JEFF JACOBSON: The Last Roll + Melting Point

Photograph (c) Jeff Jacobson

Photograph (c) Jeff Jacobson

Shanghai, China, 2002 from the series Melting Point
Photograph (c) Jeff Jacobson

"In his book, Melting Point (Nazraeli Press, 2006), Jeff Jacobson writes of over 20 years observations of what he describes as “a meltdown period, when old norms of politics, religion and even photography are changing…. In working from the paradox of a curious melding of beauty and fear these photographs emerged.” Of Melting Point, Mark Feeney in the Boston Globe writes: “For all his theatricality, Jacobson is as much realist as expressionist. In strictly visual terms, these images are highly arresting. Seen also in technical terms, they become objects of wonder.”

from the series The Last Roll. Photograph (c) Jeff Jacobson

"In 2004, Jeff Jacobson was diagnosed with lymphoma...As Jeff recovered, “my photographic universe expanded to the yard, the street, the river and into Woodstock.” In 2006, Kodak announced it had discontinued the film, Kodachrome, that Jeff had used throughout his career. He purchased and stored as much film as he could. “Coming to the twin realizations that my time on the planet and my supply of film are both finite had a liberating effect on me.” Since then, Jeff has concentrated on what he holds most dear: his family, home and the earth. The Last Roll is a project that is just about complete and will be the content of his next book. Many of the images from this series will be seen for the first time at the Davis Orton Gallery."

Jac0bson's photographs are in the permanent collections of the Whitney Museum of American Art, The San Francisco Museum of Modern Art, The Walker Arts Center, Minneapolis MN, George Eastman House, Rochester NY and the Smithsonian Institute, among others. His work has appeared in The New York Times Magazine, Fortune, Time, Geo, Stern and Life. Jeff Jacobson Photography

Melting Point and The Last Roll

August 5– September 4
Davis Orton Gallery, Hudson NY

ALAIN DELORME: Paris Exhibition

Totem #13
Photograph © Alain Delorme/ All rights reserved

Totem #1
Photograph © Alain Delorme/ All rights reserved

Totem #12
Photograph © Alain Delorme/ All rights reserved

Totem #7
Photograph © Alain Delorme/ All rights reserved

Manufactured Totems: Alain Delorme
Galerie Magda Danysz, Paris to Sept 25, 2010

"The new Totems series by Alain Delorme plunges us into the core of contemporary China and its complexity. Under the blue sky of a highly colored Shanghai, men carry throughout the city unbelievable piles. These precarious columns made of cardboard or chairs appear as new totems of a society in complete transformation, both a factory for the world and a new El Dorado of the market economy...read more here by Raphaele Bertho, photo historian)." We hope this exhibition comes to NYC!

Alain Delorme Website

HEUNGMAN: Shanghai, City of Shadows

Photograph (c) Heungman/All rights reserved

Photograph (c) Heungman/All rights reserved

Photograph (c) Heungman/All rights reserved

Photograph (c) Heungman/All rights reserved

HEUNGMAN was born in China, brought up in Hong Kong and lives in New York City. He received a BA in Cinema and Television Arts from California State University and BFA in Photography from the Art Center College of Design in L.A.. He was a successful commercial photographer for many of the 15 years he lived in New York City. His work was published in Rolling Stone, Spin, and Paper Magazines. He shot numerous musicians; Usher, Moby, Lil' Kim, Ben Harper, The Black Crowes, Duran Duran and celebrities Hugh Grant and Conan O'Brien, as well as many advertising campaigns such as Tommy Hilfiger.

Missing his "roots", Heungman returned to Shanghai for several years, documenting the city around him. He applied his early love of American film noir in his series "The New Noir". He's exhibited this work in galleries from Austria, China to New York City.

"Shanghai is the natural capital of international neomodernism because, without obvious parallel, it is an interrupted city. Not only is it undergoing a self-conscious process of rebirth, it is doing so with explicit reference to its previous age of cosmopolitan flourishing. It is doubling back upon itself, across a hiatus. In its restoration structures, which typically wrap or encase the old brick and metal skeleton of the early 20th century in the glass, light and digital electronics of fashionable art spaces, leisure venues and creative industries, Shanghai's 1930s and 1990s incarnations click seamlessly together, as if assembling the precision-engineered pieces of a cryptic historical jigsaw puzzle...the still photography of Heungman's Shanghai Noir series engages in a stubborn exploration of broken neomodern duration. At its most elementary, it exploits high-contrast (chiaroscuro) black-and-white imagery and noir aesthetics as a time-code, translating the city's futuristic highrises edifices back into the historical period implied by its style of perception. More subtly, the aspects of Americana (replete with both Gothamite and Hollywood references) disorient and cosmopolitanize, entangling the city's local storyline in wider and more incomprehensible structures of trans-regional fatality. The city's harsh – even infernal – incandescence is cast adrift within an oceanic vastness of pitiless, world-swallowing night. The heavens are an absolute nothingness (so everything is permitted)." Read the complete piece by NICK LAND

HEUNGMAN: WEBSITE
New York: INES DESEROUX GALLERY
Shanghai: ART LABOR GALLERY