20 West 57th Street New York City 
212.397.3930
Contact: Jody Berman Jody@laurencemillergallery.com
www.laurencemillergallery.com

Laurence Miller Gallery celebrates a milestone this winter, the silver anniversary of the oldest continually operating gallery in New York City specializing exclusively in the art of photography. The twenty-fifth anniversary celebration will kick off with a champagne reception on Saturday, January 10, and will feature over forty photographers who exhibited at the gallery since it opened on 57th Street in February 1984. 

Never content to only show well-known figures in the history of photography, the gallery gave many international photographers their first one-person shows in the United States. Included in this group are Joan Colom from Barcelona, Jakob Tuggener from Zurich, Daido Moriyama from Tokyo , Stephane Couturier from Paris, Peter Bialobrzeski from Hamburg, and DoDo Jin Ming from Beijing and Hong Kong . 

For over twenty years the gallery has represented perhaps the finest New York street photographer, 95 year old Helen Levitt. For twenty-five years the gallery has represented exclusively the elegant and inventive works of Ray K. Metzker, who is only now receiving long overdue international recognition, as his retrospective exhibition travels across Europe . 

In addition to the photographers mentioned above, the Anniversary Celebration will include works by Petah Coyne, Lalla Essaydi, Julia Margaret Cameron, Eadweard Muybridge, Robert Frank, Lee Friedlander, Larry Burrows, Michael Spano, David Levinthal, Duane Hanson, Les Krims and many others, all of whom had one-person shows at the Gallery.

Zirkstraat 20
2000 Antwerpen-Belgium
Phone: +32(0)3 289 84 58
Fax: +32(0)3 289 84 59
Mobile: +32(0)477 38 25 32
www.gallery51.com

Saul Leiter
January 30 – March 14
Opening: January 29, 18-21h

Fifty One Fine Art Photography is very pleased to present to you the upcoming exhibition of photographer Saul Leiter.

Saul Leiter (°1923) arrived in 1946 in New York with the intention of becoming a painter, in which he succeeded. Soon after this, his paintings were exhibited in several galleries, but his paintings never have become as successful as his photographs are now. His friendship with expressionist artist Richard Pousette-Dart, who experimented in the dark room with the manipulation of negatives, and with Eugene Smith were important stimuli in his recognition of the creative potential of photography. Although he never stopped painting, Leiters camera became like an extension of his arm, an ever-present tool while capturing metropolitan scenes, occasionally in Europe, ass well as in the USA. 

Leiters vision is founded on his rapid eye for absorbing spontaneous events. Confronted by a dense web of data, fleeting moments in space and time, he employs an array of strategies to capture urban visual poetry that is by turns affectionate, edgy and breathtakingly poignant. He takes risks, disobeying the conventions of camera technique, but his sensibility sets his photographs apart from the defining characteristics of the ‘New York School’ that typify other 1950’s photographers like Robert Frank and William Klein. Although Leiter was adept in black and white, the lyricism of his photographs is most acutely manifested in the eloquent interplay of his colour photography.

For the past years, the work of Saul Leiter became very successful and has been put back in honor, for his work has been very much underestimated between the 1960’s and 1990’s. Several factors conspired the delay recognition, for instance his disdain for self-promotion together with a solid artistic integrity. 

This is the second solo exhibition by Saul Leiter at Fifty One Fine Art Photography. This time, we will show colour and black and white photographs.

Joseph Bellows Gallery

Beth Dow: In the Garden
January 23 - March 7, 2009

Joseph Bellows Gallery is pleased to present an exhibition of photographs by Beth Dow. The exhibition will feature a selection of Dow's photographs from her series, In the Garden. The exhibition will be on view from January 23rd through March 7th, 2009. An opening reception will be held on Friday, January 23rd (5-8 pm).

Interested in garden history and historical concepts of paradise, Beth Dow photographed formal English and Italian gardens in her most recent series, In the Garden. For Dow, the shape and mystery of these places not only offer glimpses of the rich traditions of garden making, but also reveal attempts to control and dominate nature. Dow aims for pictures that have a meditative quality to reflect the spiritual urges that inspired the earliest gardens centuries ago. 

Dow's photographs describe both the appearance and the experience of these spaces. Carefully placed classical statuary, urns, and pillars stand still in these intricately planned, perfectly manicured gardens. The viewer can sense that all is quiet in these spaces but for the hum of insects and rustling of leaves. Dow's photographs are imbued with the sense of stillness and timelessness these gardens' visitors must experience.

Dow's precise compositions and the richness of her platinum-palladium prints, compliment the texture and precision of the landscapes she photographs. As her camera explores the shapes and corners of these spaces, Dow guides the viewer's eye through her pictures, and she too becomes a gardener in a sense.

Beth Dow grew up in Minneapolis. She later moved to London, where she developed her eye for unusual landscapes and became interested in the ways we interact with our environment. Her pictures are shot with hand-held medium format rangefinder and 35mm SLR cameras and printed in platinum-palladium. She has received several awards, including a fellowship from the McKnight Foundation and an Individual Artist Fellowship from the Minnesota State Arts Board. Dow's photographs are included in the permanent collections of the Minneapolis Institute of Arts, the Museum of Contemporary Photography, Chicago, and the Portland Art Museum. She currently lives in Minneapolis.

Andreas Gefeller
March 5 - April 25, 2009

HASTED HUNT is pleased to announce new work by ANDREAS GEFELLER, large color photographs from his ongoing series “Supervisions.” The exhibition runs from March 5 to April 25, 2009. There will be a reception for the artist on Thursday, March 5th from 6 to 8 PM.

Gefeller offers an intensely detailed view of the world that is unique. The viewer knows what he is seeing but senses that it is not actually possible. This is a low flying “bird’s eye” view. The artist methodically maps an area photographically. The work is representational, a sort of topographic reportage, and yet, it seems disconcertingly unreal. Shooting over and over so close to the ground reveals a panorama of details with no perspective. Gefeller’s most recent “Supervisions” reflect his heightened sensitivity to time, evidence and order. Each element of the finished image represents less than a fraction of a second exposure time as he steps off and photographs every square meter below. The element of time is noticeable, for example, in lengthening shadows (“Parking Site, Düsseldorf, 2007”) or tonal shifts (“Leaves, Düsseldorf, 2007”). And history, the recorded passage of time, lies in the residual celebratory detritus left on the ground after a World Cup soccer match in “Berlin, 07/09/2006” or in the paint on paint on paint of the Pollock or Basquiat-like New York roof, “Graffiti, New York, 2007”.

The artist finds the tension between whirling craziness and calm, the chaos of water as it ripples and shimmers playing over the orderly bold black graphic at the bottom of the “Swimming Pool, Düsseldorf, 2008”. Similarly the breaking foaming waves oppose the still, clear patches of sea in “Beach, Domburg, 2006”.

Consistently Gefeller moves the viewer to a new dimension, a previously unseen, even unknown world, itself gridded and squared off on the wall.

These works are like contemporary photographic tapestries. The artistry is in Gefeller’s “eye”; his uncanny ability to locate spaces which unfold so stunningly and his virtuosic technique. It is not the intention, but the works reference Modern painting. The above mentioned “Swimming Pool” has the graphic simplicity and grace of a hallucinatory Agnes Martin; “Sand Tracks” acts like an off-white Robert Ryman; and “CDG, Paris, 2006”, a tiled floor area at a set of air-locking doors at Charles de Gaulle Airport, echoes the minimalism of Mark Rothko. Similarly “Leaves” is an Op art swirling vortex of tiny shapes at the base of a ginkgo tree and “Parking Site 2, Tokyo, 2007” is a mad Bauhaus mix of blacktop, bushes and painted traffic lines.

“Gefeller operates in the gap that constitutes photography’s credibility problem: By recording exactly what’s there, he creates something hyper-real, and therefore suspect. In doing so, he engages photography’s entire history, from long-exposure daguerreotypes to Andreas Gursky’s enormous prints to Jeff Wall’s rigorously manipulated “straight” photography...Now that we know we can’t trust a camera, Gefeller’s rendition of reality is almost too clear to bear.“ - Emily Hall, ARTFORUM

Since his American debut in 2007, Gefeller has been included in a number of shows, such as “Chisel”, curated by Kathy Ryan at the New York Photography Festival, the debut exhibition at the Taubman Museum of Art in Roanoke, and “Human/Nature: Recent European Landscape Photography” at the Nelson-Atkins Museum in St. Louis. The Nelson-Atkins Museum as well as The National Gallery of Canada has acquired works by Gefeller for their permanent collections. Internationally, the artist has had shows over the past two years in Cottbus, Berlin, Amsterdam, Hanover, Burgdorf and Düsseldorf. Gefeller’s third publication is scheduled to be released in early 2009.

Bernhard Knaus, Augartenstrasse 68, D - 68165 Mannheim
Fon ++49 (0)621 814011
Fax ++49 (0)621 8355810
www.bernhardknaus-art.de

PHOTO FESTIVAL UNION

The Union of European Festivals of Photography
CONTACT INFO: Joanna Studzinska - International Media Relations
j.studzinska@festivalunion.com PHONE: (0048) 889 150 709
WEB: www.festivalunion.com

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La Maison Européenne de la Photographie

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75 004 Paris - France
Telephone: (33) 1 44 78 75 00
www.mep-fr.org

Canadian Museum of Contemporary Photography

Temporary Closure of the Canadian Museum of Contemporary Photography 

The Canadian Museum of Contemporary Photography (CMCP) is temporarily closed for an undetermined period due to major construction work led by the National Capital Commission.

International Center of Photography

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