So it is just around the corner, my first ever solo exhibition. I am excited, nervous, anxious, happy, sad, relieved and all the rest. I hope that everyone is able to make it. I of course understand that there are people who follow my blog who are from other countries and I am sure that you will be with me in spirit, for those who are in the state of NSW and more specifically the Sydney, South Coast and Illawarra areas I encourage you to come along to my exhibition and show your support for an emerging, local, young creative. Thank you.
Candida Höfer (German, b.1944) is a photographer known for her large-format images of architectural interiors, which address the psychological environment of social and cultural institutions by acknowledging how public spaces are designed to accommodate and inform the public. After completing studies at the Cologne Werkschule, she enrolled in the Düsseldorf School of Art, where she was taught by Bernd and Hilla Becher (German, 1931–2007; b.1934), heavily influenced by the formal qualities of the austere documentary photography they endorsed.
Along with fellow German artists Thomas Struth (b.1954), Andreas Gursky (b.1955), and Thomas Ruff (b.1958), Höfer’s work became internationally recognized in the 1980s, and her subject matter expanded to include a myriad of places rooted in cultural formation and preservation, including museums, libraries, universities, theaters, civic centers, and historic sites. She has held numerous solo exhibitions throughout Europe and the United States, and her work has been included in several group shows at the Museum of Modern Art in New York, Documenta XI in Kassel, and the Museum Ludwig in Cologne. In 2003, Höfer represented Germany in the Venice Biennale with fellow compatriot, Martin Kippenberger (German, 1953–1997). She lives and works in Cologne, Germany
Trinity college, Dublin I, 2004, C-print, 180 x 215 cm.
Teatro Scientifico Bibiena Mantova I, 2010, LightJet print,180 x 225 cm.
Images and text: http://www.artnet.com/artists/candida-h%C3%B6fer/
Tickets available here: http://goo.gl/RhS9IG
Sally Mann (American, b.1951) is best known for her black-and-white photographs, featuring portraiture and landscapes in the southern United States. Mann was born in Lexington, Virginia, and attended Hollins College. She began working as a photographer for Washington and Lee University after graduation, and her photographs of the construction of the University’s library were included in her first solo exhibition, held at the Corcoran Gallery of Art in Washington, D.C. Mann received great acclaim and critique for her Immediate Family series, in which she photographed her own children, often nude, in ethereal, unsettling works, picturing the everyday activities and games of a child while alluding to darker and more serious themes of loss, sexuality, loneliness, and death.
Mann’s more recent works include photographs of landscapes in the Deep South, which incorporate 19th century methods of developing photographs, and use damaged cameras and lenses, giving her work a scratched, unfinished look that continually references the photographic process. Mann has been awarded a Guggenheim fellowship and three National Endowment for the Arts fellowships, and has published several books of her photography. She exhibits her work around the world, in cities such as New York, Berlin, Chicago, Rome, and Tokyo. She currently lives and works in her hometown of Lexington, Virginia.
Fallen Child, 1989. Gelatin silver contact print, 50.8 x 61 cm
Untitled /At Twelve/ Lisa Tab, 1983-1985. Silver gelatine print, 19 x 24 cm.
Images and text: http://www.artnet.com/artists/sally-mann/
Zhang Dali (Chinese, b.1963) was born in Harbin, China, and studied at the Beijing Academy of Art & Design. After finishing school, he travelled to Italy, where he discovered Graffiti Art. In the 1990s, he was the only Graffiti artist in Beijing. Zhang became known for the 2,000 giant profiles he created of himself—completed between 1995 and 1998—seen throughout Beijing. The profiles of his bald head were intentionally placed alongside chai characters, which were painted by city officials as a way to indicate demolition. These images became subject of a media debate in 1998.
From 2003 until 2005, Zhang portrayed 100 life-sized resin sculpture of immigrant workers posed in numerous postures. Each sculpture or “worker” had a designated number, the artist’s signature, and the title, Chinese Offspring, tattooed to each of their bodies. Hung upside down, these sculptures commented on the fragility and uncertainty of life, as well as the lack of power these immigrant workers hold to change their own fates. Aside from Keith Haring (American, 1958–1990) and Jackson Pollock (American, 1912–1956), Zhang was one of the only artists to appear on the cover of Time magazine. He has exhibited his work at the International Center for Photography in New York, Courtyard Gallery in Beijing, the Institute of Contemporary Art in London, and Kunstnernes Hus in Oslo. In 2006, Zhang participated in the Gwangju Biennale in Korea. He currently lives and works in Beijing.
Chinese Offspring No. 209, 2010, synthetic resin, h: 149.9 x w: 69.8 x d: 25.1 cm
Unititled, 2012, Acrylic on vinyl, 152 x 122 cm
Images and text: http://www.artnet.com/artists/zhang+dali/