Wednesday, February 1, 2017

Matthew Kolodziej's Paintings on View at Moss Arts Center at Virginia Tech


 ARTISTS AND ARCHITECTURE: 
PROJECTION/CONVERGENCE/INTERSECTION 
James Casebere Amy Casey Dionisio González Candida Höfer 
Matthew Kolodziej Jean-François Rauzier Jennifer Williams 
This exhibition is supported in part by a gift from 
Dr. Charles Y. Davis and Mrs. Carole C. Davis. 
January 19–April 1, 2017 
All galleries

Given the pivotal role and great influence that architecture plays in the human experience, it is not surprising that some artists have found it to be a rich medium to probe—figuratively and thematically—as they explore and attempt to understand the world in which we live. In every society architecture has in some way reflected the ideals, practices, and beliefs of the people who live, work, and worship in the buildings of their towns and cities, and throughout history, the greatness of civilizations has to a significant extent been established by architectural achievements. As life in the 21st century is increasingly centered in urban and metropolitan areas, the role of architecture and the architectural aesthetics of our homes, workplaces, and civic buildings assumes ever more importance. Architecture determines to a great degree what our visual experience is—what we see and what we are surrounded by in our daily lives. 
This exhibition features a selection of large-scale works by exemplary emerging artists, as well as some of the most acclaimed national and international artists of our times who inventively engage aspects of architecture in their creative endeavors. Spanning the practices of photography, painting, installation art, and works on paper, the artists in this exhibition project, converge, and/or intersect architectural images and ideas into visually arresting and conceptually layered works of art while addressing underlying issues of history, memory, and place.
Candida Höfer’s resplendent and breathtaking photographs delve into history, bringing into sharp focus architectural splendors of the past. Her magnificent interiors of grand libraries, palaces, opera houses, and theatres reference human achievement of the highest order, yet are devoid of human presence. Infused with this uncanny yet profound paradox, these extraordinarily works signify far more than literal representations of place.
James Casebere too speaks eloquently to history as well as to memory and place in his stunning large-scale photographs of Thomas Jefferson’s most acclaimed architectural achievement—Monticello. Casebere represents Jefferson’s interiors as gorgeous dreamlike spaces flooded with light and shimmering pools of water. But in a conceptual twist on both history and reality, what he portrays in these photographs is not real. These hauntingly beautiful works are created with table-top models that the artist builds, lights, and photographs, essentially reinventing and reconstructing Jefferson’s iconic architectural spaces. “Everything l photograph is a fabrication,” Casebere says. “There’s nothing ‘real’ in my work. I am interested in how photography creates and reconstructs reality.”
Amy Casey’s meticulously detailed acrylic paintings on paper or panel also “reconstruct” the built environment into wild representations of reality. Her fascination with cities and “urbanscapes” is conveyed in these works by surreal clusters of houses whirling in space, precariously suspended at the brink of impending disaster. Less concerned with phenomenology than Casebere, Casey’s depictions of a teetering, chaotic world elicit a very real socio-economic commentary on the uncertain state of affairs in 2009 during the midst of a recession and housing bust. In Hold On, a painting from 2016, elements are more firmly interconnected and bound together, conveying struggle but also resilience and endurance in the face of continuing and pervasive uncertainty.
Jean-François Rauzier’s monumental photographs, or “hyperphotos,” as he terms them, are gigantic, hyper-realistic photographic reconstructions of architectural locations, ranging from the galleries at the Metropolitan Museum of Art in New York to the halls of Versailles, France. Taken from multiple angles and distances, each of his compositions is made up of hundreds and often thousands of digitally composed and reconstructed images with unusually high resolutions. What this achieves is a visual language of extraordinary detail that allows the viewer to zoom in on the most minute details in the midst of vast scale. Compounding the complexity of these works is how the artist juxtaposes, duplicates, and manipulates images to create “hyper-real” architectural fantasies where the real and unreal collide.
Amy Casey

More elusive and steeped in richly tactile, almost viscous surfaces are Matthew Kolodziej’s abstract canvases. His paintings are initially based on his perceptions and documentation of actual archeological and/or architectural sites that he photographs, renders into computer drawings, reconstructs conflating multiple points of view, and then projects onto canvas as a foundation for thick, densely layered paintings. The results are a complexity of tenuous, ever-shifting spatial perspectives that seem to alternate between expansion and contraction, creation and destruction, stability and chaos. In these mesmerizing paintings Kolodziej explores the archaeology and architecture of space, metaphorically probing sites of construction, demolition, transition, and catalytic change.
Realistically depicted and anchored in specific locations are Dionisio González’s stunning panoramic vistas of Vietnam’s Halong Bay in the Gulf of Tonkin. Situated along the spectacular coastline in northern Vietnam, this formerly isolated geographic area is inhabited mainly by impoverished,once secluded people living in houseboats on the water. González captures the extraordinary beauty of this area in expansive digital photographs, into which he interjects imaginary modern and contemporary architectural structures. Likewise, in the Brazilian slums of González’s Favela (2004-2007)series the artist creates the same kind of hypothetical intervention, digitally reconstructing photographic space to comment on the significance of place, social inequities, the collision of global cultures, or, as the artist suggests, a reimagining of possibilities or future utopias.
This projection, convergence, and intersection of architectural images into alternate pictorial realities also characterizes Jennifer William’s site-specific photographic installation, Blacksburg Unfurled (2016-2017). Created specifically for this exhibition and based on the history, architecture, and community of Blacksburg, this 120-foot long mural installation is composed with hundreds of photographs that the artist took of architectural sites and historic locations in town. She then digitally altered, reconstructed, and composed the architectural images into a dynamic photomontage printed on Photo-tex in a wildly imaginative reconfiguration of the built environment that speaks to history, memory, and place.
By incorporating architectural images and ideas in their work, the artists in this exhibition, from James Casebere to Jennifer Williams, engage in collapsing real and fictive imagery, and in so doing, uncover a depth of ideas and perspectives about our world, both past and present. Large in scale and visually seductive, their art takes the intersection of architecture and life as a platform to explore, ponder, and heighten awareness of a variety of ways that architecture and the built environment impact the human experience. 
Margo Ann Crutchfield
Curator at Large
ON THE COVER:

Works in the Exhibition
James Casebere
Born in 1953, East Lansing, Michigan
Lives and works in New York City
jamescasebere.com
Green Staircase #4, 2002-2003
Digital chromogenic print mounted to Plexiglass
89 1/2 x 71 1/2 inches 
Edition of 5 with 2 APs
© James Casebere
Courtesy of the artist and Sean Kelly, New York
Monticello #1, 2001
Digital chromogenic print mounted to Plexiglass
90 x 72 inches 
Edition of 5 with 2 APs
© James Casebere
Courtesy of the artist and Sean Kelly, New York
Monticello #3, 2001
Framed digital chromogenic print mounted to dibond
Photograph: 46 1/2 x 58 inches; framed: 49 7/16 x 60 15/16 x 2 inches 
Edition of 5 with 2 APs
© James Casebere
Collection of Sue Stoffel, New York
Amy Casey
Born in 1976, Erie, Pennsylvania
Lives and works in Cleveland, Ohio
amycaseypainting.com
Hold On, 2016
Acrylic gouache on paper
30 x 30 inches
Courtesy of the artist and Foley Gallery, New York
Expansion, 2009
Acrylic on paper
42 x 54 inches 
Collection of John C. Williams
Courtesy of ZG Gallery, Chicago
Keeping It Together, 2009
Acrylic on paper
36 x 50 inches
Collection of Cynthia Prior and James Gascoigne
Courtesy of ZG Gallery, Chicago
Dionisio González
Born in 1965, Gijón, Spain
Lives and works in Seville, Spain
dionisiogonzales.es
Works courtesy of the artist and Galerie Richard, New York/Paris
New Halong I, 2013 
59 x 118 inches 
C-print, diasec, mounted on dibond and aluminum 
Edition 3/7 + 2 A/P
Halong V, 2009 
39 1/3 x 118 inches 
C-print, diasec, mounted on dibond and aluminum 
Edition 1/2 of 2 A/P 
Nova Acqua Gasosa II, 2004
32 2/3 x 98 .inches 
C-print, diasec, mounted on dibond and aluminum 
Candida Höfer
Born in 1944, Eberswalde, Germany
Lives and works in Cologne, Germany
artnet.com/artists/candida-höfer
Works courtesy of Sean Kelly, New York
Catherine Palace Pushkin St. Petersburg III, 2014
C-print
72 7/16 x 84 1/4 x 1 3/4 inches framed
Edition of 6 with 3 APs 
© 2016 Candida Höfer, Köln/VG Bild-Kunst, Bonn
Courtesy of Sean Kelly, New York
Teatro di Villa Mazzacorati di Bologna II, 2006
C-print
80 7/8 x 103 x 2 1/8 inches 
Edition of 6 with 3 APs 
© Candida Höfer, Köln/VG Bild-Kunst, Bonn
Courtesy of Sean Kelly, New York
Jennifer Williams
Born in 1972, Elizabeth, Pennsylvania
Lives and works in Brooklyn, New York
jennifer-williams.com
Blacksburg Unfurled, 2016-2017
Site-specific Photo-tex installation 
Two sections, each 7 x 60 feet
Courtesy of the artist and Robert Mann Gallery, New York
Matthew Kolodziej
Born in 1967, Charlottesville, Virginia
Lives and works in Akron, Ohio
mattpaint.com
Works courtesy of the artist 
and Charles Solway Gallery, Cinncinati, OH
Proper, 2016
Acrylic on canvas
72 x 79 inches
Geode, 2016
Acrylic on canvas
72 x 79 inches
Effervescent, 2016
Acrylic on canvas
42 x 49 inches
Boston, 2014 
Acrylic on canvas
72 x 79 inches
Jean-François Rauzier
Born in 1957
Lives and works in Paris, France
rauzier-hyperphoto.com/en
Works courtesy of the artist and Waterhouse & Dodd, New York/London
The Met, 2014
C-type print
58 x 98 inches
Made in New York, 2013
C-type print
58 x 98 inches
Jennifer Williams
Blacksburg Unfurled, 2016-2017 (detail)
Photo text installation
Two sections, each 7 x 60 feet
Courtesy of the artist and 
Robert Mann Gallery, New York
Jennifer Williams, Blacksburg Unfurled, 2016-2017 (detail), photo text installation, Two sections, each 7 x 60 feet, courtesy of the artist and Robert Mann Gallery, New York
General Information
Admission to galleries and exhibition-related events is free.
Gallery Hours
Tuesday–Friday, 10 AM–5:30 PM
Saturday, 10 AM–4 PM
Also on View:
Diana Cooper: HighWire, 2016
Grand Lobby
For more information about exhibitions and events:
@artscenteratvt use #attheMAC
/artscenteratvt
@artscenteratvt use #attheMAC

www.artscenter.vt.edu

Monday, January 30, 2017

Three New Exhibitions Opening at Carl Solway Gallery




Opening
Friday, February 3rd, 2017

Catherine Richards
Eva Kwong
Hildur Ásgeirsdóttir Jónsson

February 3 – April 29, 2017
Reception 5:00-8:00pm
All three artists will be present

Catherine Richards
Capricious Alignment
New Works

Perceptual Screen w.w.
2017
Painted Aluminum
7 x 8 feet

Capricious Alignment V in blue orchid  
2017
Digital textile on cotton
10 x 8 feet
Catherine Elizabeth Richards is an architect and visual artist. Her work expands the understanding of architecture at different scales; from discrete objects, sculpture and installations to city-wide interventions. Richards works between mediums, exploring architecture and perception with materials, experimental photography and video.

Her installation for Carl Solway Gallery, Capricious Alignment, features immersive textile prints and polychrome aluminum sculptures. In her words, ”Order, decoration, and color create a dynamic psychology of space. The viewer’s perceptual experience is heightened by the sequential nature of both the tapestries and open grid structures. The juxtaposition of repeating floral environments alongside minimalist sculpture opens a dialogue between notions of order and chaos. Boundaries between exterior and interior are rendered fluid and playful.”

For example, her piece Valance draws upon the history of glass architecture. This lighted glass sculpture incorporates plant patterns etched directly into the surface. The viewer’s reflection merges with the transparent structure, itself a meditation on inside and outside. Her family’s farm in Michigan, a historic site where botanists developed hybrid species of apples and cherries, is largely responsible for her plant-based references. Valance was first shown in 2014 at ArtPrize in Grand Rapids, Michigan.

Richards holds Master of Architecture and Bachelor of Science degrees in Architecture from the University of Cincinnati, College of Design, Architecture, Art and Planning where she now teaches. She is a co-founder of the art collective Hark + Hark, with Anh Tran. Hark + Hark created an installation for Marchon Eyewear in New York City, that traveled to Paris, London, Berlin and Tokyo in 2016 and is now in the company’s permanent collection.

Eva Kwong
Love Between The Atoms
Recent Ceramic Sculpture

Arosso
2016
Stoneware, wheel-thrown, colored slips and underglazes
20.5 x 8 x 9 inches
Eva Kwong’s exhibition of ceramics will include free-standing sculpture and sculptural wall installations made from many elements referencing biological sources such as bacteria, diatoms and cells. Smaller pieces reflect her personal interpretation of the traditional vase form. Working in the material of clay, Kwong explores a philosophical connection to the union of opposites.

Her title, Love Between the Atoms, refers to the attraction between the protons and the electrons in an atom. In her words, “I see this attractive force as something that bonds us all together in this world. It is this attractive force which forms bonds at the subatomic level that makes things work in the physical world that we experience. It is this attractive force that enables us to build forms with clay and to draw people together and build relationships with each other. In many ways, mutual attraction of one form or another is what enables us to connect and create interactions on microcosmic as well as macrocosmic levels, from the physical to the emotional.”

”Maybe it is because I grew up with both eastern and western cultures. I was brought up with the traditional Chinese concept of yin and yang that underlies all life forms and energies. Growing up in Hong Kong and New York, I learned to look at everything through the lens of both cultures.”

Eva Kwong’s work is included in numerous collections internationally including the Cranbrook Museum of Art, Bloomfield Hills, Michigan; Finnish Craft Museum, Helsinki, Finland; Janet Mansfield Collection, Mansfield Ceramics, Gulgong, Australia; Minneapolis Institute of Art, Minnesota; Shigaraki Park Ceramic Museum, Shigaraki, Japan and Fule International Ceramic Art Museums, Fuping, China.

Kwong received an MFA in Ceramics and Drawing from the Tyler School of Art, Temple University in 1977 and a BFA in Ceramics and Sculpture from the Rhode Island School of Design in 1975.

Hildur Ásgeirsdóttir Jónsson
Based on a Photograph
New Woven Works

Based on a Photo, Medium #5
2017
Silk, industrial dyes
46 x 47 inches
References to the macrocosms and microcosms of the natural world abound in the woven paintings of Hildur Ásgeirsdóttir Jónsson. Painting on silk threads in a process related to ikat, her imagery is loosely based on landscape photographs of her native Iceland. The sources are often close-up images of lichen, but they also abstractly allude to larger swaths of land and sky. By painting with industrial dyes on the detached warp (vertical) threads of her works, attaching these dyed threads to a large-scale loom and weaving in the weft (horizontal) threads, she creates slightly off register, shimmering woven paintings that suggest expansive space rather than any literal sense of place.

Jonsson has received numerous grants, commissions and awards including The Louis Comfort Tiffany Foundation 2015 Award, the Cleveland Art Prize in 2008, four fellowships from the Ohio Arts Council and a public commission from the Hilton Hotel Convention Center, Cleveland in 2016. Her work is included in many collections such as The Cleveland Art Museum, Reykjavik Art Museum, Akron Art Museum, Progressive Insurance Collection and Cleveland Clinic Foundation. Solo shows include Tibor De Nagy Gallery, New York; TANG Museum, Saratoga, New York; Reykjavik Art Museum, Iceland; and MOCA Cleveland. She was also included in the 2015 group exhibition, Pretty Raw: After and Around Helen Frankenthaler at the Rose Art Museum at Brandeis University.

Hildur Ásgeirsdóttir Jónsson was born in Reykjavik, Iceland in 1963 and still maintains a home there. She resides in Cleveland, Ohio for much of the year and makes annual visits to Iceland to gather more source material for her paintings. She received MFA and BFA degrees from Kent State University in 1995 and 1991 respectively. She earlier studied at the Cleveland Institute of Art and the architecture program of Kent State University.






Hours: Monday – Friday 9:00 – 5:00 pm / Saturday 12:00 – 5:00 pm / tel. 513.621.0069
Carl Solway Gallery
424 Findlay Street
Cincinnati, OH 45214

Monday, December 19, 2016

Alan Rath Exhibition Review in Aeqai

Susan Byrnes reviewed the exhibition, ALAN RATH: New Sculpture, in the December issue of Aeqai.


Thursday, November 3, 2016

Paul Laffoley at Andrew Edlin Gallery

PAUL LAFFOLEY's paintings, The Life and Death of Elvis Presley: A Suite,
1988-1995, a group of eight paintings with velvet drapes, is on view at Andrew Edlin Gallery.  



Seriously

featuring:

Thornton Dial, Ralph Fasanella, Jill Freedman, 
Paul Laffoley, Soviet Propaganda Posters, George Widener

November 4 - December 11, 2016

Reception: Friday, November 4, 6 - 8pm


View press release here






Andrew Edlin Gallery  
212 Bowery 
 New York, NY 10012

T 212-206-9723
F 212-206-9639  

Wednesday to Saturday: 10:00 am to 6:00pm
Sunday: 12pm to 6pm





Andrew Edlin Gallery, 212 Bowery, New York, NY 10012

Tuesday, September 6, 2016

Fall Exhibitions Open at Carl Solway Gallery on September 9th




Alan Rath
New Sculpture

Duane Michals
Sequences, Tintypes and Talking Pictures

Opening Reception September 9, 2016, 5:00-8:00pm

Exhibitions continue through December 23, 2016

Duane Michals Lecture October 25, 7:00pm, Cincinnati Art Museum. 
This event is co-sponsored by Carl Solway Gallery and the Friends of Photography at the Cincinnati Art Museum.

Alan Rath
New Sculpture

Alan Rath’s kinetic sculptures poetically integrate the human and the technological. Many incorporate computer-animated still images of human features, such as eyes, mouths and hands, displayed on LCD screens. These screens are mounted on sculptural armatures and the images are programmed to change in subtle progressive permutations. The screen images often appear to be involved in some form of communication.


Alan RathBostock, 2012
Aluminum, FR-4, polyethylene, delrin, custom electronics, LCDs, 81 x 45 x 33 inches


Alan RathWalleye X, 2011
Aluminum, FR-4, PVC, custom electronics, LCD, 78 x 28 x 16 inches



Duane Michals
Sequences, Tintypes and Talking Pictures

Duane Michals is best known for staged photographic sequences incorporating handwritten text created in the 1960s and 1970s. Provocatively breaking away from the established photographic tradition of highlighting powerful single images, his small, black and white photographs employ narrative sequencing to address metaphysical issues such as memory, mortality, love and loss.


Duane MichalsThe Journey of the Spirit After Death, 1971 (detail)
© Duane Michals. Courtesy of DC Moore Gallery, New York

In 2012 Michals began painting on tintype portraits. An historical process from the Civil War era, tintypes are photographs printed on thin metal sheets. In this work, he combines painting and photography, 19th century portraiture with 20th century Modernist references. The exhibition will include nine of the painted tintypes and several recent films, Talking Pictures.


Duane Michals, The Red Head, 2013, tintype with hand-applied oil paint, 10 x 7.875 inches.
© Duane Michals. Courtesy of DC Moore Gallery, New York


Carl Solway Gallery celebrates the launch of the Cincinnati streetcar.
Use the No. 11 Brewery District stop to visit the gallery.

After our opening, take the streetcar to the No. 17 Aronoff Center stop for the The Lois & Richard Rosenthal Center for Contemporary Art.



Venue Participation Day · Sunday, October 9, noon to 5:00 pm 
These exhibitions are held in conjunction with the FotoFocus Biennial 2016. As part of the Biennial, participating venues respond to the theme: Photography, the Undocument.


EXPO CHICAGO
September 22 - 25, 2016

Visit us at booth number 516.



Carl Solway Gallery
424 Findlay Street, Cincinnati, OH
Cincinnati, OH 45214
Hours: Monday – Friday 9:00 – 5:00 pm / Saturday 12:00 – 5:00 pm / tel. 513.621.0069

Tuesday, August 23, 2016

Alan Rath and Duane Michals at Carl Solway Gallery


Fall Exhibitions at Carl Solway Gallery



Fall Exhibitions
Alan Rath New Sculpture
Duane Michals Sequences, Tintypes and Talking Pictures

Opening Reception September 9, 2016, 5:00-8:00pm

Exhibitions continue through December 23, 2016

Duane Michals Lecture October 25, 7:00pm, Cincinnati Art Museum. 
This event is co-sponsored by Carl Solway Gallery and the Friends of Photography at the Cincinnati Art Museum.

Alan Rath · New Sculpture

Alan Rath’s kinetic sculptures poetically integrate the human and the technological. Many incorporate computer-animated still images of human features, such as eyes, mouths and hands, displayed on LCD screens. These screens are mounted on sculptural armatures and the images are programmed to change in subtle progressive permutations. The screen images often appear to be involved in some form of communication.



Alan RathBostock, 2012
Aluminum, FR-4, polyethylene, delrin, custom electronics, LCDs, 81 x 45 x 33 inches


For example, in the sculpture Bostock, 2012, five LCD screens each display an image of a single hand. The hands engage in sign language that translates the lyrics of Jethro Tull’s 1972 album, Thick as a Brick. The title refers to Gerald Bostock, the fictional eight-year old boy Ian Anderson credited with writing an epic poem upon which the album was allegedly based. The lyrics were actually written by Anderson. As a teenager in Cincinnati, Rath attended his first rock concert – Jethro Tull – with Carl Solway Gallery director, Michael Solway. At this young age, Rath was already building his own speakers and other electronics. The exhibition at Carl Solway Gallery will include eight LCD screen sculptures created during the last ten years.

The exhibition will also include several of Rath’s recent explorations in robotics. Originally trained at MIT as an electrical engineer, he is one of the few visual artists who designs, builds and programs all aspects of his work.

Alan Rath’s contributions to the field of contemporary sculpture and new media have received significant acknowledgement worldwide. His work is included in such major collections as the San Francisco Museum of Modern Art, the Whitney Museum of American Art (New York), the Walker Art Center (Minneapolis, MN), the Cincinnati Art Museum, the Los Angeles County Museum of Art, and the Hara Museum (Tokyo). Born in Cincinnati in 1959, he lives and works in the San Francisco Bay Area.

Duane Michals · Sequences, Tintypes and Talking Pictures

Duane Michals is considered one of the most influential photographers of the 20th Century and he continues his pioneering approach to the medium into the 21st. He is best known for staged photographic sequences incorporating handwritten text created in the 1960s and 1970s. Provocatively breaking away from the established photographic tradition of highlighting powerful single images, he sequenced multiple images and wrote on their surfaces consequently emphasizing his role as a storyteller. His small, black and white photographs employ their narrative sequencing to address metaphysical issues such as memory, mortality, love and loss. Blurred figures created with long exposures as well as double exposures, imbue his photographs with a sense of mystery. To quote curator Linda Benedict-Jones, “The essential defining characteristic of Michals’ art is his rejection of the photograph as documentary evidence.” In his words, “Photography deals exquisitely with appearances, but nothing is what it appears to be.”


Duane MichalsThe Journey of the Spirit After Death, 1971 (detail)
© Duane Michals. Courtesy of DC Moore Gallery, New York

His exhibition at Carl Solway Gallery will feature five of his most celebrated sequences including the twenty-seven panel piece, The Journey of the Spirit After Death from 1970. Michael Solway first encountered this work in the Kolumba, an art museum in Cologne, Germany located on the site of the Church of Saint Columba and run by the Archdiocese of Cologne. Seeing these prints in the stairway of this building, a modern museum sharing its site with an ancient church bombed during World War II and a lower level of catacombs proved unforgettable.

In 2012 Michals began painting on tintype portraits. An historical process from the Civil War era, tintypes are photographs printed on thin metal sheets. In this work, he combines painting and photography, 19th century portraiture with 20th century Modernist references. The exhibition will include nine of the painted tintypes and several recent films, Talking Pictures. In these short films, or ‘mini-movies” as Michals refers to them, he wrote directed and sometimes acted in this new work displaying his ever-evolving innovative and whimsical spirit.



Duane Michals, Deja Vu, 2012, tintype with hand-applied oil paint, 6.25 x 8.25 inches.
© Duane Michals. Courtesy of DC Moore Gallery, New York

Duane Michals was born in McKeesport, Pennsylvania in 1932 and lives and works in New York City. His work has been featured in countless exhibitions over a period of over fifty years. A major retrospective, Storyteller: The Photographs of Duane Michals was organized by the Carnegie Museum of Art (Pittsburgh) in 2014. Michals had a solo exhibition at Carl Solway Gallery in 1980. His photographs are included in at least 50 museum collections in the United States and over 30 museum collections abroad. He is the subject of two feature length films, Duaneland (2004) and The Man Who Invented Himself – Duane Michals (2013).


Venue Participation Day · Sunday, October 9, noon to 5:00 pm 
Although Alan Rath and Duane Michals represent different generations and work with different mediums, they share preoccupations with images of the human body, the passage of time, movement, rhythm and a sense of humor. Both exhibitions are held in conjunction with the FotoFocus Biennial 2016, a regional, month-long celebration of photography and lens-based art held throughout Cincinnati and the surrounding region that features over 60 exhibitions and related programming. As part of the Biennial, participating venues respond to the theme: Photography, the Undocument.
__________________________________________________________________________

Expo Chicago
Visit us at booth number 516.