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Tag Archives: Collier Schorr

ORLANDO AT APERTURE

“Virginia Woolf wrote Orlando in an attitude of celebration of the oscillating nature of existence. She believed the creative mind to be androgynous. I have come to see Orlando far less as being about gender than about the flexibility of the fully awake and sensate spirit…

“Where I once assumed it was a book about eternal youth, I now see it as a book about growing up, about learning to live.” — Tilda Swinton*

ORLANDO—the Aperture exhibition inspired by Woolf and curated by Swinton—features the work of Zackary Drucker, Lynn Hershman Leeson, Paul Mpagi Sepuya, Jamal Nxedlana, Elle Pérez, Walter Pfeiffer, Sally Potter, Viviane Sassen, Collier Schorr, Mickalene Thomas, and Carmen Winant.

ORLANDO

Through July 11.

Aperture Gallery

547 West 27th Street, 4th floor, New York City.

From top: Photographer unknown, Virginia Stephen in 1912, photograph sent to Leonard Woolf; Lynn Hershman Leeson (2), Rowlands/Bogart (Female Dominant), 1982, from the series Hero Sandwich, hand-painted collage, and Roberta Getting Ready to Go to Work ,1976, photograph of Roberta Breitmore, Leeson’s alter ego in a multiyear performance piece that lasted throughout the 1970s, both courtesy and © the artist and Bridget Donahue, New York; Mickalene Thomas (2), Untitled #3 (Orlando Series) and Untitled #4 (Orlando Series), both 2019 for Aperture, courtesy and © the artist and Yancey Richardson Gallery, New York, (Untitled #4 is a portrait of Thomas’ partner, Racquel Chevremont); Jamal NxedlanaFAKA Portraits, Johannesburg, 2019, for Aperture, courtesy and © the artist; Walter Pfeiffer, untitled, 2009, courtesy and © the artist and Art + Commerce, Artists Rights Society, New York, and ProLitteris, Zürich; Collier Schorr, untitled (Casil), 2015–18 (2), courtesy and © the artist and 303 Gallery, New York; Carmen WinantA melon, a pineapple, an olive tree, an emerald, a fox in the snow, 2019, for Aperture, courtesy and © the artist, (artwork incorporates a photograph of Woolf’s lover Vita Sackville-West); Zackary DruckerRosalyne, 2019, for Aperture, courtesy and © the artist and Luis De Jesus, Los Angeles.

VINCE ALETTI’S ISSUES

Who better than Vince Aletti to organize and aggregate a virtual tour of his massive and coveted collection of periodicals into the pages of a deluxe art book?

Something like this awaits the readers of ISSUES, a new publication from Phaidon.

The book includes work by Diane Arbus, Corinne Day, Richard Avedon, Cecil Beaton, Edward Steichen, Toni Frissell, Irving Penn, Horst, Collier Schorr, Inez Van Lamsweerde, Vinoodh Matadin, Bill Cunningham, and Cindy Sherman.

VINCE ALETTI—ISSUES: A HISTORY OF PHOTOGRAPHY IN FASHION MAGAZINES (London: Phaidon, 2019).

From top: Horst P. Horst, Vogue, June 1, 1940, cover model Lisa Fonssagrives; Melvin Sokolsky, Harper’s Bazaar, March 1963, model Simone D’Aillencourt; Vince Aletti‘s apartment, photographed by Jason Schmidt, courtesy of the photographer and Phaidon; Corinne Day, The Face, July 1990, model Kate Moss.

CONTEMPORARY ART AND WALTER BENJAMIN’S ARCADES

Benjamin’s Arcades Project—the notes for which he left with Georges Bataille before killing himself on the Pyrenees in 1940 after leaving Nazi-occupied France—was made up of thirty-six folders on such subjects as “Fashion,” “Mirrors,” “Panorama,” “Dream City and Dream House,” and “Flâneur,” (a term Benjamin popularized). For THE ARCADES exhibition, curator Jens Hoffman (assisted by Shira Backer) has brought together works by Walead Beshty, Andrea Bowers, Chris Burden, Walker Evans, Lee Friedlander, Andreas Gursky, Pierre Huyghe, Mike Kelley, Collier Schorr, Cindy Sherman, Taryn Simon, and James Welling.

THE ARCADES: CONTEMPORARY ART AND WALTER BENJAMIN, through August 6.

THE JEWISH MUSEUM, 1109 Fifth Avenue, at 92nd Street, New York City.

thejewishmuseum.org/exhibitions/the-arcades-contemporary-art-and-walter-benjamin

 

*David Wallace, “Walter Benjamin’s Unfinished Opus, Revisted Through Contemporary Art,” The New Yorker, May 9, 2017:

newyorker.com/culture/culture-desk/walter-benjamins-unfinished-magnum-opus-revisited-through-contemporary-art

A view of The Arcades: Contemporary Art and Walter Benjamin, at the Jewish Museum. Artwork, all by Adam Pendleton: Black Dada Reader (wall work #1), 2016; what is…?/Chagall (study), 2017; Dada Dancers (study), 2016.
Photograph by Will RagozzinoSocial Shutterbug

SELF SERVICE — THE LAST POLAROIDS

About a year ago, Paolo Roversi and Ezra Petronio developed a project to “share our stock of remaining outdated Polaroid film with a few artists and photographer friends to do a project and call it The Last Boxes.”*

The results have just been published in the 46th issue of Petronio’s SELF SERVICE. The Spring/Summer 2017 issue is a mix of new and old, and includes the work of Robert Frank, Guy Bourdin, Nobuyoshi Araki, Bruce Weber, Collier Schorr, Peter Beard, Carlo MollinoCraig McDean, and Peter Lindbergh.

A back-of-the-book section includes additional Polaroids by Edward Enninful, M/M Paris, India Mahdavi, Fabian Baron, Saskia de Brauw, Julien d’Ys, Kate Moss, Alasdair McLellan, Snowdon, Susan Koller, David Sims, and more.

 

SELF SERVICE 46THE LAST BOXES

Spring/Summer 2017.

*Ezra Petronio, Self Service 46.

Above: Ezra Petronio.

Below: Self-Service 46: The Last BoxesFaretta photographed by Paolo Roversi. Styling by Joe McKenna, hair by Julien d’Ys, fashion by Prada. Image credit: Self-Service.