July 17 - Gallery Visits, a set on Flickr.
Via Flickr:
Images from the exhibits at: Honor Fraser, LAXART, Cherry & Martin, Blum & Poe, Francois Ghebaly Gallery, China Art Objects and Jancar Gallery.
This photos were taken by iPhone so I apologize of the low quality of them.
A selection of 111 French and international galleries from some 30 countries will present the best of 19th century, modern and contemporary photography in the heart of the French capital. To complete this panorama of worldwide photography, a selection of 16 publishers and international specialized bookstores will have a dedicated space in the fair.Paris Photo will celebrate African photography from Bamako to Cape Town, unveiling the creative wealth of historic and contemporary African artists.These exciting developments put forward the new energy that Paris Photo is displaying by reinventing itself.
The most complex and haunting photographs in the show, however, depict "flash burns." In one image, the shadow of a valve used to seal off a pipe is projected onto the metal surface of the container to which it is attached. Visual habit leads viewers to believe that this is the effect of a sunny day. The caption belies this commonsense response: "'Shadow' of a hand valve wheel on the painted wall of a gas storage tank; radiant heat instantly burned paint where the heat rays were not obstructed." In effect, the nuclear blast—its "bluish white glare"—turned some objects in Hiroshima into light-sensitive surfaces, resulting in what might technically if uneasily be called photograms. I say uneasily because of another, altogether sadder image also included in the show. Here we see the surface of a road, on which an arrow is chalked and labeled "direction of blast." Once again the caption, its neutral language betraying the photograph's scientific purpose, redirects our understanding of the image: "Flash-burn on asphalt on bridge 20, 3,500 feet south from [air zero]. Shadow was cast by a man." Two small circles marked in chalk indicate the placement of the man's feet; one is slightly in front of the other, as if he were mid-stride. The "shadow," this photogram-within-a-photograph, is likely the only extant evidence that someone died on that spot.
Fortunately history also preserves the memory of the great fighters against history, that is, against the blind force of the real and thus puts itself right in the pillory, because it brings out directly as the essential historical natures those who worried so little about the “Thus it is,” in order instead to follow with a more cheerful pride a “So it should be.” - Friedrich Nietzsche. On the Use and Abuse of History for Life [Revised Edition, 2010]. Translated by Ian Johnston, Vancouver Island University, Nanaimo, BC, Canada.
In conjunction with the current exhibition Jasper, Texas: The Community Photographs of Alonzo Jordan, the International Center of Photography will present a lively debate around the issues of community photography. Guest Curator Alan Govenar, photographer Clarissa Sligh, and filmmaker Thomas Allen Harris convene to discuss the role of community photography in documenting African American social and cultural life and how the vernacular aesthetic has impacted contemporary photography. ICP's chief curator Brian Wallis will moderate the discussion.
