A Matter of Time

There are special moments when the art world comes together to acknowledge the impact and zeitgeist of a particular show and for New Yorkers, that moment is the current Christian Marclay exhibition at the Paula Cooper Gallery at 534 West 21st Street.

From now until Feb 19, the gallery is showing Marclay's extaordinary 24 hour video piece "The Clock" - a real time assemblage of hundreds (if not thousands) of film clips all dealing in some way with timepieces and time (and myriad other themes, sub-themes, etc.). In other words, if you come into the gallery at 3:04 p.m., the film might be showing a sequence in which, say, Cary Grant will be looking at his watch and it will say 3:04. Ten minutes later, a clip from a german expressionist film of the 30s might have a clock in the background where the time will be 3:14. It might be better explained in the video below.

If you have any opportunity to see this piece, I highly recommend it. You can, of course, dip in and out as you wish. The gallery has an enormous screening room full of very comfortable chairs and couches and the most surprising thing is how entertaining and gripping the work is. Most significantly, this weekend and next (the last two weekends of the show) the gallery will be open from Friday until Sunday 10 a.m. in order to allow the hardiest souls to watch the entire 24 hour cycle.

You can read some background here. And for those outside of New York, it's probably only a matter of time (no pun intended) until "The Clock" comes to a museum near you.

Dean Fidelman

One of the many qualities of Bruce Weber is his generosity towards other photographers. As an enthusiast, collector, and publisher, Weber has brought a number of lesser known photographers to light, mostly through his self-published magazine "All-American" - now in its 10th volume.

In the most recent issue of "All-American" Weber has included a portfolio of photographs by Dean Fidelman which combine the schools of climbing photographs and the nude in a skilled and original way. I particularly like how unsalacious these pictures are. They're more about athleticism and have a kind of hippy/back to nature vibe linking them to the "Stone Master" photographers of the 70s.

My friend Tom Adler, another great discoverer of photographers, recently put together a terrific book on the Stone Masters which I somehow missed blogging about, but you can get it here.

Below, a few more pictures by Fidelman:

A View from Above

We're all a little sick of the snow right now, yes? But to see exactly what a phenomenon the storms over the United States have been, this amazing satellite view courtesy NASA. It should certainly please Andreas Gursky! Click here if this reference needs further explanation.

Kenneth O'Halloran

Another picture which stopped me in my tracks. This photograph from Kenneth O' Halloran's "Fair Trade" series (on Irish Fairs) is a stunner! I love its Heironymous Boschian composition, its dabs of color, and the way your eye is pulled back into the ever denser concentration of horses and figures at the back of the frame.

It's atypical of the rest of the series' Sanderesque portraits, but those are pretty strong too as you'll see below.

I'm beginning to feel that the Sander to Sartorialist composed portrait is becoming almost too prevalent these days, but what's interesting is how in the hands of someone with a distinctive vision, it still has some kick. But I'd love to see O'Halloran come up with more pictures like the top one.

Milton Rogovin 1909 - 2011

Milton Rogovin passed away this week at the surprising age of 101. I was lucky enough to represent Milton and put on two shows of his work and over the last few years I wrote about him a number of times on this blog. Re-reading what I wrote, I hope that much of it bears repeating.

"Sometimes life gets in the way of the art. This is one of the few plausible explanations of why Milton Rogovin is not more widely know or celebrated than he is. I have been lucky enough to represent Milton’s work for the last few years and I hope you’ll check out all the pictures on the Danziger Projects website. (Click here to view.) Hopefully you’ll see why he’s such a photographer’s photographer – a particular favorite of Alec Soth and Tanyth Berkeley amongst many others.

Rogovin’s pictures consist almost entirely of portraits of workers and the working class. His prints are nearly all a modest 8 x 10 inches – a size that suits his commitment to activism above art world recognition and his dedication to social issues, most notably the plight of the miners around the world; the decline of the American steel industry, and the struggle of the working people of his home town of Buffalo, New York.

Deceptively straightforward, Rogovin’s photographs reveal a personal style that up-ends the usual balance between a great photographer and the subject. While most masters of photography wittingly dominate the picture, in Rogovin's work the subject commands equal strength. The photographic style is deadpan. The camera simply provides a stage for his subjects to present themselves as they see fit. Rogovin trusts them and their ability to present themselves as the unique individuals they are. Whether because of his respect and empathy for his sitters or the sincerity of his humanism and politics, this seemingly simple concept re-addresses the delicate balance of power between the observer and the observed.

My favorite example of this is his 1973 picture of Lower West Siders Johnny Lee Wines and Zeke Johnson. "It's a picture of pure happiness" said one viewer. So to spread the feeling, here are some unpublished and unseen shots of Johnny from that day."

They seem to me as fitting a tribute today as ever.

Morning Light

Long Meadow North. 2005. Photograph by Joseph O. Holmes.

Jan 17, according to a recent study, has been deemed the "most depressing day of the year". This finding by social psychologists was made by calculating how long it takes for us to break our New Year's resolutions, for the holiday bills to pile up, and the effect of the weather and the dark. Not surprisingly, January is also considered the most depressing month and according to my own highly unscientific study, this January in particular is dragging along at a much slower pace than most Januaries.

There are, however, a few metaphorical (as well as actual) bright clouds and one of them for me is walking my dog in the morning when Central Park is still blanketed with white snow and before the dirt of the city turns everything to grey slush. I try to time my walk so that I get into the park just as the sun is rising and this week with its pale blue morning skies and golden red sunrises has been particularly beautiful.

Add to this that after 11 years our semi-wild collie/lab/sheperd/chow mix has finally mellowed enough to be let off the leash and not take off for parts unknown and you get a morning walk that is at once serene, invigorating, and joyful. There's nothing quite like seeing a happy dog bounding through snow!

Another bright cloud is seeing a good show by a friend and I finally got the chance this week to catch up with Joseph Holmes current exhibition “The Urban Wilderness” at the Jen Bekman gallery in Soho. It’s up until January 23 so there’s still time to catch it.

Joe’s pictures were taken in Brooklyn’s Prospect Park, not Central Park, but they convey the same magical feeling of the urban metropolis transformed into a wintery Eden. And they’re nearly all about dog walking! (As well as about light, and color, and composition.) Joe values may be old-fashioned – he’s someone looking to find the sublime or the memorable in the everyday – but his pictures have a nice contemporary feel due to their color and scale. And the show is a sure cure for those January blues!

Above and below from the current show:

Nethermead

And two brand new photographs from this December:

Long Meadow North No. 2

The White Oaks.

Weekend Video

Just saw Sofia Coppola's new movie "Somewhere". I loved it but I can fully understand how some people would find it aggravating. First, while the film is about connection (or the lack of), it's cast in a louche world of fame, privilege and indolence. Secondly, Coppola has a still photographic style that any one addicted action and fast cuts would have trouble sitting through. Coppola sets up the frame (beautifully), allows a scene to leisurely unfold, and then is on to the next wry vignette. What no-one could quibble with is Coppola's taste in music and how she uses it. All her movies have original song choices and I came out of this film stuck on the song "I'll Try Anything Once" by Julian Casablancas of The Strokes which is used as a something of a refrain throughout the film.

So here's the song (above) and the trailer (below). For readers of this blog (i.e. intelligent, visual, open-minded people) the film is a good bet!