[{"id":"63076","title":"\u201cThe farther I remember\u201d @ Sous Les Etoiles Gallery","alias":"the-farther-i-remember-sous-les-etoiles-gallery","catid":"12","published":"1","introtext":"Currently on display at Sous Les Etoiles Gallery is \"The farther I remember,\" a group exhibition showcasing the work of acclaimed emerging and established photographers Carolle B\u00e9nitah, Eeva Hannula<\/span><\/span>","fulltext":"\r\n

The farther I remember<\/em> highlights each photographer\u2019s unique relationship to memory and time. In the collected works on view, the artists have mined their past, dreams, and subconsciouses to create images that are at once familiar and new using various techniques and crafts that include the layering of images, direct physical contact with the photograph, and analog and digital methods of reworking the negative or original image.

In her three-part series Photos-Souvenirs<\/em>,  French Moroccan photographer Carolle B\u00e9nitah performs a kind of exorcism of inner demons and past repressions through the act of embroidery on old family snapshots.  Eeva Hannula also mines the depth of the inner world through her focus on Freud\u2019s concept of the uncanny.  In her ongoing series The Structure of Uncertainty<\/em>,  Hannula combines staged photography and material from her personal archive, covering and hiding parts of the images as a metaphor for repressed or incomprehensible experiences and perceptions.  In Inner Landscapes<\/em>,  Susanne Wellm turns her attention to the everyday world through open narrative visuals made with personal, found and historic archive materials, painting, drawing, Polaroids and film still photography.  Robin Cracknell\u2019s portraits of his son, shot with found, sometimes damaged cameras and salvaged 35mm cine film and created using an exerimental printing process that may include dust, hair, and bleach, recall the heady, dreamy haze we remember youth by as adults.<\/p>\r\n

Robin Cracknell, born in India and raised in America, moved to London in 1987, where he began collecting discarded film cuttings from the projection booth of the Institute of Contemporary Arts London.  These found film cuttings would later serve as the new \u201cemulsion\u201d for Cracknell\u2019s photographic work, which has appeared on several magazine covers and over 300 book jackets.  His ongoing series Childhood<\/em>  was included in the top ten of over 12,000 artists\u2019 works on Saatchi Art, and was selected for a show curated by readers of The Guardian as well as noted gallerists, critics and artists.  His work has since been exhibited internationally, and can be found in the collections of The National Portrait Gallery and The Victoria and Albert Museum (London), and Fundacion Privada Sorigue (Spain).  Images from Childhood<\/em>  were published in Thames and Hudson\u2019s \u201cFamily Photography Now\u201d in Spring 2016, and a selection of the artist\u2019s notebooks illustrating the process and concept behind the series were also featured in the acclaimed 2014 Thames and Hudson publication, \u201cPhotographers\u2019 Sketchbooks.\u201d

Eeva Hannula, b. 1983, is an emerging photographer currently studying for her MA in photography at Aalto University School of Art, Design and Architecture in Helsinki, Finland.  She explores psychoanalytical method and the concept of Freud\u2019s uncanny in her series The Structure of Uncertainty<\/em>,  selections of which have appeared in group shows at The Finnish Museum of Photography, Les Rencontres d\u2019Arles (Paris), Fellehus Nordic Embassies (Berlin), and alongside the work of fellow Scandinavian photographer Susanne Wellm in Sous Les Etoiles Gallery\u2019s 2015 show \u201cNot above a whisper,\u201d among others.  In 2013, she was awarded a grant from the Arts Council of Finland and selected as part of Foam Magazine\u2019s Talent Issue.

Susanne Wellm, b. 1965, is originally a printmaker, educated at the Danish School of Arts and Crafts at the Institute for Unica.  She lives and works in Copenhagen, Denmark.  Her work includes various photographic techniques, such as Polaroid, Super 8 film, digital photography and collage.  She has exhibited broadly in Denmark, Japan, China, Finland, and the US, including solo shows at Blue Sky Gallery (Portland, OR) and The National Museum of Photography in Copenhagen.  She is represented in several public and private collections, including the Museum of Fine Arts (Houston, TX), Portland Art Museum (OR), Kiyosato Museum of Photographic Arts (Japan) and Harry Ransom Humanities Research Center (Austin, TX).  Her series Inner Landscapes<\/em>  was published into a photo book by Kehrer Verlag. <\/p>\r\n

The farther I remember <\/em>will be on display at Sous Les Etoiles Gallery<\/a> through February 4, 2017<\/p>","video":null,"gallery":"{gallery}63076{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"Currently on display at Sous Les Etoiles Gallery is \\\"The farther I remember,\\\" a group exhibition showcasing the work of acclaimed emerging and established photographers Carolle B\\u00e9nitah, Eeva Hannula, Susanne Wellm, and Robin Cracknell.\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"Photography\"},{\"id\":\"6\",\"value\":\"The farther I remember\"},{\"id\":\"3\",\"value\":\"Sous Les Etoiles Gallery\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2016-12-10\"},{\"id\":\"2\",\"value\":\"2017-02-04\"},{\"id\":\"10\",\"value\":\"Sous Les Etoiles Gallery\"},{\"id\":\"9\",\"value\":\"New York\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"1\"},{\"id\":\"16\",\"value\":\"3\"}]","extra_fields_search":"Currently on display at Sous Les Etoiles Gallery is \"The farther I remember,\" a group exhibition showcasing the work of acclaimed emerging and established photographers Carolle B\u00e9nitah, Eeva Hannula, Susanne Wellm, and Robin Cracknell. 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photographers Carolle B\u00e9nitah, Eeva Hannula, Susanne Wellm, and Robin Cracknell.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"63075","title":"Advanced Continuing Education Track student exhibition @ ICP","alias":"advanced-continuing-education-track-student-exhibition-icp","catid":"12","published":"1","introtext":"\"Diapason\"\u2014a survey show of work by ten recent graduates of ICP\u2019s Advanced Continuing Education Track Program\u2014explores personal empowerment amid ideological conflicts, both private and public, <\/span><\/span>","fulltext":"\r\n

Photographic genres of constructed narrative and street photography, as well as careful studies with large format cameras, each uniquely explore themes of domesticity, ethnic heritage, and identity. Diapason<\/em> guides us through a journey of codes and references, and makes sense of the tenuous order and disorder of our contemporary environment and cultural landscape.<\/p>\r\n

Students enrolled in ICP\u2019s yearlong Part-Time Programs<\/a>, including the Advanced Continuing Education Track Program, participate in a series of unique seminars exploring ideas and materials, and creating comprehensive bodies of work. Graduates from these programs have continued on as working artists, attended prestigious graduate schools, and been awarded grants and scholarships, including the Fulbright Scholarship, along with many other recognitions of their work.<\/p>\r\n

Diapason<\/em> is on display at the Internationl Center of Photgoraphy<\/a> through March 12, 2017.<\/p>","video":null,"gallery":"{gallery}63075{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"\\\"Diapason\\\"\\u2014a survey show of work by ten recent graduates of ICP\\u2019s Advanced Continuing Education Track Program\\u2014explores personal empowerment amid ideological conflicts, both private and public, and examines the spaces that we inhabit, build, and ultimately abandon.\"},{\"id\":\"11\",\"value\":\"\"},{\"id\":\"4\",\"value\":\"Photography\"},{\"id\":\"6\",\"value\":\"Diapason\"},{\"id\":\"3\",\"value\":\"\"},{\"id\":\"8\",\"value\":\"\"},{\"id\":\"1\",\"value\":\"2016-12-10\"},{\"id\":\"2\",\"value\":\"2017-03-12\"},{\"id\":\"10\",\"value\":\"International Center of Photography\"},{\"id\":\"9\",\"value\":\"New York\"},{\"id\":\"7\",\"value\":\"\"},{\"id\":\"5\",\"value\":\"\"},{\"id\":\"12\",\"value\":\"\"},{\"id\":\"14\",\"value\":\"\"},{\"id\":\"15\",\"value\":\"1\"},{\"id\":\"16\",\"value\":\"3\"}]","extra_fields_search":"\"Diapason\"\u2014a survey show of work by ten recent graduates of ICP\u2019s Advanced Continuing Education Track Program\u2014explores personal empowerment amid ideological conflicts, both private and public, and examines the spaces that we inhabit, build, and ultimately abandon. 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Italian light is especially bold and assertive, taking charge of the photographer\u2019s \u201ccanvas\u201d and challenging him to discover and order what is before him. It can whisper or shout, glow ethereally or push its way to the front of the stage, taking command of an ongoing performance. This dance of light and shadow, both physical and compositional elements, defines space and creates moving, changing environments.<\/p>\r\n

Douglas R Gilbert<\/a> has found that although the physical world is ever-present it is never quite knowable. That is, there is always mystery present, drawing one to itself. Photographing it is a primary method of my exploration. The subject remains elusive and inexhaustible and has challenged Gilbert for more than 45 years.  With this project Gilbert has tried to push further into mystery and make visible entry points for seeing something in a new or deeper way. Italian light has been a vehicle for Gilbert to extend the boundaries of possibility in his work as a photographer. <\/p>\r\n

Italian Light<\/em> is on display at the Leica Gallery<\/a> in Los Angeles through January 3, 2017<\/p>","video":null,"gallery":"{gallery}63074{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"Light is essential to the photographer\\u2019s art, revealing the world in ever-changing configurations. 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At the outbreak of war he became a war correspondent for the American magazine LIFE, and for the next seven years his assignments took him to sixty-two countries where he covered over eighteen war campaigns. Some of his most notable photographs during the war included the London Blitz, West Africa with the Free French,  the fall of Burma, the Sicilian and Salerno landings, the Battle of Monte Cassino, the D-Day Normandy landings, the Liberation of Paris, Brussels Holland and Denmark, the Surrender at Luneberg and the liberation of Belsen Concentration Camp. <\/p>\r\n

Known as \u201cThe quiet Englishman\u201d because of his self-effacing demeanour, George Rodger described himself as a dreamer who took up photography to see what the world had to offer beyond his horizons. This exploration would take him into desert, jungle, war and many parts of the world.  And in 1947 he would join Robert Capa, Henri Cartier-Bresson and David (Chim) Seymour in establishing the renowned photographic agency Magnum Photos.<\/p>\r\n

His main work concerned the vanishing tribes and wildlife of Africa and the documentation of ethnic people in remote areas. He also travelled extensively throughout the Far East, India and the Middle East, writing and illustrating articles for magazines in Europe and America<\/p>\r\n

In 1959, George Rodger and his wife settled in the small village of Smarden, in Kent, where he wrote and illustrated for magazines but still continued his travels, mainly to Africa which, with his camera, was his favourite hunting ground. He died  at his home in Kent in 1995. His archives remain under the care of his wife Jinx and his son Jon. 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\u201c...Within the series of Rie, I wanted to embark on an inherently female dialogue on the subject of revealing. Japan is uniquely ambigiuous in this respect which encouraged me to explore these thoughts through the communication with and portrayal of Japanese women.<\/p>\r\n

As the subjects in the images repeatedly pose, rest and move \u2013 at times playfully \u2013 while being in different states of undress, we become witness to a delicately complex elaboration in character. While some moments give way to a sense of vulnerability with the subject absorbed in her own intent, not consciously regarding the viewer, others show her clearly aware of the onlooker\u2019s gaze. I was interested in understanding, at what point, when we reveal our bodies, as women to a potential other, does the apparent vulnerability cross over into the understanding and appreciation of the powerful notion of being naked and being oneself without an inner or outer surveyor present, without being on display...\u201d \u2014Lena C. Emery<\/em><\/p>\r\n

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We've always had an appreciation for Irina Werning's \"Back to the Future\" series. The amount of time spent painstakingly recreating every small detail of each photo is incredible.<\/p>\r\n","fulltext":"\r\n

We've always had an appreciation for Irina Werning's<\/a> \"Back to the Future\" series. The amount of time spent painstakingly recreating every small detail of each photo is incredible.<\/p>\r\n

Werning travelled to 32 countries and shot over 250 photos for the project.<\/p>\r\n