Category Archives: PHOTOGRAPHY

CYPRIEN GAILLARD

CYPRIEN GAILLARD—ROOTS CANAL is an exhibition of the films, photographs, and sculptures by the artist—mostly from the last five years—that “describe and evoke the perpetual destruction, preservation, and reconstruction of [our] urban spaces.”*

The show includes Gaillard’s excavator heads—on view in Europe for the first time—and the Sober City Polaroid series.

CYPRIEN GAILLARD—ROOTS CANAL*

Through May 5.

Museum Tinguely

Paul Sacher-Anlage 2, Basel.

From top: Cyprien Gaillard, Sober City (Jackie Robinson & Pee Wee Reese), 2015 (detail); Cyprien Gaillard, Nightlife, 2015 (still); Cyprien Gaillard, King Island Stubtail, 2013; Cyprien Gaillard, Nightlife, 2015 (still); Cyprien GaillardKOE, 2015 (still). Images © Cyprien Gaillard, courtesy the artist, Sprüth Magers, and Gladstone Gallery.

CARRIE MAE WEEMS — PAST TENSE

“As much as I’m engaged with it, with violence, I remain ever hopeful that change is possible and necessary, and that we will get there. I believe that strongly, and representing that matters to me: a sense of aspiration, a sense of good will, a sense of hope, a sense of this idea that one has the right, that we have the right to be as we are.” — Carrie Mae Weems*

The timeless themes of political power, social justice, gender oppression, and valiant persistence are brought to life in a modern context in PAST TENSE, Carrie Mae Weems’ multimedia take on Antigone.

Combining music, spoken word, video, and projected images, PAST TENSE—presented this week in Los Angeles by CAP UCLA—includes works by poet Carl Hancock Rux and composer Craig Harris, and will be performed by Weems, Eisa Davis, Francesca Harper, David Parker, Imani Uzuri, and Alicia Hall Moran, who brought the house down at Disney Hall earlier this week in Bryce Dessner’s Triptych.

CARRIE MAE WEEMS—PAST TENSE

Friday, March 8, at 8 pm.

Theatre at Ace Hotel

929 South Broadway, downtown Los Angeles.

*Megan O’Grady, “Carrie Mae Weems,” T: The New York Times Style Magazine, October 21, 2018, 140.

From top: Carrie Mae Weems, Past Tense, in performance; Past Tense production photographs (2) by William Strugs; Carrie Mae Weems, portrait by Jerry Klineberg; Past Tense, in performance with, from right, Alicia Hall Moran, Imani Uzuri, and Eisa Davis. Images courtesy CAP UCLA.

BRYCE DESSNER’S TRIPTYCH PREMIERE

In TRIPTYCH (EYES OF ONE ON ANOTHER), composer and guitarist Bryce Dessner of The National has collaborated with playwright Korde Arrington Tuttle, the LA Phil New Music Group, Roomful of Teeth, videographer Simon Harding, lighting designer Yuki Nakase, and the Robert Mapplethorpe Foundation for an musical-visual investigation into the ways the photographer’s works “compel an audience’s complicity and characterizes them in the act of attention.”*

Tuttle’s libretto integrates the poetry of Mapplethorpe detractor Essex Hemphill and advocate Patti Smith, and the featured vocalists for this world premiere are Isaiah Robinson and Alicia Hall Moran, the latter of whom will perform later this week in Carrie Mae WeemsPast Tense at the Theatre at Ace Hotel.

TRIPTYCH is directed by Kaneza Schaal and conducted by Sara Jobin. Music direction is provided by Brad Wells.

BRYCE DESSNER

TRIPTYCH (EYES OF ONE ON ANOTHER)*

Tuesday, March 5, at 8 pm.

Walt Disney Concert Hall

111 South Grand Avenue, downtown Los Angeles.

From top: Bryce Dessner, photograph by Shervin Lainez; Robert Mapplethorpe, Dorothy Dean, © Robert Mapplethorpe Foundation; Korde Arrington Tuttle, courtesy of the artist; Robert Mapplethorpe, Alistair Butler, 1980, © Robert Mapplethorpe Foundation. Images courtesy LA Phil and the Robert Mapplethorpe Foundation.

LAGERFELD AT GALERIE GMURZYNSKA

HOMAGE TO KARL LAGERFELD—30 YEARS OF PHOTOGRAPHY celebrates the voracious image-making practice of the late designer and publisher.

HOMAGE TO KARL LAGERFELD—30 YEARS OF PHOTOGRAPHY

Through May 15

Galerie Gmurzynska

Talstrasse 37, Zürich.

From top: Karl Lagerfeld, Gone with the Wind, 1996; Karl Lagerfeld, Untitled, 1996; Karl Lagerfeld, Series Eiffel-Turm, 2010; Karl Lagerfeld, Lüstern aber schüchtern, Serie Hommage an Lyonel Feininger, 1997. Images courtesy Galerie Gmurzynska.

THE YOUNG AND EVIL

“Dinner with Paul Cadmus in the Village. He showed me a hundred drawings or more; the nakedest and least disinterested are the best, particularly those of Jared French. Until lately they have shared this apartment, an oddly un-American interior; good shabby antiques; a quantity of books and music, charming evidence of self-education. Late in the evening a youth named Lloyd Goff, who was Paul’s assistant, wandered in, at his ease, sleepy, perhaps tipsy. Soon he threw himself on the couch and fell asleep… Paul and I talked and talked, reminiscence and theory, in that particular mood of ours, or of his: smiling relaxation, solemn boyish idealism, who knows what else…

“Goff then woke up and undertook to say goodnight, but the next thing I knew, there he lay again, sprawled face down on another couch, his clothes all drawn on the bias and tight upon his very fine little back and buttocks. At last I gave up whatever impulse it was that had kept me so late. Paul fondly accompanied me to the subway. Perhaps, he said, he would make a drawing or two before he went to bed; our talk had been so stimulating, and a sleeping model suits him…” — Glenway Westcott, 1937*

Falling between last year’s Nick Mauss: Transmissions at the Whitney and next month’s Lincoln Kirstein’s Modern at MOMA, THE YOUNG AND EVIL—curated by Jarrett Earnest at David Zwirner—looks at the between-the-wars Neorealist-Romantic circles around the artists Jared French, his lover Paul Cadmus, his wife Margaret Hoening French (collectively known as PaJaMa), Cadmus’ sister Fidelma—who was married to Kirstein—Bernard Perlin, Pavel Tchelitchew, George Tooker, and Jensen Yow.

Taking its title from the 1933 collaborative novel by art critic Parker Tyler and poet Charles Henri Ford (Tchelitchew’s lover), the exhbition features never-before-exhibited photographs—many from the Kinsey Institute—rarely seen major paintings, sculptures, drawings, and ephemera of this American Bloomsbury, which included Katherine Anne Porter and the ménage à trois of writer Glenway Westcott, publisher Monroe Wheeler, and George Platt Lynes, who photographed (and often modeled for) them all.

THE YOUNG AND EVIL exhibition catalogue will be published later this year by David Zwirner Books, featuring new scholarship by Ann Reynolds and Kenneth E. Silver.

THE YOUNG AND EVIL

Through April 13.

David Zwirner

533 West 19th Street, New York City.

*Continual Lessons: The Journals of Glenway Westcott, 1937–1955, edited by Robert Phelps with Jerry Rosco (New York: Farrar, Straus, Giroux, 1990), 8–9.

Also see: By With To & From: A Lincoln Kirstein Reader, edited by Nicholas Jenkins (New York: Farrar, Straus & Giroux, 1991).

From top: Paul Cadmus, Stone Blossom: A Conversation Piece, 1939–1940, Museum of Fine Arts, Boston, Juliana Cheyney Edwards Collection and Seth K. Sweetser Fund, © 2019 Estate of Paul Cadmus / Artists Rights Society (ARS), NY; Paul Cadmus, Monroe Wheeler, 1938, © 2019 Estate of Paul Cadmus / Artists Rights Society (ARS), NY; Jared French, Murder, 1942, courtesy the Pennsylvania Academy of the Fine Arts, Philadelphia, John D. Phillips Fund; Fidelma Cadmus Kirstein, Two Women, circa 1930–1939; Pavel Tchelitchew, Portrait, 1935; Pavel Tchelitchew, The Lion Boy, 1936–1937, private collection, New Jersey; Pavel Tchelitchew, George Platt Lynes, circa 1937–1942; Paul Cadmus, Shore Leave, 1933, Whitney Museum of American Art, New York, gift of Malcolm S. Forbes, © 2019 Estate of Paul Cadmus / Artists Rights Society (ARS), NY.