Julie Blackmon in Adobe Create Magazine


"Disrupting Domesticity: Julie Blackmon's Irreverent Take on Small-town Family Life"
By Dan Cowles

Julie Blackmon’s slightly skewed images of family life in the American Midwest—often populated by minimally supervised children in potentially hazardous yet comical situations—speak to the constant low-level anxiety familiar to pretty much any parent living in our modern times.

The overwhelm of being alive, being a mother, being pulled in a million different directions, and seeing danger everywhere informs Blackmon’s work. “You have all these little people that you’re responsible for, these lives to direct and manage,” she says. “You can just find yourself in some vortex of anxiety. Unless you do find the mythic or the beauty in it, and the humor in it…you might as well hang it up, because that's what it's all about.”

Click here to continue reading and watch a video about her process. 

Richard Misrach Featured in Pasatiempo

"Long division: 'Border Cantos'"
By Paul Weideman

In photographer Richard Misrach’s 13 years of taking pictures along the United States-Mexico border, he has seen all kinds of landscapes and fences and detritus. “The artifacts you see have a lot of different explanations,” he said by phone from his home in California’s Berkeley Hills. “Basically people have walked a long way from Central America and Mexico, and their clothes are filthy, and they often dump them after they’re across the border, because they bring fresh clothes with them. Also the Border Patrol has been known to make people dump whatever they have when they find them. You see backpacks and tennis shoes, religious icons and Bibles, and all kinds of things strewn along the border.”

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Mike Mandel Interviewed by Photoworks


"Interview: Mike Mandel"
By Photoworks

Photoworks: Hi Mike, thanks for taking the time to talk to us before your opening at SFMOMA. Can you tell us more about Good 70s? How did the exhibition idea come about?

Mike Mandel: Good 70s, the exhibition, is based on the boxed set of books and other printed matter that comprise Good 70s, the 2015 publication produced by D.A.P. and J & L. Books. The show is a way to take projects out of the confines of the original container (book, poster, packs of trading cards) and enable the curator, Sandra Phillips, and I to extend the presentation of the work on the wall, in vitrines and in other new ways. 

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Holly Andres' upcoming group exhibit at Radius Gallery


"Photographer Holly Andres Takes a Turn to the Political at Radius Gallery"
By Erika Fredrickson

Holly Andres makes photographs that evoke the simmering terror of a Hitchcock film mixed with the precariousness of adolescent awakening. Her exhibit at the Missoula Art Museum last year, for instance, included several narrative pieces riffing on young girls discovering locked rooms and boxes, suitcases and a hornets nest, all rendered in the rich colors and suspenseful staging of a Nancy Drew cover.

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Mike Mandel Featured By The Guardian

Mandel People in Cars 13.jpg

"Human traffic: photos of people in their cars are a window to a lost world"
By Sean O'Hagan

In the early 70s, Mike Mandel would walk from his house in north Hollywood to the busy intersection of Victory Boulevard and Coldwater Canyon, where he would stand on the pavement and point his camera at the cars waiting at the traffic lights. “I liked the idea that I would stand in one place every day and the pictures could come to me,” he says.

Back then, way before digital cameras, surveillance and smartphones, people were more relaxed about a stranger on a street with a camera. “I was using a wide-angled lens and had to get in really close, because I wanted a reaction. Some guys flipped me the finger, but more often people would just smile back or pull a face. They just thought it was kind of funny.”

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"The Photographer Who Captured People Driving in Los Angeles"
By Hattie Crisell

"I wanted to do something that would have a little humor to it, and maybe a little riskiness,” the photographer Mike Mandel says. His new book, “People in Cars” out next month, does just that: It’s a collection of snapshots he took in 1970s California as a 19-year-old kid. “I grew up in Los Angeles and all of my experience of being in L.A. was about going from one place to the other by car,” he recalls. He saw the automobile as an American icon and a home in itself, where people would spend hours of their time. Walking to an intersection half a block from his house, he began to take candid photographs of drivers."

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BLOUIN ARTINFO features Rankaitis Exhibition

Robert Mann Gallery in New York is hosting an exhibition “Grey Matters” by artist Susan Rankaitis through May 6, 2017.

The exhibition presents the most recent works by American multimedia artist Susan Rankaitis (b. 1949, Cambridge, Massachusetts), continuing with the artist’s ongoing exploration of artistic and scientific processes. Working in painting, photography and drawing, Rankaitis’s work is rooted in the unconventional. Derived from Rankaitis’s most recent fascination with the concept of interoception, the works in this exhibition incorporate unique images that fuse the histories of experimental photography and abstract painting, creating an artistic visual representation of scientific ideas. Attempting to illustrate the obscure internal sense of interoception or any such intangible internal event, the artist engages the use of mixed media, to conjure up imageries that are both cerebral and emotionally evocative. 

To view the feature click here

Mike Mandel and Larry Sultan on view at Tate Modern

The gallery is thrilled to share the news that gallery artist Mike Mandel's work, Evidence, done in collaboration with Larry Sultan is currently on view at the Tate Modern

Evidence is a key early work made using found photography, claiming and re-contextualising images to create new meanings

Larry Sultan and Mike Mandel began collaborating as students and continued making work together for almost three decades. In 1977 they published a book featuring images from the archives of American institutions such as NASA, United States Department of the Interior and Jet Propulsion Laboratories. Having scoured the unclassified archives, Sultan and Mandel made a selection of photographs produced to document the activities of these organisations. They then carefully sequenced these records of scientific experiments and technological breakthroughs and presented them without explanatory text or captions. Shown here are 36 of the 59 photographs they selected.

By taking these images from their institutional contexts Sultan and Mandel remove their original documentary function. Without reference to their origins their role as ‘evidence’ becomes more fluid, the images intrigue but are rendered mysterious, and at times absurd. Through selection and sequencing Sultan and Mandel create new narratives and ask the viewer to draw their own conclusions, playing an active role in the creation of meaning. The artists described this process as a ’poetic exploration upon the restructuring of imagery’.

Sultan and Mandel’s revolutionary approach questions the value of the photograph as document and highlights the role of context in forming meaning. Evidence is now seen as an iconic work which influenced and helped popularise the use of found photography in contemporary artistic practice.

Jem Southam in 'Regions of Light'

We are pleased to share that gallery artist Jem Southam is included in the group exhibition Regions of Light at the Hestercombe Gallery, England.  

'Regions of Light' showcases the historic work of painter and poet Rev. John Eagles (1783-1855), together with contemporary artists Rebecca Chesney, Paul Desborough and Jem Southam. The exhibition title, taken from a line in a John Eagles poem, alludes to the visual diversity of the show, which feature photography, paint, sculpture, objects, words and film. 

The exhibition opens on March 18 and will be on view through July 2, 2017