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Pace Gallery’s Marc Glimcher surveys an Asian art scene in flux

Pace Gallery’s Marc Glimcher surveys an Asian art scene in flux

“I’m the worst secret keeper in the world,” Pace Gallery CEO Marc Glimcher confided in Seoul, where he was in town for the Frieze art fair being held last week.

The jet-setting art dealer — who recently visited Hong Kong and mainland China — formally announced on Tuesday the opening of a new gallery in Tokyo next year, finally confirming long-swirling rumors that were on occasion stoked by the CEO himself.

“So the reason everyone’s asking me about Japan is because I’m talking to everybody about it. Like ‘What do you think about Japan? Am I crazy?’” he said of the conjecture in the media over the past few years.

Dorset photographer reflects on Twin Towers collapse

Dorset photographer reflects on Twin Towers collapse
Twin Towers on firePhil Penman

A photographer has described how the Twin Towers collapsed before his eyes.

Phil Penman from Briantspuddle, Dorset captured more than 500 photos of the catastrophic event in New York on 11 September 2001.

The attack saw Islamic Extremists al-Qaeda seize US passenger jets and crash them into the World Trade Centre, killing thousands of people.

Marking the 22nd anniversary of 9/11, Mr Penman said he remembered seeing the tragedy unfold through his camera lens.

Phil Penman holding a camera

Phil Penman

Mr Penman had recently moved from Los Angeles to New York City to work as a photographer.

On that particular Tuesday, he was expecting to have a day off – until his phone rang.

“It was just a voice message saying ‘Phil, I realise it’s your day off but you might want to go and check this out’,” he said.

Two people covered in ash

Phil Penman

Relatively new to the streets of New York, Mr Penman documented the city’s tragedy, taking around 500 photos.

Recounting the event, he said: “So I’m looking up, taking pictures of the building and all of a sudden the building just starts coming down, whilst you’re looking through the lens.”

“It was getting closer and closer in the lens and some fireman ran past me, grabbed me and said ‘run’.”

One of the photos Mr Penman took was of Joanne Capestro, who had just escaped the North Tower.

When the pair were later introduced, Mr Penman said she broke down.

“She told me ‘you don’t know how much your picture helped me because a lot of people never believed me’.”

photographer and bride

Phil Penman

In 2018, Ms Capestro contacted the photographer and asked him to take her wedding photos.

“The way that she describes it is that I photographed her on the best day of her life, and the worst day of her life,” he said.

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MONOTYPES – e-flux Agenda

MONOTYPES – e-flux Agenda
Kunsthalle Zürich and Edition VFO (Association for Original Print) are working in partnership to present the exhibition MONOTYPES, which will be on view at Kunsthalle Zürich from September 20 to 24.

Seeking Artist-in-Residence and Head of Print Media Department – e-flux Education

Seeking Artist-in-Residence and Head of Print Media Department – e-flux Education
Cranbrook Academy of Art, ranked nationally as one of the top graduate programs in art, architecture, and design, is now accepting applications for the Head of Department and Artist-in-Residence (faculty) in Print Media. This position requires a forward-facing vision for the department that embraces an expansive range of perspectives, from traditional forms of image-making and reproduction to digital processes and experimental methodologies. The Academy seeks a candidate with a broad technical background in printmaking, a commitment to interdisciplinarity, and a strong understanding of the role of print media within contemporary art and culture.

The Center for Native Futures Art Gallery Grand Opening Set for This Weekend in Chicago

The Center for Native Futures Art Gallery Grand Opening Set for This Weekend in Chicago

CHICAGO — The Center for Native Futures, a fine arts organization operated by Chicago-based Native American artists, will have its grand opening for its art gallery in the heart of downtown Chicago this coming weekend.

Located across the street from the Calder’s Flamingo sculpture at Federal Square, at 56 West Adams, the Center for Native Futures (CfNF) will open its doors to the public on Saturday, September 16, 2023 at 4 pm – CDT. The grand opening celebration will last until 7 pm – CDT and will resume on Sunday at 12 noon until 4 pm – CDT. (Note: A private reception will be held for the Native American community at 3 pm – CDT).

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The new art gallery promotes Native arts, artists, and writers, who have been culturally displaced and underrepresented through exhibitions, residencies, programs, conferences, and partnerships. By offering a platform for these artists and writers, CfNF also challenges the definition and assumptions of “Native Arts” and encourages Indigenous Futurists.

“This initiative has been a long time coming and the outpour of support is a clear indication that the city wants more contemporary Native art,” Monica Rickert-Bolter (Prairie Band Potawatomi Nation), CfNF’s co-founder and director of operations said. “CfNF is an investment in the community and a reaffirmation of the need for Indigenous artists for future generations.”

Debra Yepa-Pappan and Monica Rickert-Bolter. two of the co-founders of the Center for Native Futures. (Photo/Levi Rickert)

The inaugural “Native Futures” exhibition promises to showcase the creative brilliance of more than a dozen established and emerging Native artists hailing from the Great Lakes region. This impressive collection will include works by CfNF co-founders Noelle Garcia, Kelly Church, Jason Wesaw, Tom Jones, Holly Wilson, John Hitchcock, Camille Billie, June Carpenter, Codak Smith, Le’Ana Asher, Dakota Mace, Ji Hae Yepa-Pappan, Chelsea Big Horn, Lydia Cheshewalla, Hattie Lee, and the TIES poets. Additionally, the event will shine a spotlight on women-owned businesses and feature a special guest performance by Lakota hip-hop artist Frank Waln.

“We’re designing a foundation for working with Native artists and exhibiting their artwork within Chicago,” Debra Yepa-Pappan (Jemez Pueblo), CfNF’s Co-Founder and Director of Exhibition & Programs elaborated. “Indigenous Futurism isn’t only limited to science fiction; through art, we’re turning visions into reality.”

The art gallery’s mission is to champion Native arts, artists, and writers who have historically been marginalized or displaced. This is accomplished through exhibitions, residencies, programs, conferences, and partnerships. By providing a platform for these talented individuals, CfNF aims to challenge preconceived notions of “Native Arts” and inspire Indigenous Futurists.

The co-founders of CfNF, who are accomplished artists and writers themselves, include Andrea Carlson (Ojibwe), Debra Yepa-Pappan (Jemez Pueblo), Chris Pappan (Kanza/Osage/Lakota), Monica Rickert-Bolter (Potawatomi), Patrick Del Percio (Cherokee descent), and River Kerstetter (Wisconsin Oneida). Each of them has revitalized their respective cultural practices, preserving traditional art forms while seamlessly integrating modern materials and styles into their work.

Founded in 2020, the art center has hosted virtual artist talks and poetry readings, advised institutions and organizations, and nurtured artists within the Urban Native Community. In partnership with the Terra Foundation for American Art and MacArthur Foundation.

The art gallery will be open to the public Wednesday through Friday from 10 am to 6 pm and Saturday from 10 am to 2 pm.

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PITT ARTS holds its tenth annual Arts Fest

PITT ARTS holds its tenth annual Arts Fest
Zoey Yost, a senior data science major, attended the annual PITT ARTS festival for the first time on September 8. Over the sound of the Steeltown Horns in the background, she said she was enthusiastic about the activities while standing in line to screen print a tote bag. “I’ve walked past the festival before and…

Mundelein painter is CLC’s first artist-in-residence

Mundelein painter is CLC’s first artist-in-residence

The College of Lake County is expanding its approach to the arts with its first artist-in-residence, Mundelein-native Cristina Chopalli. She is one of four artists showing works at “Home,” the fall art exhibition on display through Sept. 21 in the Robert T. Wright Gallery of Art at the college’s Grayslake Campus.

Chopalli always knew she’d create art. After getting her master’s in fine arts degree in creative writing, her method was originally supposed to be through words. After graduating, she began writing a memoir and traumatic parts became difficult for her to write. So, she paused the project and turned to painting.

With no formal training, Chopalli soon entered her paintings for gallery exhibitions and made it her full-time career. Her paintings feature layers of brightly colored acrylic paints, overlapping together to form familiar shapes and figures with bold lines. She says she’s always surprised by what she finds in the paint.

“The sprawling canvas fills with colors, movement and joy,” Chopalli said about her latest painting. “After a couple of hours, the colors and shapes enter into a meditative flow and combinations blossom.”

Chopalli describes her work as intuitive. She starts by painting what she feels without overthinking it. Many of her works come to her during meditation or in a dream.

As an artist-in-residence, Chopalli set up her art studio at CLC’s Grayslake Campus. She has a number of works in the exhibition, but the one she’s creating during her residency at CLC is wider than she is tall, bursting with colors and organic shapes.

        
        
        
        
        
        
        
        
        
        
        
        
        
        
        
        
        
        
        
        
        
        
        
        

Along with the opportunity to showcase her work, Chopalli has enjoyed her time at CLC because she has the chance to speak to interested students about her work and their career goals.

“I enjoy exchanging thoughts on all types of art with college students and faculty who stop by while I work,” Chopalli said.

“I’m hopeful to have a good variety of my work together because it really has a collective narrative. When people see my work, for me, what’s important is that they find whatever it is that they’re looking for. There is not just one message or right or wrong.”

“The “Home’ exhibition offers a diverse group of artists with unique takes on the metaphorical idea of home,” art gallery curator Ann Rintz said.

“It features nonobjective, abstract and realistic art by four artists of various backgrounds and at different stages of their creative careers. I find that diversity creates a more dynamic exhibition.”

The other artists taking part in the exhibition include Taehoon Kim, Michael Litewski and Ilse Miller.

Gallery hours are 8 a.m. to 9 p.m. Monday through Thursday, 8 a.m. to 6 p.m. Friday and 9 a.m. to 3 p.m. Saturday.

The Gamble and Reward of Seascape Photography

The Gamble and Reward of Seascape Photography

As a seasoned seascape photographer, I’ve learned that capturing the beauty of the ocean is a thrilling yet unpredictable pursuit. Each time I venture to one of my favorite locations, Ballycotton Lighthouse, I’m reminded of the gamble that is seascape photography.

It’s a game where nature holds all the cards, and the outcome is never guaranteed. However, when it all comes together, the rewards are beyond measure, making every risky moment worthwhile.

Ballycotton Lighthouse, nestled on the southern coast of Ireland, has been a muse for countless photographers, including myself. Its unusual black façade rising out of the tumultuous waters of the Celtic Sea creates a mesmerizing contrast, a beacon of serenity amidst the chaos of nature. On this particular trip, my anticipation was heightened. I had heard whispers of an approaching Saharan dust storm, promising to infuse the air with a surreal and ethereal quality. The potential for otherworldly photographs was tantalizing, and I couldn’t resist the urge to make the journey once again.

The Unpredictable Elements

As I arrived at Ballycotton, I was met with a sight that both excited and concerned me. The lighthouse stood tall against the vibrant blue sky, a far cry from the expected hazy atmosphere created by the Sahara dust. Nature had thrown a curveball, and I found myself at the mercy of its whims. This unexpected twist in the weather was a stark reminder of the gamble inherent in seascape photography. Despite meticulous planning and research, Mother Nature has the final say. Weather forecasts can only provide a glimpse of what might be, leaving photographers like me to rely on instinct and experience to adapt to the ever-changing conditions. This is particularly true here in Ireland as our weather forecasts can change minutes before what was predicted.

Setting the Stage

Undeterred by the absence of the anticipated Sahara dust, I decided to proceed with my planned compositions. The lighthouse, perched on the horizon, on the rocky shoreline, still held its timeless allure. I knew that even without the unique atmospheric conditions, there was a chance to capture something special. I set up my camera, carefully considering the composition. The lighthouse served as the focal point, and I left just enough space in the frame for the incoming tide to play its part. Seascape photography often requires patience, as the perfect shot can take time to materialize. I was prepared to wait, to witness the transformation as the water gradually filled the blank space, creating a dynamic and captivating scene.

The Magic of Long Exposures

As the tide began to rise, I turned my attention to long exposures — a technique that has become one of my signatures in seascape photography. With the camera mounted on my sturdy tripod and a neutral density filter attached to the lens, I allowed for extended exposure times. This artistic choice creates a mesmerizing effect, smoothing out the water’s surface and blurring the movement of the clouds (if any), resulting in dreamlike, almost surreal images.

I dialed in the settings, calculating the perfect balance of shutter speed and aperture. It was a delicate dance between capturing the motion of the ocean and maintaining the sharpness of the lighthouse. Each click of the shutter was a calculated risk, an attempt to freeze a moment in time that would never occur again in quite the same way.

Embracing the Unpredictable

As I waited, capturing long exposure shots, I couldn’t help but reflect on the unpredictable nature of seascape photography. In this pursuit, patience is not just a virtue—it’s a necessity. The tides ebb and flow, the clouds shift and disperse, and the light evolves with each passing minute. Every frame I captured was a testament to the dynamic and ever-changing environment that is the ocean. Using the jagged rocks that thankfully grace the shoreline, I was able to capture some nice shots even before I had any light as such.

The Gamble Pays Off

As the sun began its descent toward the horizon behind me, I shifted my approach. I switched to shorter exposures, around 0.5 seconds, to capture the fast-moving waves crashing against the rocks. Composing my shots in advance of any approaching water was a key item here. I had some great textures and colors in the scene — the rocks looked like they belonged on a different planet.

It was in those moments that the gamble of seascape photography began to pay off. Despite the absence of the Saharan dust and the unpredictable weather, the raw beauty of Ballycotton Lighthouse shone through. The incoming water arrived just in the nick of time, before the light faded and prevented me from catching a crashing wave right at my feet at my preferred exposure time of 0.5 seconds. Each frame told a story, a testament to my perseverance and a reminder that nature’s unpredictability can yield unexpected treasures.

The Rewards of Seascape Photography

The gamble had turned into a victory. The photographs I had captured—both long exposures and short ones—were a testament to the ever-changing, unpredictable, and awe-inspiring nature of seascape photography. The rewards of seascape photography are not just in the images themselves but in the journey to capture them. It’s about immersing oneself in the elements, embracing the uncertainty, and finding beauty in the unexpected. It’s about honing one’s skills, trusting one’s instincts, and seizing the fleeting moments when the elements align just right. Even when the conditions don’t play the game you had hoped, there was still a game as such and just being there was enough for me.

Conclusion

In the world of seascape photography, every trip is a gamble, an adventure into the unknown where nature holds the cards. As a seasoned seascape photographer, I’ve learned to accept this unpredictability as an integral part of the craft. It’s a reminder that even the best-laid plans can be disrupted by the ever-changing forces of the ocean and the sky.

But it’s precisely this unpredictability that makes seascape photography so rewarding. When it works out, when the elements align in that perfect moment, the resulting images are a testament to the beauty and power of the natural world. Each photograph becomes a piece of art as such, a frozen slice of time that captures the essence of the ocean’s ever-shifting moods.

So, as I packed up my gear and headed back from Ballycotton Lighthouse that evening, I couldn’t help but smile. The gamble had paid off, and I had a collection of stunning photographs to show for it. It was a reminder that in the world of seascape photography, the risk is part of the thrill, and the rewards are worth every roll of the dice. This is why I love it I guess.