrewhirodogrøb©

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Take Here, Downtown Brooklyn, NY II

2012-02-04T17:41:00.001-05:00

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Weegee: Murder Is My Business

2012-02-04T17:05:00.001-05:00

at The ICP: January 20–September 2, 2012

http://www.icp.org/museum/exhibitions

For an intense decade between 1935 and 1946, Weegee (1899–1968) was one of the most relentlessly inventive figures in American photography. His graphically dramatic and often lurid photographs of New York crimes and news events set the standard for what has become known as tabloid journalism. Freelancing for a variety of New York newspapers and photo agencies, and later working as a stringer for the short-lived liberal daily PM (1940–48), Weegee established a way of combining photographs and texts that was distinctly different from that promoted by other picture magazines, such as LIFE. Utilizing other distribution venues, Weegee also wrote extensively (including his autobiographical Naked City, published in 1945) and organized his own exhibitions at the Photo League. This exhibition draws upon the extensive Weegee Archive at ICP and includes environmental recreations of Weegee's apartment and exhibitions. The exhibition is organized by ICP Chief Curator Brian Wallis.

http://www.icp.org/

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BILL MORRISON: A MODERN MASTER OF SILENT FILM

2012-02-01T03:46:00.001-05:00

http://www.artsworldfinancialcenter.com/cgi-bin/Go.cgi?q_id=1188&q_category=1

January 31 – February 3, 2012
7:30pm

WFC Winter Garden

View Map

Curated by John Schaefer, host of WNYC Radio’s New Sounds andSoundcheck

Bill Morrison has reinvented the lost art of the silent film–often using decaying footage from old silent movies but also creating his own luminous, evocative world out of new images and new music. This series looks at a selection of Morrison’s major works, all done in collaboration with some of the finest new-music composers. The opening and closing films are shown with live orchestral accompaniment: The Miners’ Hymns features a riveting, brass-heavy score by Icelandic composer Jóhann Jóhannsson, played by the Wordless Music Orchestra; and the grand finale, Decasia, brings the Oberlin Contemporary Music Ensemble to perform Michael Gordon’s score. In between, the new filmThe Great Flood is paired with music by eclectic guitar hero Bill Frisell, andSpark of Being includes an electro-acoustic score by trumpeter and bandleader Dave Douglas.

Film Forum will present additional screenings of Bill Morrison films February 8 – 14. For more information, visit www.filmforum.org.

THE MINERS’ HYMNS
Live music by WORDLESS MUSIC ORCHESTRA
Tuesday, January 31

THE GREAT FLOOD
Wednesday, February 1

SPARK OF BEING
Thursday, February 2

DECASIA
Live music by OBERLIN CONTEMPORARY MUSIC ENSEMBLE
Friday, February 3

Bill Morrison’s Acclaimed Silent Films to be Screened with Live Performances by Wordless Music Orchestra and Oberlin Contemporary Music Ensemble

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Dark Chocolate Shop et al, NYC

2012-02-01T03:42:00.001-05:00

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I L(Heart)NY Plastic Bag Like A Kite In A Tree. Macri Park, Brooklyn

2012-01-31T02:44:00.001-05:00

andrewhirodogrøb©

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Sean Kelly Gallery is delighted to announce the opening of Alec Soth’s new exhibition, Broken Manual. The opening will take place on Thursday, February 2, from 6pm until 8pm. The artist will be present.

2012-01-31T02:33:00.001-05:00

The opening will take place on Thursday, February 2, from 6pm until 8pm. The artist will be present.

http://www.skny.com/

http://littlebrownmushroom.wordpress.com/2012/01/30/alec-soth-opening-thursday-feb-2-nyc/

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A Moon, A Fence And A Streak : by Tony Mirabelli

2012-01-30T20:05:00.001-05:00

Tony Mirabelli©

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New Yorker II, New York NY

2012-01-28T00:17:00.001-05:00

andrewhirodogrøb©

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Maji & The Jockey, Broadway NYC

2012-01-25T00:17:00.001-05:00

andrewhirodogrøb©

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Chief, NYC

2012-01-24T02:35:00.001-05:00

andrewhirodogrøb©

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Tree at Macri Park or Three Orbs Past The Tree of Life, Brooklyn NYC

2012-01-23T23:55:00.001-05:00

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Tokyo Hotel, Chicago Il or Where Have The Snowmen Gone?

2012-01-19T13:16:00.001-05:00

andrewhirodogrøb©

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JEFF WALL DECEMBER 9, 2011 - JANUARY 21, 2012 NEW YORK : MARIAN GOODMAN GALLERY NYC

2012-01-18T11:44:00.001-05:00

For Immediate Release.

Jeff Wall

December 9, 2011 – January 21, 2012
Opening Reception: Friday, December 9th, 6-8 pm

Marian Goodman Gallery is pleased to announce an exhibition of new photographs by Jeff Wall which will open on Friday, December 9th and will be on view through Saturday, January 21st.

The exhibition will present pictures created over the last two years. In these new works the artist continues to address the neo-realist and near-documentary concerns at the core of his practice for the past decades.

In a separate installation, in the adjacent North Gallery Viewing Room, three pictures created in Sicily in the Fall of 2007 will be shown together for the first time.

Over the course of Jeff Wall’s career, his versatile and disciplined approach to the possibilities of the medium of photography to ‘paint modern life’ has resulted in a body of work notable in its attention to composition, scale, color and construction and for its hybrid integration of the documentary and the cinematographic, the ‘street’ and the monumental, two directions he has pursued simultaneously, while being partial to neither.

‘The Crooked Path’ , an exhibition that surveys Jeff Wall’s work from the seventies to today in conjunction with the work of fifty-nine other artists, has just opened at the CGAC, Centro Galego de Arte Contemporanea, Santiago de Compostela, Spain, and will be on view until February 28, 2012. The exhibition was organized by the Palais des Beaux-Arts in Brussels, and opened there in spring of this year.

Jeff Wall’s work has been seen in a number of large solo exhibitions over the past few years. These include ‘Transit’ at the Kunsthalle im Lipsiusbau, Staatlichen Kunstsammlungen, in Dresden in 2010, and ‘Jeff Wall: Exposure’, a special commissioned exhibition of new black & white works in conjunction with earlier works, at the Deutsche Guggenheim, Berlin in 2007. That same year an important retrospective featuring a selection of over 40 works, was shown at The Museum of Modern Art, New York, and travelled to The Art Institute of Chicago and the San Francisco Museum of Modern Art. In 2005, ‘Jeff Wall, Photographs 1978-2004’was seen at the Schaulager, Munchenstein, Basel, for which a catalogue raisonné was published. A related, revised exhibition was shown at Tate Modern, London, for which a complementary catalogue was also published.

Please join us at the opening reception on Friday, December 9th, from 6-8 pm.

For further information, please contact the Gallery at: 212 977 7160.

MARIAN GOODMAN GALLERY
24 WEST 57TH STREET
NEW YORK, NY 10019
TELEPHONE 212-977-7160
FAX 212-581-5187
GOODMAN@MARIANGOODMAN.COM

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Toy Trucks, Chicagoland

2012-01-17T22:50:00.001-05:00

andrewhirodogrøb©

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Burqua Passing, Union Square, NYC

2012-01-14T05:26:00.001-05:00

anndrewhirodogrøb©

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Rat Back In Black [& White], Brooklyn NY ver 4

2012-01-12T04:31:00.001-05:00

andrewhirodogrøb©

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A Truck Grows In Brooklyn, Mack NY

2012-01-11T06:28:00.001-05:00

andrewhirodogrøb©

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Waiting For Not Waiting or Looking Out This Window For Something To Photograph, Chicago, IL

2012-01-09T07:15:00.001-05:00

andrewhirodogrōb©

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O' Christmas Tree, O' Christmas Tree, Brooklyn NY

2012-01-07T19:48:00.001-05:00

andrewhirodogrøb©

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Lonesome Lonesome Lonesome Shack, Seattle Wa

2012-01-04T05:47:00.001-05:00

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Louis V Tight Rope, Seattle Washington

2012-01-04T05:02:00.001-05:00

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Outside / Inside The Madkin, Seattle.

2012-01-02T02:21:00.001-05:00

andrewhirodogrøb©

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Eve of The New Year

2011-12-31T21:51:00.001-05:00

andrewhirodogrøb©

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Cashbag Headman, or Slouching Towards Wall Street, New York

2011-12-31T20:42:00.001-05:00

andrewhirodogrøb©

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911 Memorial Waterfall

2011-12-31T19:55:00.001-05:00

andrewhirodogrøb©

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Java Jive, Araoke Truck and Flag, Tacoma Wa

2011-12-30T19:20:00.001-05:00

andrewhirodgrøb©

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Monk Monster' Finger and Jimmy Stewart

2011-12-30T02:48:00.001-05:00

Infamous 'Yeti Finger' Flunks DNA Test

A finger long claimed to be from a yeti, once revered in a monastery in Nepal and taken in the 1950s by a Bigfoot researcher, has been identified after decades of mystery. Turns out, it's just a regular old human finger — albeit one with a very interesting history.

The yeti is said to be a muscular beast weighing between 200 and 400 pounds and covered with dark grayish or reddish-brown hair. As in the case of its North American counterpart, Bigfoot, most of the evidence of its existence comes from fuzzy sightings, oversize footprints in the snow, or the occasional strand of funny-looking hair.

But there has been one interesting piece of physical evidence of the yeti: a finger that was either bought or stolen from the Pangboche Buddhist monasteryin the 1950s, depending on which disputed story you believe. It has been in London, among the collection of the Royal College of Surgeons, for more than half a century.

The finger was taken from the monastery by Bigfoot researcher Peter Byrne and was smuggled out of the country, so the story goes, by beloved Hollywood actor Jimmy Stewart, who hid it amid his wife's lingerie. The monstrous finger ended up in the possession of Dr. William Osman Hill, who had searched for the yeti in the 1950s on behalf of Texas millionaire Tom Slick; Hill later bequeathed the finger to the Royal College of Surgeons.

The finger has generated controversy among Bigfoot and yeti believers for decades and, until relatively recently, when researchers at the Edinburgh Zoo performed DNA analysis on the mysterious digit, it was impossible to know for certain what kind of animal it belonged to. [Mythical Beasts That Might Actually Exist]

If it is indeed a Yeti finger, then the mysterious beast is even more man-like than anyone imagined. According to the researchers' DNA analysis, the Yeti finger is human, perhaps from the corpse of a monk. But definitely human.

Rob Ogden of the Royal Zoological Society of Scotland explained to BBC News: "We had to stitch it together. We had several fragments that we put into one big sequence, and then we matched that against the database and we found human DNA." The researchers said that the result “wasn’t too surprising, but obviously slightly disappointing.”

It is not the first yeti claim to be debunked by science. In 1960 Sir Edmund Hillary, the first man to scale Mount Everest, searched for evidence of the beast and found a "scalp" that scientists later determined had been fashioned from the skin of a serow, a Himalayan animal similar to a goat.

Earlier this year a team of researchers in Russia claimed to have found "indisputable proof" of the yeti, though so far the evidence has fallen far short of the claims. If populations of yetis really exist, they, like Bigfoot, have somehow managed to avoid leaving any physical traces of their presence: bodies, bones, teeth, hair, or anything else.

This story was provided by Life's Little Mysteries, a sister site to LiveScience.

Benjamin Radford is deputy editor of Skeptical Inquirer science magazine and author of Scientific Paranormal Investigation: How to Solve Unexplained Mysteries. His Web site is www.BenjaminRadford.com.

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Walking In A Winter Wonderland, Centralia Washington

2011-12-30T02:35:00.001-05:00

p89.mov Watch on Posterous

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Bye Bye Birdie. Yard Birds Mall, Chehalis Washington

2011-12-29T17:49:00.001-05:00

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Bye Bye Birdie. Yard Birds Mall, Chehalis Washington

2011-12-29T17:46:00.001-05:00

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Bye Bye Birdie. Yard Birds Mall, Chehalis Washington

2011-12-29T17:19:00.001-05:00

andrewhirodogrøb©

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Bye Bye Birdie. Yard Birds Mall, Chehalis Washington

2011-12-29T17:14:00.001-05:00

andrewhirodogrøb©

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Electric Manger Figures, Centralia Washington

2011-12-25T15:04:00.001-05:00

andrewhirodogrøb©

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Lipstick, Jimi Hendrix Memorial, Renton Washington

2011-12-21T18:42:00.001-05:00

andrewhirodogrōb

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10Lb Meat Sale, Chehalis WA

2011-12-20T21:29:00.001-05:00

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Holiday Hog Head Reindeer, Uwajimaya Seattle

2011-12-16T15:55:00.001-05:00

andrewhirodogrøb©

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The Wedding (The Walker Evans Polaroid Project) w/ Roni Horn at Adrea Rosen Gallery NYC

2011-12-15T17:48:00.001-05:00

The Wedding (The Walker Evans Polaroid Project)

with Roni Horn

Curated by Ydessa Hendeles

December 10, 2011 - January 14, 2012

Prothalamium

The Wedding (The Walker Evans Polaroid Project) is my response to an invitation from the Andrea Rosen Gallery to curate my first exhibition in New York.

The only stipulation was that I include at least one from the series of Polaroid images made by Walker Evans during the last year of his working life. The request to include something by him resonated with me because I had assembled an extensive collection of his black-and-white images 20 years ago, which I showed together with works by contemporary artists in several exhibitions. Positioning archival photography in a contemporary-art setting had actually become central to my practice by 1991.

Otherwise, I was given complete freedom to explore the architectural and cultural context of the Andrea Rosen Gallery, just as Chris Dercon and Thomas Weski allowed me to explore Munich's Haus der Kunst for my 2003 show, Partners. In my practice, my approach is to develop a site-specific work, conceiving and executing each show as an artistic embodiment of the particular exhibition space. I start with the context and search for ways to develop a relationship with it that is expressed through layered metaphorical connections. I use an artistic process to create a site-specific curatorial composition that interweaves narratives from disparate discourses using disparate elements. These elements are in no way aligned art historically, and I regard each as a fundamental component of the composition that bears no substitution, not even from the same body of work.

I have never come into the Andrea Rosen Gallery without feeling the majesty of the cathedral-like architecture of its main gallery. The ceiling, in particular, with its magnificent skylight and dark brown loft planks sloping down to a strong supporting steel structure, lifts the eye.

But how to show Evans's small Polaroids in such a monumental space? My curatorial challenge was in part to find a means of negotiating between the physical space and the scale of the Polaroids, but also to fully respect the content of the humble but masterful Polaroids.

Ultimately, the problem inspired the solution. I decided to make a show that focused on Evans's photographs of architectural structures and details. Each image is one of a filmic suite of pictures snapped sequentially and precisely composed. Each records the photographer's engagement as he circled his subjects, capturing them in a succession of portraits. He found something curious and engaging from every angle in the inventory of everyday dwellings. I noticed that all the Polaroids of architecture showed buildings with their windows covered by blinds and shutters or, when abandoned, with no windows at all. Evans shot his vernacular subjects with his characteristic combination of curiosity, persistence and detachment.

The Wedding (The Walker Evans Polaroid Project) ultimately came to include: 83 Walker Evans Polaroids; elements from Bird, a body of work by Roni Horn made between 1998 and 2007; a collotype from Eadweard Muybridge's 1887 Animal Locomotion series; a photograph of c1900 Paris by Eugène Atget; a 19th-century French model of a cooper's shop, with tools to scale; a large, 19th-century English birdhouse; and a selection of early 20th-century American Arts and Craft Movement furniture, including original and custom-replications, designed by Gustav Stickley.

A list of components, however, like a roster of artists, indicates little about the content of any of my shows. My exhibitions are meant to be poetic rather than didactic, amalgamating diverse individual works and objects into a coherent whole. A curatorial composition has its own unity and point of view, like an individual work in any artistic medium. Individual artworks and objects stand in specific relationships to each other, both in terms of their physical placement and their cognitive consonance, dissonance and resonance. Their form and the medium in which each is made, as well as the places in which they are set, provide opportunities for viewers to mine them individually and together for meaning, knowledge and insight.

The Wedding (The Walker Evans Project) is a direct function of my own intellectual and experiential engagement with specific artworks in tandem with the space. But while my shows always start from something that resonates in my own experience, they should not be taken as autobiographical. I am especially allergic to hearing that my curatorial practice is autobiographical since this mistaken focus on my back-story—or, indeed, that of the artists included—short-circuits the experience conveyed by the works and by the exhibition. An artwork is a manifestation of an artist's worldview. My role, as I see it, is to grasp something significant in a work of art and then position it in a way that brings its insights to the foreground.

I do not develop a thesis for a show and then find and fit objects into the space as illustrations. I consider the locale for each show carefully—physically, geographically and as a specific cultural place—and look for ways to stage the art as I perceive it and as I think it might resonate best for viewers in that particular context. Each object, of course, has its own history and narrative, but my goal is to reveal fresh insights into the objects exhibited as individual entities and as components of the exhibition. My aim is to mediate between the exhibition space and viewers to reveal multiple layers of meaning in the works and something significant about the locale.

Creating an exhibition is a public act that transcends the interests of the individual curator who created it. I make exhibitions for other people to see and benefit from by provoking their own critical-creative engagement. The autonomous elements on display have dual roles - as fixtures that pin down the cultural-diagnostic content of the works in their original historical context, and as paradigms that function as provocative contemporary-art gestures in a contemporary-art gallery. My shows are designed and constructed to offer viewers a challenging and visceral opportunity, through contemporary art and non-art objects, to reflect not only on the components of the exhibition, but also on their own experience of and engagement with the objects individually and in the way they are assembled. I trust viewers to be receptive and bring their own perspectives to bear on what they encounter in my shows. I hope for an audience that is comfortable with metaphor and willing to look beyond the obvious thematic links to think about what they see.

I do not provide an essay that interprets what I have assembled. I don't try to interpret the work for viewers. Instead, because the elements extend outside the arena of contemporary art, I put together "Notes" that contain all that is required for a thoughtful viewer to experience the work without having to be a connoisseur in the various disciplines of the pieces on display. They can then move to the level of metaphor and meaning more easily without being told how to think.

Ydessa Hendeles

Toronto

November 2011

ANDREA ROSEN GALLERY

525 West 24 Street

New York, NY 10011

T: 212 627 6000

ANDREA ROSEN GALLERY

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Chopper Memorial, Tacoma or The Last Ride

2011-12-13T04:47:00.001-05:00

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After Image Space Needle, Seattle

2011-12-10T15:32:00.001-05:00

andrew hirodo grøb©

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Marine BLDG, Chicago Re-dux Again 2011

2011-12-04T01:36:00.001-05:00

andrewhirodogrøb©

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Lit Trees, Rosemont , Il

2011-12-03T18:32:00.001-05:00

andrewhirodogrøb©

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From Here to Eternity III

2011-12-02T01:02:00.003-05:00

andrewhirodogoøb©

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From Here to Eternity III

2011-12-02T01:02:00.001-05:00

andrewhirodogoøb©

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Through The Window Glass Again, Again and Again. NYC.

2011-12-02T00:20:00.001-05:00

andrewhirodogrøb©

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Pulling Into Chicagoland For Your Safety, Chicago.

2011-11-28T21:58:00.001-05:00

andrewhirodogrøb©

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The Coming of Bruce, Williamsburg Brooklyn. or Soon.

2011-11-28T21:45:00.001-05:00

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Tree Truck, Christmas Comes To Williamsburg Brooklyn 2011

2011-11-26T03:16:00.001-05:00

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From The Warehouse, Chicago

2011-11-23T05:49:00.001-05:00

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Where One Is When One Is Where One is Going When In Brooklyn.

2011-11-22T04:06:00.001-05:00

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dog dog !!, Baltimore

2011-11-17T06:02:00.001-05:00

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It Is What It Is, Brooklyn Curb, Again

2011-11-17T05:54:00.001-05:00

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E. Balitmore Street ReDux III

2011-11-16T11:31:00.001-05:00

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Jack at Bamontes, Broooklyn

2011-11-12T00:51:00.001-05:00

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Chelsea, NYC

2011-11-11T02:11:00.001-05:00

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Walking Towards Downtown Anaheim

2011-11-10T02:58:00.001-05:00

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New York VS. Pittsburgh or Big Red Hair II, Upper Westside NYC

2011-11-07T09:38:00.001-05:00

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Red, Pittsburgh 11/11

2011-11-05T23:12:00.001-04:00

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Aperture Gallery : PRINTING SHOW—TKY Daido Moriyama Organized by Ivan Vartanian of Goliga

2011-11-05T01:22:00.001-04:00

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Aperture Gallery : PRINTING SHOW—TKY Daido Moriyama Organized by Ivan Vartanian of Goliga

2011-11-05T01:12:00.001-04:00

See the full gallery on Posterous

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Aperture Gallery : PRINTING SHOW—TKY Daido Moriyama Organized by Ivan Vartanian of Goliga

2011-11-04T14:46:00.001-04:00

Friday, November 4, 6:00–9:00 pm
Saturday, November 5, 12:00–3:00 pm
Saturday, November 5, 5:00–8:00 pm
Exhibition on view:
Monday, November 7–Saturday, November 12, 2011

PRINTING SHOW is a recreation of Daido Moriyama's 1974 performance of the same name. Following the format of the original performance as closely as possible, in lieu of prints mounted on the gallery walls, visitors to the gallery will find the photographer stationed at a photocopy machine duplicating his photographic prints. As was done forty years ago, these photocopied sheets will be assembled and staple-bound with a silk-screened cover printed in the gallery space during the performance.

In 1974, the ad hoc photobook that resulted from this process, Another Country—New York, featured images from a trip Moriyama had made to New York in 1971. The photobook, which was produced as ephemera for the performance, has since become a rare collector's item. In the 2011 recreation, the work featured will include a selection of images made in Tokyo over the last fifteen years.

Visitors to the gallery will be active collaborators in the photobook-making process. In 1974, the photographer sequenced and collated the photocopied sheets, leaving the choice of silkscreen cover to the visitor. In 2011, the visitor will select, edit, and sequence the sheets of the ad hoc photobook, titled TKY. Visitors will choose from a menu of fifty-four double-sided photocopied sheets that will be on view in the gallery space. Visitors will also make a choice of cover. All copies made during the performance interval will be signed by the photographer.

PRINTING SHOW—TKY embodies and addresses fundamental issues impacting the landscape of photobook publishing, as well as the communication of ideas in a post-digital era.

Daido Moriyama has been publishing and exhibiting his photography since the late 1960s, with a bibliography of over 300 monographs to his name. A major retrospective, Daido Moriyama: Stray Dog, originated in 2000 at the San Francisco Museum of Modern Art, and subsequently toured internationally to the Metropolitan Museum of Art and Japan Society in New York, Fotomuseum Winterthur in Switzerland, and numerous other venues. He is a recipient of the Cultural Award of the Deutsche Gesellschaft für Photographie. Exhibitions include a major retrospective, On the Road, presented at the Osaka National Museum of Art from June to October 2011, and William Klein/Daido Moriyama at Tate Modern from October 2012 to January 2013.

This is a ticketed event. Cost of the ticket allows participation in the eventPRINTING SHOW and one copy of TKY, a signed and numbered photobook by the artist.

Following the 2 day ticketed event an exhibition of the TKY images will be on view and open to the public.

Presented by Aperture Foundation and organized by Ivan Vartanian of Goliga, PRINTING SHOW—TKY is made possible, in part, with support from David Solo; The Japan Foundation, New York; Hôtel Americano, New York; and Performa 11.

Tickets are available for both day and evening sessions on Friday, November 4, and Saturday, November 5, 2011. 150 tickets are available per given day. These times are non-transferable.

Purchase includes:
One copy of TKY
Admission to event for two people

TERMS:
1. Tickets are non-refundable.

2. Purchase of one ticket entitles one copy of TKY and admission for up to two people to event session.

3. You or a designated attendee must be physically present in order to receive your book. Each ticket holder will be allowed to purchase one copy ONLY.

4. Tickets for book purchase ONLY are NOT available.

5. Additional copies of TKY may be available for purchase after the event at an increased price. Sign up here to be notified.

6. Attendees are not permitted to bring previously purchased books for signature by Daido Moriyama.

All of the above guidelines will be strictly adhered to; no exceptions allowed.

Call (212) 505-5555 for additional information.

Additional copies of TKY may be available for purchase after the event at an increased price. Sign up here to be notified.

Click here to purchase tickets to the event Friday, day session 2–4 pm

Click here to purchase tickets to the event Friday, evening session 6–9 pm

Click here to purchase tickets to the event Saturday, day session 12–3 pm

Click here to purchase tickets to the event Saturday, evening session 5–8 pm

See the full gallery on Posterous

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I in Anaheim. or Really Big Sign and I as Signifier., CA.

2011-11-02T23:42:00.001-04:00

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minnie. Anaheim Ca.

2011-11-02T23:37:00.001-04:00

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After The Season

2011-10-16T00:53:00.001-04:00

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I'm posting via email!

2011-10-12T10:11:00.001-04:00

Send us a photo from the email you registered with, and we'll resize and post it. Send a video, we'll convert it for viewing on the web. Documents get embedded. We do all the hard work. Send us anything, we'll make it look great.

Greetings From Bucolic Schaumburg IL
dogonpremise.wordpress.com
AndrewHirodoGrob.com

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Doll Face, Williamsburg ver2. from the N10-S10 Street Project

2011-10-08T18:03:00.001-04:00

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Over Chicagoland or Alternate Route Weather Related, 2011

2011-10-06T02:55:00.001-04:00

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At There, Brooklyn NYC.

2011-09-26T05:33:00.001-04:00

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There. Nice. Brooklyn, NYC

2011-09-26T05:32:00.001-04:00

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How Are Things On The West Coast, Broadway NYC.

2011-09-25T02:47:00.001-04:00

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Untitled

2011-09-24T02:39:00.001-04:00

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Hilliard Wildlife, Chicago IL or Chicago Bunny

2011-09-21T09:03:00.003-04:00

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Hilliard Wildlife, Chicago IL or Chicago Bunny

2011-09-21T09:03:00.001-04:00

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Welcome To Chinatown! Chicago

2011-09-20T20:39:00.001-04:00

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Hilliard Apartments Family and Senior Living, Southside Chicago, Il

2011-09-20T17:16:00.001-04:00

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Window Glass, Cincinnati Ohio.

2011-09-18T02:46:00.001-04:00

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After Party -- Honorable Mention -- and Pug, Brooklyn.

2011-09-18T00:11:00.001-04:00

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"Open Your Oaths" Andrew H.Grøb

2011-09-15T17:10:00.001-04:00

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.50¢ Parking, Covington Kentucky

2011-09-15T00:28:00.001-04:00

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_______________dogonpremise

This Is The End of The End III, Subway DuPont Circle DC

This Is The End of The End III, Subway DuPont Circle DC

Subway Holeway Enter II, DuPont Circle, DC

Subway Holeway Enter II, DuPont Circle, DC

DuPont Circle Subway, DC

Chinatown, DC or Gate Gate.

Chinatown, DC or Gate Gate.

John Hancock Memorial, Granary Burying Ground, Boston

SHARED VISION: The Sondra Gilman and Celso Gonzalez-Falla Collection of Photography

SHARED VISION: The Sondra Gilman and Celso Gonzalez-Falla Collection of Photography

Opening Reception: Tuesday, March 6, 6:00–8:00 pm

Exhibition on View: Friday, March 2–Saturday, April 21, 2012

Peroni, Italy, Boston.

Andy Warhol: Photographer Photographs from the Hedges Collection

The Old South Meeting House, Boston Or Gull Waits Impatiently

Paul Graham: The Present Feb 24, 2012 - Mar 24, 2012

Trees of Macri Park #23

Barney Rosset Rest In Peace

The Book, L Train Brooklyn Bound.

Godzilla Vs Armed Brooklyn News Chopper #brooklyn #williamsburg Brooklyn #L Train # graffiti #dogonpremise

Professionally Treated or Ditrac Bait Blocks EPA # 12455-80, NYC

In The Headlights, Daytime Brooklyn. or Bright Light Big City Bike, Brooklyn

A Pretty Face in The Cock Pit, LGA NYC

Alec Soth Broken Manual. Sean Kelly Gallery NYC

In Ear, R Train, Between 14th & 8th Street, NYC

Take Here, Downtown Brooklyn, NY II

Weegee: Murder Is My Business

BILL MORRISON: A MODERN MASTER OF SILENT FILM

Dark Chocolate Shop et al, NYC

I L(Heart)NY Plastic Bag Like A Kite In A Tree. Macri Park, Brooklyn

Sean Kelly Gallery is delighted to announce the opening of Alec Soth’s new exhibition, Broken Manual. The opening will take place on Thursday, February 2, from 6pm until 8pm. The artist will be present.

A Moon, A Fence And A Streak : by Tony Mirabelli

New Yorker II, New York NY

Maji & The Jockey, Broadway NYC

Chief, NYC

Tree at Macri Park or Three Orbs Past The Tree of Life, Brooklyn NYC

Tokyo Hotel, Chicago Il or Where Have The Snowmen Gone?

JEFF WALL DECEMBER 9, 2011 - JANUARY 21, 2012 NEW YORK : MARIAN GOODMAN GALLERY NYC

Toy Trucks, Chicagoland

Burqua Passing, Union Square, NYC

Rat Back In Black [& White], Brooklyn NY ver 4

A Truck Grows In Brooklyn, Mack NY

Waiting For Not Waiting or Looking Out This Window For Something To Photograph, Chicago, IL

O' Christmas Tree, O' Christmas Tree, Brooklyn NY

Lonesome Lonesome Lonesome Shack, Seattle Wa

Louis V Tight Rope, Seattle Washington

Outside / Inside The Madkin, Seattle.

Eve of The New Year

Cashbag Headman, or Slouching Towards Wall Street, New York

911 Memorial Waterfall

Java Jive, Araoke Truck and Flag, Tacoma Wa

Monk Monster' Finger and Jimmy Stewart

Infamous 'Yeti Finger' Flunks DNA Test

Walking In A Winter Wonderland, Centralia Washington

Bye Bye Birdie. Yard Birds Mall, Chehalis Washington

Bye Bye Birdie. Yard Birds Mall, Chehalis Washington

Bye Bye Birdie. Yard Birds Mall, Chehalis Washington

Bye Bye Birdie. Yard Birds Mall, Chehalis Washington

Electric Manger Figures, Centralia Washington

Lipstick, Jimi Hendrix Memorial, Renton Washington

10Lb Meat Sale, Chehalis WA

Holiday Hog Head Reindeer, Uwajimaya Seattle

The Wedding (The Walker Evans Polaroid Project) w/ Roni Horn at Adrea Rosen Gallery NYC

Chopper Memorial, Tacoma or The Last Ride

After Image Space Needle, Seattle

Marine BLDG, Chicago Re-dux Again 2011

Lit Trees, Rosemont , Il

From Here to Eternity III

From Here to Eternity III

Through The Window Glass Again, Again and Again. NYC.

Pulling Into Chicagoland For Your Safety, Chicago.

The Coming of Bruce, Williamsburg Brooklyn. or Soon.

Tree Truck, Christmas Comes To Williamsburg Brooklyn 2011

From The Warehouse, Chicago

Where One Is When One Is Where One is Going When In Brooklyn.

dog dog !!, Baltimore

It Is What It Is, Brooklyn Curb, Again

E. Balitmore Street ReDux III

Jack at Bamontes, Broooklyn

Opening Reception:
Tuesday, March 6, 6:00–8:00 pm

Exhibition on View:
Friday, March 2–Saturday, April 21, 2012

Friday, November 4, 6:00–9:00 pm
Saturday, November 5, 12:00–3:00 pm
Saturday, November 5, 5:00–8:00 pm
Exhibition on view:
Monday, November 7–Saturday, November 12, 2011