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Beginning November 26, 2021 and ends December 31, 2021.
Past Exhibition
Darkroom Masters
Music Was The Room She Lived In
Music Was The Room She Lived In
The Studio
Music was the room she lived in
Light slept in its afternoon windows
or grew dizzy, rolling down the storm’s height.
Outside, in the traffic of other people’s needs.
she clutched it in her spirit like a rosary.
Sometimes she stayed away too long.
Then the door terrified her
with its metal handshake. She entered,
a stranger now, until some minor task
graced her with the precious tedium of belonging.
Music was the room she lived in.
Its hours were not chasmed.
There, her loneliness lounged comfortably
like a sister. Forgiven at last.
by Dalt Wonk
Photoisms
A hallucinatory sensation or vision of light
Le Diable Au Corps (Devil in the Flesh)
There exists a long history in art of depicting
pain and suffering as devils in the flesh – Goya
Blake Bosch. These images are simply my version
of that metaphor
Those Who Dance
“…those who dance were called insane by those who could not hear the music”
– Nietzsche
This series is an homage to Nahui Olin (b. Carmen Mondragon), the muse, artist, poet, social rebel and great beauty of Mexico in the 1920s – a woman who mesmerized the artists of the period – Diego Rivera, Dr. ATL, and Edward Weston among others – with her extraordinary beauty, her intelligence, and her extravagant uninhibited behavior.
a precocious free spirit who believed in the power and the beauty of herself as a woman
a woman who considered her body the shape of her spirit and refused to hide it.
a woman who loved passionately and to extremes.
a woman who lived her sexuality freely and without prejudices.
a woman who bowed to no man or woman and courageously lived her life as she saw fit.
a woman who loved art, poetry, sex, cats, flowers, Paris, the sea and the sun.
a woman whose eyes spoke volumes.
a woman of poetic delusions.
a woman whom the social elite declared insane and thereby erased
Josephine Sacabo: THOSE WHO DANCE are called insane by those who cannot hear the music- Nietzsche
ZOOM Virtual Opening for: Josephine Sacabo: Those Who Dance
THOSE WHO DANCE
“…those who dance were called insane by those who could not hear the music” – NIETZSCHE
–
This series is an homage to Nahui Olin (b. Carmen Mondragon), the muse, artist, poet, social rebel and great beauty of Mexico in the 1920s – a woman who mesmerized the artists of the period – Diego Rivera, Dr Atl, and Edward Weston among others – with her extraordinary beauty, her intelligence, and her extravagant, uninhibited behavior.
a precocious free spirit who believed in the power and the beauty of herself as a woman.
a woman who considered her body the shape of her spirit and refused to hide it.
a woman who loved passionately and to extremes.
New Orleans Photographers Celebration!
2020 VISION: Elliott Erwitt and Henri Cartier-Bresson, A Tribute Show to The Greatest Eyes
Richard Sexton: Enigmatic Stream
Josephine Sacabo: Moments of Being
MOMENTS OF BEING
What would such an inexperienced soul do without
the solution that a body had been”
-Clarice Lispector
Snapshots of the life within.
Echoes of thoughts and feelings expressed in the only terms I really understand which are those of light and shadow and the softening of edges.
The things expressed have already happened. Here they are remembered tenderly, in the repose of passion.
Josephine Sacabo
View Moments of Being Exhibition
Structures of Reverie
Photographs by Josephine Sacabo
10 x 12 1/2 inches, 60 pages
28 photographs including two triple-page foldouts
Cover: foil-stamped hardcover
Binding: Smythe sewn
Paper: 170 gr Munken Pure
Published by Luna Press 2019
Printed by Oddi Printing Corporation
ISBN 978-0-9896095-8-6
Mary McCartney: From the Print Drawer
May 5, 2019
FOR IMMEDIATE RELEASE
A Gallery For Fine Photography
241 Chartres St. New Orleans, LA 70130
info@agallery.com, 504-568-1313
Mary McCartney: From the Print Drawer
On View: May 23- August 1, 2019
A Gallery for Fine Photography is pleased to present, From the Print Drawer, a collection of thirty pigment prints by contemporary artist Mary McCartney. McCartney hand picked this astounding survey of her personal favorites. From the Print Drawer will be on view May 23 – August 1, 2019.
About Mary McCartney: Born in London in 1969, Mary McCartney’s photographic work has focused on discovering those rare moments of unguarded, emotionally charged intimacy that offers us a new insight to the subject. Her work has concentrated on the world of portrait and candid reportage photography and is suffused with a deep personal investment that captures the creative chemistry between Mary and her subjects. She responds to her wide variety of subjects as spontaneously as they are studied, thanks to her distinctive style and talent for encapsulating the inspirations, vulnerability, histories and personalities of her subjects.
McCartney’s exhibitions and publishings include “Off Pointe”: an in-depth photographic study of the Royal Ballet after hours, with a selection of works are available to view as part of the permanent collection at the Victoria and Albert Museum, London (2018) and first shown at the Royal Opera House, London (2004). “British Style Observed,” at the National Portrait Gallery and Michael Hoppen Gallery (2010). The two volume book “Monochrome Colour” was published by GOST (2014), with a concurrent exhibition at 3 Grafton Street, London, curated by de Pury de Pury. In (2015) Mary’s “Mother Daughter” exhibition was first shown at the Gagosian Gallery in NYC, later the same year Mary was chosen to take the official photograph of Her Majesty the Queen to mark the occasion of her becoming the longest reigning Monarch in history. Continuing her study of the unseen Mary captures a behind the scenes study of Mary Rylance as Olivia in the play Twelfth Night and his ensemble cast pre, during, and post performance – the books title: “Twelfth Night 15.12.13” as quoted by Mark “The study is a rare peep backstage that Mary has captured so spontaneously”. (2018) saw the publication of ‘The White Horse’ with Rizzoli International USA, a collection of intimate pictures that convey the profound connection that binds people to these majestic animals. ‘The White Horse’ exhibition premiered at the esteemed Berggruen Gallery (2018). Mary’s latest body of work is titled ‘Paris Nude’ a collection of never-before-seen nude photographs and the first full series of nudes in Mary’s distinguished career. “Paris Nude” was published by HENI(2019).
Timothy Duffy: Super Spirit
Timothy Duffy Artist Statement
Many of the musicians I photograph are not famous. In fact, most of them were not easy to find. Primarily, they are senior African American roots musicians born of the South. Their ancestors were among the earliest to arrive to our country and many claim a fair portion of native blood. They have some of the deepest roots in this country, but their America was certainly not the land of the free. Plenty of bravery was required of them, and despite their ancestral culture being oppressed and forbidden for centuries, the succeeding generations rose up singing.
As individuals and artists, their experiences are wide-ranging and varied. The broad diversity of their musical styles and content reflect this variety of experience. As performers, they use all of the tools at their disposal: instruments, vocals, words, rhythms, body movements, clothes and hair styles to communicate their uniqueness. They want you to know they are sophisticated and unpretentious, worldly and rural, down to earth and soaring with the stars. Mostly, they are keenly aware of the treasure of music they inherited from the elders who taught them and feel duty-bound to pass it on to the next generation. Knowing the camera lens is a conduit to the audience of posterity, they continue to open their homes to me and come to my studio, submitting to long photographic sessions in order to deliver the goods.
The cultural goods they carry straddle three centuries of American life: the agrarian world of the nineteenth century, industrialization of the twentieth, and technology of this new digital millennium. As do the photographic processes I use to present them here. The past is complicated for Americans but the struggle cannot be eradicated by averting our eyes from it. That we are suspended in time when viewing these portraits dares us to reckon with our past and present in terms of racial equity and societal progress. I intend that this work honor the significant contributions these creative, resourceful and hard-working people have made throughout these three centuries and continue to make today.
Ben Depp: Tide Lines
TIDE LINES
This work is part of my ongoing project documenting the rapidly shifting landscape of southern Louisiana. I have been flying above the bayous and wetlands of southern Louisiana in a powered paraglider for five years, photographing visual clues that tell the story of this place and its destruction. With a powered paraglider, I can fly between ten and five thousand feet above the ground. I spend hours in the air, camera in hand, waiting for the brief moments when the first rays of sunlight mix with cool predawn light and illuminate forms in the grass, or when evening light sculpts fragments of marsh and the geometric patterns of human enterprise – canals, oil platforms, pipelines and roads.
In my photographs, one can make out varieties of plants, see the weather and seasonal changes – from the shifting high- water line, color temperature and softness of light, to what is in bloom, distinguish living cypress trees from those that have been killed by saltwater intrusion, or see the patterns made by wave energy on barrier island beaches.
This intimate view of Louisiana from a birds-eye perspective prompts me – and I hope, others – to see and understand this landscape in new ways and to reexamine my relationship to the environment that surrounds me.
Birney Imes: Found These Pictures
Early 2018, as I was approaching retirement as publisher of the newspaper that has been in my family now for four generations, I began to think again about the photography I had done almost 30 years earlier.
Fueled by curiosity and nostalgia for that time in my life, I delved into my 35mm archive, my earliest photographic efforts. This led to further examination of later black-and-white work made with a twin-lens medium format camera.
There I “discovered” an image I’d made in 1979 of a young boy tossing a rock into the air. Looking at the negative over the light table, I fell in love again with this medium, not only its ability to preserve a moment in time, but how it can distill magic from the everyday.
As I continued to look, I found other simple, straightforward compositions I had passed over in favor of more complex, layered arrangements. It was as though there was another body of work waiting to be discovered.
My love for these new images is partially rooted in a craving for simplicity, something I think comes with age. I am also affected by the opportunity they provide to revisit this time and these places and be reminded of the grace and generosity the subjects of these images shared with me back then.
ABOUT BIRNEY IMES
For more than 20 years in the 1970s and 80s, Birney Imes roamed the countryside of his native Mississippi photographing the people and places he encountered along the way. Working in both black and white and color, Imes’s photographs take viewers inside juke joints and dilapidated restaurants scattered across that landscape. There he introduces the viewer, as one writer put it, “to the strange and marvelous qualities of these local gathering spots.”
Imes’s photographs have been collected in three monographs: Juke Joint, Whispering Pines, and Partial to Home, and have been exhibited in numerous solo shows in the United States and Europe. His work is included in the collections of the Museum of Modern Art and the Metropolitan Museum of Art in New York, The Art Institute of Chicago, The Bibliotheque Nationale in Paris and many public and private collections worldwide.
Keith Carter:All the Beautiful Imperfect Things
I came of age during the turbulent Sixties and Seventies. My experiences have led me to make photographs exploring the mythos of time and terrain, the familiar, the magical, and the varied creatures that inhabit our earth. I think of them as a visual diary, as well as meditations on time, place, memory, desire, and regret.
Over the years my explorations have included the use of the traditional chemical darkroom, arcane historical processes, as well as the contemporary digital world. In doing so I have tried to examine both the history of photography, vernacular culture, and our own shared natural histories.
NOW (RECENT WORK)
NOW (RECENT WORK), features a selection of new images from one of the most innovative photographers of the last half-century, Jerry Uelsmann. Renowned for his revolutionary multiple exposure printing technique, where multiple negatives and enlargers are employed in the darkroom and several images are fused to create a single photograph, Uelsmann’s images blend the familiar with the abstract to create surreal and dreamlike compositions. This selection of new photographs – all created in the last three years – shows the legendary artist continuing to push the boundaries of the photographic medium, as he has throughout the course of a long and illustrious career.
Although Uelsmann’s photographs have long been concerned with exploring the human condition, NOW (RECENT WORK) shows the artist delving deeper into himself. Images like the startlingly heartfelt Questions of Self provide an intimate and unguarded window into the psyche of an artist whose work has for decades left viewers pondering existential riddles within themselves. Many images in this exhibition (such as Memory Door, The Riddle of Now, and Self Doubt) are products of a creative and intellectual dialogue between Uelsmann and Swedish art history scholar Moa Petersén, a fruitful collaboration that yields some of the exhibition’s most evocative imagery. Exploring deeply human themes of loss, self-love, and transcendence, NOW (RECENT WORK) reveals an artist long renowned for his highly conceptual images embracing the personal. At 84 years old, Uelsmann’s creative fire burns hotter than ever, as he continues each day to re-examine both his art and himself.
Heretic
Our work for the past 15 years has used photography as the primary medium and the door to the experiments we’ve undergone. With Heretic we are using photography as an ingredient in a surrealistic based genetic recombination. We have used a glut of materials throughout our work. These elements – blood, wax, resin, gold, charcoal – have been integral as the underpinning of idea and underscoring of the photograph. The materials now are used as a statement rather than a substrate.
Our characters in Heretic are still Southern Gothic by nature and now in form: blurry, damaged, delusional but with a thread of dark humor. These subjects and materials are at times irrational, supernatural, transgressive and impulsive. Heretic is not so much about telling a story as it is an exploration of image and marks being made by an unreliable narrator. We are using beauty as rebellion and creating a space for the viewer between anarchy and form.
It’s like losing yourself while staring into the campfire.
TAGGED
TAGGED
Walking the graffiti gauntlet from my house to my studio I am confronted by a lexicon of rampant misogyny, violence and sexual insults. The messages may be verbal but their effects are visceral. We are being ‘TAGGED’ – as hos, bitches, and worse, but I am not that woman.
Why have women become the targets of the rage and frustration expressed? Why are women bearing the consequences for injustices they have not committed? Where are the graffiti messages by women meant for men?
I do not have the answers to these questions, all I have are these images of what it feels like to be a woman walking these streets. And in this I know I am not alone.
– Josephine Sacabo