Whitney Hubbs: The Song Itself is Already a Skip
at M+B Gallery, Los Angeles

Whitney Hubbs, Untitled (Horse), 2012

Whitney Hubbs (Featured Artist Blind Spot Issue 38)
January 19 — March 09, 2013 at M+B Gallery
612 North Almont Drive
Los Angeles CA 90069

Opening: Saturday, January 19th, 2013, 6-8PM.

“Dark, raw, powerful and swimming in sensuality, the work of Whitney Hubbs is at once blunt and lyrical, formal and improvised, recognizable to daily experience and yet totally foreign from it. Full of unlikely visual rhythms, Hubbs’ work creates and provokes with aesthetic force. Her images reside in a reticence of feeling. Through profound light and dark, a specific refusal of continuity or seriality, as well as latent eroticism, Hubbs demonstrates over and over her disinterest in generic narratives. Her work persuasively follows its own internal logic through her willingness to challenge the relationship between photographic immediacy and “authenticity.” This is the point of contact where reality and representation become muddled.

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Book Launch:
Lick Creek Line by Ron Jude

Ron Jude, Lick Creek Line. Published by MACK.

Book launch for Lick Creek Line by Ron Jude (Blind Spot Issues 10 & 35)
@ Dashwood Books
33 Bond Street
New York NY 10012

Tuesday, May 15th from 6 – 8 pm

Ron Jude’s new book, Lick Creek Line, extends and amplifies his ongoing fascination with the vagaries of photographic empiricism, and the gray area between documentation and fiction. In a sequential narrative punctuated by contrasting moments of violence and beauty, Jude follows the rambling journey of a fur trapper, methodically checking his trap line in a remote area of Idaho in the Western United States. Through converging pictures of landscapes, architecture, an encroaching resort community, and the solitary, secretive process of trapping pine marten for their pelts, Lick Creek Line underscores the murky and culturally arbitrary nature of moral critique.

With an undercurrent of mystery and melancholy that echoes Jude’s previous two books about his childhood home of Central Idaho, Lick Creek Line serves as the lynchpin in a multi-faceted, three-part look at the incomprehensibility of self and place through photographic narrative. While Alpine Star functioned as a fictitious sociological archive, and Emmett explored the muddy waters of memory and autobiography, Lick Creek Line finds its tenor through the sleight-of-hand structure of a traditional photo essay.

Marco Breuer: Condition
at Von Lintel Gallery

Marco Breuer, Untitled (C-1178), 2012

Marco Breuer (Guest Editor Blind Spot Issue 36) “Condition
May 10 — June 23, 2012 at Von Lintel Gallery
520 West 23rd Street
New York NY 10011

Opening: Thursday, May 10th, 2012. 6-8PM.

Von Lintel Gallery is pleased to announce a solo exhibition of recent photogenic drawings by Marco Breuer.

For this new series, Breuer worked in and outside of the darkroom, exposing photographic color paper to heat, light, and physical abrasion. Drawing implements included modified hot plates and the guts of electric frying pans. This exhibition presents works ranging from small photographic sketches to heavily burned and distressed 30 by 40-inch prints. Every individual piece constitutes a search, a move away from the given, a test of the materials’ limits. The delicate lines and exquisite surfaces are what make these works so luminous and dynamic.

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Hannah Whitaker: The Use of Noise
at Thierry-Goldberg Gallery

Hannah Whitaker (Guest editor Blind Spot Issue 45) “The Use of Noise
April 29 – June 3, 2012 at Theirry-Goldberg Gallery
103 Norfolk Street
New York NY 10002

Thierry-Goldberg Gallery is pleased to present THE USE OF NOISE, Hannah Whitaker’s first solo exhibition with the gallery.

In this new body of work, Whitaker presents photographs shot in diverse geographical locales: near a Hawaiian volcano, in an ancient Greek marble quarry, and in her Brooklyn studio. Mixing straight photographs with those confused by controlled light leaks, these images put disembodied textures and natural spaces in conversation with more recognizable photographic imagery.

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Alec Soth: Broken Manual
at Sean Kelly Gallery

Alec Soth, Broken Manual, Installation view. Courtesy of Sean Kelly Gallery. Photograph: Jason Wyche

Alec SothBroken Manual
February 3 – March 11, 2012 at Sean Kelly Gallery
528 West 29th Street
New York NY 10001

Broken Manual will be Soth’s premiere exhibition with the gallery and the first opportunity to view such a large selection of this important body of work in New York. The majority of photographs that comprise this compelling series were taken over a four-year period, from 2006-2010. They reflect Soth’s increasing interest in the mounting anger and frustration that some—specifically male—Americans feel with societal constraints and their subsequent desire to remove themselves from civilization. The resultant work is a group of portraits of men and the landscapes they inhabit that are poignant, disturbing and mysterious. Soth’s uncanny ability to gain the trust of those whom he photographs gave him unprecedented access to these notoriously elusive individuals, in moments, variously, of brooding, deep reflection or vulnerability.

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“Rotary Connection”
at Casey Kaplan

Arthur Ou, Untitled (Primer 1), 2011

Rotary Connection
Étienne Chambaud, Isabelle Cornaro, Julia Dault, Jose Dávila, Jason Dodge, Ryan Gander, Liam Gillick, Andrew Kuo, Mateo López, Benoît Maire, Arthur Ou, Marlo Pascual, and Pietro Roccasalva
January 5 – February 11, 2012 at Casey Kaplan
525 W 21st Street
New York, NY 10011

Rotary Connection features work by Arthur Ou (Blind Spot Issue 37, Guest Editor Blind Spot Issue 40.)

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Gregory Halpern: A

Gregory Halpern, Untitled, 2010.

Gregory HalpernA
January 5 – February 11, 2012 at CLAMPART
521-531 West 25th Street
Ground Floor
New York, New York 10001

Working in a seemingly scattershot style most closely identified with Alec Soth, Halpern combines photographic portraits, landscapes, and still-lifes, both large and small, in an exhibition that focusses on the Rust Belt as a prime example of the sorry state of the Union. The sense of disillusionment is underscored by images of physical decay: houses collapsing or, in once instance, on fire, while aluminum siding melts into smoke. Halpern also has a sharp eye for incidental beauty and saving grace, as seen in pictures of a shard of glass glinting in the dirt and of trash burning on an embankment at dusk, one ember lifted into the air, like a flaming planet.

Matthew Porter: Pale Subtropical Light

Matthew Porter, Pale Subtropical Light, Installation View. Courtesy of M+B.

Matthew PorterPale Subtropical Light
January 7 – February 11, 2012 at M+B
612 North Almont Drive
Los Angeles, California 90069

Matthew Porter is guest editing our S/S ’12 Issue alongside Hannah Whitaker.

M+B is pleased to present Pale Subtropical Light, a selection of new works by Matthew Porter. The exhibition comprises a critical photographic inquiry into the career and legacy of Hollywood icon Jane Fonda, mid-century modern architecture in California and historical locations such as the Little Bighorn Battlefield National Monument in Montana. Pale Subtropical Light runs from January 7 through February 11, 2012, with an opening reception for the artist on Saturday, January 7 from 6 to 8 pm.

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“Crime Unseen”
at the Museum of Contemporary Photography

Evidence No. 1, 2008, Archival pigment print, 46 x 58 inches, Edition of 8, AS_01.

Evidence No. 1, 2008, Archival pigment print, 46 x 58 inches, Edition of 8, AS_01.

Crime Unseen featuring works by Richard Barnes, Corinne May Botz, Christopher Dawson, Deborah Luster, Christian Patterson, Taryn Simon, Angela Strassheim, Krista Wortendyke
October 28, 2011 – January 15, 2012, at MoCP
600 S. Michigan Ave
Chicago, IL 60605

All of the artists in Crime Unseen grapple with a retelling of disturbing crimes. Using photography and other methods, the artists reactivate historical material and open it up to further contemplation. By drawing on techniques of photojournalism, forensic photography, and documentary landscape, the artists actively engage with myth and reality as they question the roles of memory, the media, and evidence in solving and remembering crime.

Read the rest of the essay by Karen Irvine, Curator and Associate Director of MoCP, here: http://www.mocp.org/exhibitions/2011/10/crime_seen.php

Daniel Gordon: Still Lifes, Portraits & Parts
at Wallspace

Daniel Gordon, "Still Lifes, Portraits & Parts," Installation View

Daniel Gordon, Still Lifes, Portraits & Parts, Installation View. Courtesy of Wallspace.

Daniel GordonStill Lifes, Portraits & Parts
October 28 – December 17, 2011 at Wallspace
619 West 27 Street
New York, New York 10001

Wallspace is pleased to announce Still Lifes, Portraits and Parts, Daniel Gordon’s first solo exhibition at the gallery, and his first one-person show in New York since 2007.

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