11.09.2009

ALEXANDER VREELAND: Elizabeth Glaser Pediatric AIDS Foundation Uganda Visit

Families affected by HIV and AIDS at Kawolo Hospital, Uganda
Photograph (c) Elizabeth Glaser Pediatric AIDS Foundation

Families affected by HIV and AIDS share stories, Kawolo Hospital, Uganda
Photograph (c) Elizabeth Glaser Pediatric AIDS Foundation

Families share stories at EGPAF get-together, Kawolo Hospital, Uganda
Photograph (c) Elizabeth Glaser Pediatric AIDS Foundation

Alexander Vreeland and Foundation President / CEO Pamela Barnes
plant a tree at Kawolo Hospital
.
Photograph (c) EGPAF

In 1993, ALEXANDER VREELAND founded Kids for Kids, an annual fund-raiser for the Elizabeth Glaser Pediatric Aids Foundation, which over the years has raised over twenty-two million dollars for HIV treatment and research. He first served on the Foundation's Advisory Board, and then joined the Board of Directors for over five years. This October, Vreeland traveled to Uganda with board member and television correspondent Willow Bay and Foundation President and CEO Pamela Barnes. Vreeland wrote about his personal experience speaking with the families of HIV and AIDS patients at Uganda's Kawolo Hospital:

"At Kawolo Hospital, in a suburb outside the capital of Uganda, I looked around a group of doctors, nurses, mothers and children and I found myself surrounded by people who understood my story.

Shortly after the birth of my daughter Victoria, she was diagnosed with pneumonia. The second time that she got severely sick, Sandra and I immediately took her to the emergency room at St. Vincent's Hospital in New York City. After a preliminary examination the intern on duty told us that it looked like PCP, the AIDS pneumonia. He was right. Over the next days we discovered that Sandra, Victoria, and our older son Reed had HIV. My life changed dramatically on that fall day in 1988.

In Mukono Health Clinic #4, we sat in a cleared out maternity ward. The walls of the ward were pealing and the small windows were cracked. I shared my story with the small group that had assembled, and numerous people in the room offered us a window into their lives as well. They stood up, one after another, and in soft, broken English talked about their lives. I could relate to their stories: a tall, elegant woman in a green, tribal pattern outfit spoke about her fear of revealing her HIV status to her own family; a seventeen-year-old girl in a white and navy blue school uniform talked poignantly about choosing to change schools to avoid the social pressure and stigma that she was faced with once her classmates discovered her diagnosis; an inhibited, college-age man wearing glasses shared that he had been near death several times and that he struggled to be consistent taking his medication; a social worker talked to the group about trying to find the words to help a teenager discuss his HIV status with his girlfriend.

At the clinic I also heard the stories of those who were not able to readily express them: I saw a stunned mother, standing over her day-old twin daughters--they had just been told that they had HIV; I heard the story of a child who was caring for his mother as she was suffering from repeated cases of PCP and numerous opportunistic infections. They stood up one at a time. Most were able to speak in English, while others needed to be translated from their native tongue. Even though they were likely invited by the clinic's organizers to share with the group, I could tell from their expressions that they did not expect to be speaking to people who had actually lived very similar stories.

The stories and medical realities in these poor African Hospitals today are not so different from my first experiences in the Pediatric AIDS clinics at New York Hospital and Bellevue Hospital in the late '80s. At that time the only medicine available were capsules of AZT, and they were not yet available in children's dosages or in a child-friendly format. PCP was still a death warrant for most children. No one knew how long anyone with the virus was going to live, but we knew lists of people who were either about to pass away or had already left us.

My time in Uganda made me extremely proud of what the Foundation is doing. I can still remember attending a board meeting in the late '90s when it was announced that a research project, in part funded by the Foundation, had discovered that Nevirapine had been found to block the transmission of HIV from mother to child in about fifty percent of cases. The board embarked upon an entirely new facet of our mission. With funds from the Gates Foundation, we started to implement the treatment in the countries with the greatest need.

My concern at the time was that helping to block transmission during birth was only one small part of what we needed to do to combat the virus. It seemed inhuman to me to diagnose a mother's HIV status, help her have an HIV-free baby, and then walk away. She probably had a husband and other children who were living with HIV. They surely needed medicine, most probably counseling, and possibly even a little help to keep their kids in school.

Well today, the Foundation's program in Uganda is helping with all these issues and many more. They are confronting the complexities of this illness and bringing help to afflicted families, partly by giving families tools to help themselves." –
Originally posted in The Huffington Post

Vreeland divides his time between Paris and New York with wife, Lisa, their seven-year-old daughter, Olivia, and his three grown children Reed, Victoria, and Diane.
Kids for Kids brings together children, families, celebrities, and corporations to rally in support of the Foundation's lifesaving programs to eradicate pediatric HIV and AIDS. Attendees enjoy samplings from NY's greatest restaurants, mingle with world-class artists, photographers, and celebrities, and experience both old-fashioned and cutting-edge carnival activities.

11.07.2009

WILLIAM R WILSON: Auto Immune Response


CLICK ON IMAGES TO ENLARGE!


Auto Immune Response
Photograph (c) William R Wilson /All Rights Reserved

Auto Immune Response #2
Photograph (c) William R Wilson /All Rights Reserved

Auto Immune Response #4
Photograph (c) William R Wilson /All Rights Reserved

Auto Immune Response #5
Photograph (c) William R Wilson /All Rights Reserved

Auto Immune Response #6
Photograph (c) William R Wilson /All Rights Reserved

Auto Immune Response #10
Photograph (c) William R Wilson /All Rights Reserved

"Throughout my work I have focused on photographing Navajo People and our relationship to the land. While portraying this relationship I have always been aware of how our representation has never been without consequence."

The Museum of Contemporary Native Arts, Santa Fe, N.M., announced William R Wilson (Navajo) has been selected to oversee the Vision Project, a Ford Foundation grant initiative. Wilson's first undertaking will be to oversee the history of the Contemporary Native American Art Movement in a book featuring Native artists from the U.S. 15 scholars will write up to four essays each on living artists who have made considerable contributions who vary in age and media.

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WILLIAM WILSON, Dine (Navajo), born in San Francisco, CA, moved permanently to the Navajo Reservation when he was 10. He earned a MFA in Photography, with a focus on the History of Photography, at the University of New Mexico and a BA in art history and studio art from Oberlin College, OH.

In Wilson's Auto-Immune Response Series (above), he set out to photograph the Navajo people in relationship to the land, including figures to represent his people and himself. In the photographs, a luminal figure or pair of figures wearing gas masks appear in different dramatic natural places; in the area of the Grand Canyon and in upstate New York near the Finger Lakes. This post-apocalyptic man survey’s what appears to be a pristine and expansive landscape and wonders what has gone wrong. For the Auto-Immune Response Series Wilson received the prestigious Eiteljorg Fellowship for Native American Fine Art. The Series was a solo exhibition at the National Museum of the American Indian, Smithsonian Institute, New York, NY and the Heard Museum, Phoenix, AZ. His work is in the Collections of the National Museum of the American Indian, Smithsonian Institute, Washington D.C., the Heard Museum, Phoenix, AZ, the University of New Mexico Art Museum, Albuquerque, NM, the Juane Quick To See Smith Private Collection, Corrales, NM among others.

Wilson, an artist, photographer, and arts educator, has taught sculpture at the Institute of American Indian Arts in Santa Fe, N.M., photography at Oberlin College and the University of Arizona and served two years as a photojournalist in Central America for the Associated Press. From 2000-2005, Wilson was the co-director of the Barrio Anita Community Mural Project, the largest public art commission in Tucson, Arizona's history. BAMP features a 12,000-square-foot mural alongside the Interstate 10 sound barrier wall. The project involved the creation of a multi-media Arts Center for the community. The Arts Center features digital photography, Venetian glass tile photo-mosaic, metal work and more.
View the BAMP Murals:
North Contzen Street Mural and Ouray Park Mural
Will Wilson Creates Indianapolis Mural video


William R Wilson Website

11.06.2009

GALLERY UPDATES: Just For Fun


Publisher Jack Woody (hat) and Josh Binder (plaid)
arrived from New Mexico for Luke Smalley's CLAMPART exhibition

Twin Palms publisher Jack Woody arrived from New Mexico with Josh Binder, for his posthumous exhibition and book launch of photographs by their late friend LUKE SMALLEY at Chelsea's CLAMPART Gallery. It was sooo crowded I wasn't able to take a snapshot of the gracious Brian Clamp. CLAMPART 521 West 25 Street NYC

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Radius Books publisher Darius Himes in front of
Photographs by Alex Webb & Rebecca Norris Webb

Photographer Rebecca Norris Webb (left), and Darius Himes,
with Photographer Gay Block


Photographer Alex Webb (left) with guest


Radius Books publishers Darius Himes and David Chickey's book launch for Photographers Alex Webb & Rebecca Norris Webb was a great success. Look for photographs of their beautifully designed Limited Edition of VIOLET ISLE: A PORTRAIT OF CUBA on Radius Books website next week. RICO MARESCA GALLERY 529 WEST 20TH ST NYC

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Check out the Opening party for Deborah Turbeville's exhibition Silent Film
posted below

DEBORAH TURBEVILLE: Silent Film

Photograph (c) Deborah Turbeville /All Rights Reserved

Deborah Turbeville's exhibition Silent Film at Ralph Pucci

Photograph (c) Deborah Turbeville /All Rights Reserved

Opening party for Deborah Turbeville's exhibition Silent Film at Ralph Pucci

Guests: (left) Merek, Interior Designer Susan Forristal, Photographer Deborah Turbeville (center) Anglo Raj Antiques Sandra J. Long and friend (right) Marek & Associates Turbeville agent, Marek Milewicz and Sara Vass Public Relations exec, Richard Mauro (Click Images To Enlarge)

DEBORAH TURBEVILLE was born in Massachusetts and raised in New England. When she was twenty years old she moved to New York City to work with designer Claire McCardell. Having a fond interest in designer clothing Deborah became a fashion editor. It was not long after that she realized that her heart was in photography. She has been taking photos ever since. Turbeville divides her time between New York and Mexico and always spends a great deal of time in St. Petersburg, Russia.

Turbeville’s exhibition Silent Film at Ralph Pucci's 15,000-square-foot penthouse opened last night with a party. Half the photographs are set in Versailles, France, including the behind-the-scenes back rooms and storage spaces off-limits to the public. They’re taken from her “Unseen Versailles” series edited by Jacqueline Kennedy Onassis, who helped Turbeville gain access to the royal palace. Other photographs were shot in Saint Petersburg, Russia and Venice.

Ralph Pucci 44 West 18 Street New York
Deborah Turbeville Website

11.04.2009

PHOTOGRAPHY AUCTION: Paul Kopeikin


#3513, 2003 / Photograph (c) Todd Hido /All Rights Reserved

Kristie, 2007 / Photograph (c) Siri Kaur /All Rights Reserved

Embrace, 2006 / Photograph (c) Matthew Welch /All Rights Reserved

Downward, 2004
Photograph (c) Jill Greenberg
/All Rights Reserved

I nominate Gallery owner Paul Kopeikin "Father of The Year". He's assembled an amazing group of AUCTION photographs to benefit his daughter's Charter School! Several Nick Brandt's, Jill Greenberg's, Mark Citret's, Tom Baril's, Chris Jordan, a scattering of Todd Hido, Kate Breaky, Hiroshi Watanabe and many more great images too numerous to list so look at the GALLERY.

View the Nov 13th Invite details: Kopeikin Gallery

SUZY ALLMAN: NYC Marathon

The Marathon Runners on the Verrazano-Narrows Bridge
Photograph (c) Suzy Allman /All Rights Reserved/NY Times 11.2.09

The NYC Marathon Runners, Verrazano-Narrows Bridge, 10.1.2009
Photograph (c) Suzy Allman /All Rights Reserved

SUZY ALLMAN holds a degree in Environmental Science from Macquarie University in Sydney, Australia, and English from Lemoyne College in Syracuse, NY. As a professional travel and sports photographer, her work appears regularly in The New York Times, as well as Sports Illustrated, The Wall Street Journal, New York Magazine, Conde Nast, American Express, Ralph Lauren...among others. Allman specializes in aerial photography.

SUZY ALLMAN PHOTOGRAPHY WEBSITE
NYC Marathon 2009 Results
Ed Norton and
Massai Warriors Marathon Behind The Scenes

11.02.2009

LUKE SMALLEY: CLAMPART Nov 5th

1st Anniversary, 2008
Photograph (c) Estate of Luke Smalley /All Rights Reserved

Visiting Day, 2008
Photograph (c) Estate of Luke Smalley /All Rights Reserved

from Sunday Drive / Twin Palms Publishers
Photograph (c) Estate of Luke Smalley /All Rights Reserved

Untitled (Arm Wrestle), 2008
Photograph (c) Estate of Luke Smalley /All Rights Reserved

SUNDAY DRIVE

Photographs by Luke Smalley
TWIN PALM PUBLISHERS

SUNDAY DRIVE, Jack Woody's posthumous book of photographs by the late LUKE SMALLEY, continues Smalley's journey for truth inside the lives of small town youth. "This poignant photo novella tells the story of consequence when innocence takes a wrong turn. As in his past volumes, humor pervades: the boys' sobering plight as inmates in the state prison juxtaposed at Smalley's bemusement of the girls' preoccupation of what to wear." Classically Smalley.
EXHIBITION AND BOOK LAUNCH. NOV 5. 6-8 PM
521 West 25 Street NYC

WEBB + WEBB: Radius Book Launch Nov 5th

Havana (Rooster), 2008 / Radius Books
Photograph (c) Rebecca Norris Webb /All Rights Reserved

Santi Spiritus (Boys and Dusk), 1993 / Radius Books
Photograph (c) Alex Webb /All Rights Reserved

Havana (Colorful Wing), 2008 / Radius Books
Photograph (c) Rebecca Norris Webb /All Rights Reserved

VIOLET ISLE: A PORTRAIT OF CUBA
Photographs by
Alex Webb & Rebecca Norris Webb
With an Essay by Pico Iyer
RADIUS BOOKS

BOOK LAUNCH PARTY AND RECEPTION. NOV 5. 6-8 PM
GALLERY TALK AND BOOK SIGNING. NOV 7. 4-6 PM
RICO MARESCA GALLERY
529 WEST 20TH ST NYC


Alex Webb & Rebecca Norris Webb
WEBSITE

DUMBO GALLERY WALK: The Tibet Center

Nagarjuna, Tibetan Applique Thangka, 18' tall x 9' wide
Photograph (c) Herman Velez /All Rights Reserved

HH The Dalai under Nagarjuna's Thangka
Photograph (c) Herman Velez /All Rights Reserved
(please click image to enlarge)
HH The Dalai Bestowing Blessings at Radio City Music Hall, NYC
Photograph (c) Herman Velez /All Rights Reserved

Nov 5th • DUMBO 1st Thursday Walk: Until 8:00 Pm

THE TIBET CENTER is the oldest Tibetan Buddhist Center in NYC. It's not a Gallery, but you are welcome to come and look around Thursday evening. On display is the 18 foot tall (rolled to 12 foot to mind the ceilings) Nagarjuna Applique Thangka that was commissioned for HH The Dalai Lama. Other Tibetan paintings of the Buddha, White and Green Tara's, among other traditional pieces, are also on display.

The Tibet Center
has moved out of Dumbo since I first posted this piece and is now located at the University Settlement/Houston Street Center, 273 Bowery x Houston St, New York City.

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THE 18 foot tall NAGARJUNA Applique Thangka was commissioned for The Dalai Lama's three days of Teachings on The Diamond Cutter Sutra by the Buddha and Seventy Verses on Emptiness by Nagarjuna. To begin, a request was made to the Master Tibetan Applique Artist, Dorjee Wangdue, in Dharamsala, India.

T. G. Dorjee Wangdue was born in Lhasa, Tibet in 1962. At the age of 16, he joined Namgyal Tantric Monastery of H.H. the 14th Dalai Lama. It was his teacher, Ven. Thupten Jamyang (late), a Kalachakra ceremony and ritual master assisting H.H. the 14th Dalai Lama, who encouraged him to learn and improve his natural talent in making religious images of applique. He later opened the Tibetan Applique Arts Training Centre in Dharamsala, where over 150 young Tibetans have learned this unique Art so far.

After The Tibet Center's request was placed, Master Dorjee Wangdue had a
Thangka Painter from HH's own Namgyal Monastery make a pencil sketch of the Buddhist images for the huge piece. HH The Dalai Lama made adjustments to the sketch asking that the figure of the Buddha be placed above the central figure of Nagarjuna. The Applique Artist then designed the placement of all of the individual pieces and gave this to a team of crafts men and women who worked on it for many months. It was hung above HH The Dalai Lama in Radio City Music Hall, NYC, in 2007 and now resides in DUMBO.

The Tibet Center Website / Herman Velez Photography Website

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VIDEO'S
Master Tibetan Applique Artist, Dorjee Wandue, demonstrating the process of creating Applicate Thangka's. In Tibetan, no English sub-titles: Video 1, Video 2, Video 3, Video 4, Video 5, Video 6
(Short on Patience? Just watch Video 3 )

DUMBO GALLERY WALK: Gallery List

Sara & Justin, 2009 / Randall Scott Gallery
Photograph (c) Nadine Rovner /All Rights Reserved
www.nadinerover.com

Dreamboats Collective at Umbrage Gallery
Photograph (c) Adam Golfer /All Rights Reserved
www.adamgolfer.com

DUMBO 1st THURSDAY GALLERY WALK
Thursday Nov 5th Participating Gallerie
s:

A.I.R. GALLERY 111 Front St.
AMOS ENO GALLERY 11 Front St.
BOSE PACIA 163 Plymouth St.
BROOKLYN ART PROJECT 5 Front St.
BROOKLYN ARTS COUNCIL 111 Front St.
CAPTION GALLERY 55 Washington St.
CENTRAL BOOKING 111 Front St.
DUMBO ARTS CENTER 30 Washington St.
FARMANI GALLERY 111 Front St.
GIACOBETTI-PAUL GALLERY 111Front St.
HENRY GREGG GALLERY 111 Front St.
KLOMPCHING GALLERY 111 Front St.

KRIS GRAVES PROJECTS 111 Front St.
MAGASIN TOTALE 10 Jay St.
POWERHOUSE ARENA 37 Main St.
RANDALL SCOTT GALLERY 111 Front St.
SMACK MELLON 92 Plymouth St.
SPRING 126A Front St.
UMBRAGE GALLERY 111 Front St.
VII PHOTO 28 Jay St.

WATERMILL BROOKLYN GALLERY 111 Front St.

VIEW FROM DUMBO
DUMBO 411

DUMBO GALLERY WALK: Photo District

View of the Empire State Building from DUMBO
Photograph (c) Mary Virginia Swanson /All Rights Reserved

DUMBO is an acronym for Down Under the Manhattan Bridge Overpass. This historic Brooklyn waterfront neighborhood, located just across the East River from Manhattan, is one of New York's leading Arts Districts, AKA the "new" NY Photo District.

DUMBO 1st Thursday Gallery Walk November 5th 5:30-8:30 PM. Begin at 111 Front Street's 14 Galleries View Participating Galleries + Walking Map (click on red titles) Subway Directions: A/C to High St/Brooklyn Bridge. Cadman Plz West Exit F to York St

Mary Virginia Swanson: Photography Marketing Consultant Website

11.01.2009

ERIC FISCHL: An Interview

Fred, 1998. Oil On Linen. 72" x 68"
(Portrait of Fischl's friend novelist/art critic Frederick Tuten)
Painting (c) Eric Fischl /All Rights Reserved

Joan and John, 2002. Oil On Linen. 70" x 75"
(Portrait of writer's Joan Didion and the late John Dunne)
Painting (c) Eric Fischl /All Rights Reserved

Untitled (Brice In Pink Shirt), 2006. Oil On Linen. 50" x 60"
Painting (c) Eric Fischl /All Rights Reserved

ERIC FISCHL, born in New York City, grew up in the suburbs of Long Island and Phoenix, Arizona. He received a BFA from the California Institute for the Arts in 1972. His work has been the subject of numerous important exhibitions including: the Institute of Contemporary Art, Boston; the Whitney Museum of American Art, New York; the Walker Art Center, Minneapolis; the Milwaukee Art Museum, Milwaukee; and the Museum of Contemparary Art, Chicago. Fischl lives and works in New York City and Sag Harbor with artist April Gornik. Read his full bio here


Front Cover right: Photograph by Richard Avedon. Back Cover left: Painting "Portrait of the Artist As An Old Man" by Eric Fischl

The following is an excert from An Interview With Eric Fischl by Donald Kuspit, Elizabeth Avedon Editions / Vintage Contemporary Artists / Random House (Buy a vintage copy here):

DK: I see you want to live dangerously: you've critically introduced your contemporaries. Let's pursue your gambit. Within the context of the understanding you've set up, who are the artists you find interesting? Why do they make a difference to us?

EF: In the mid-seventies, when sincerity and/or meaning became important again, after pop art and minimalism and conceptual art, some artists found it either in direct expression of meaningfulness, or they found meaningfulness in the direct expression of meaninglessness, and that's how the lines were drawn. When I came to New York in the late seventies, the greatest risk was sincerity. The German artists–Keifer, Baselitz, Polke, Lupertz, Immendorff, Penck–became noteworthy because they were working with a historical event that was guaranteed to be meaningful. It was the worst thing that had happened, they were the descendants of its perpetrators, and they were trying to figure out who they were in relation to it. The whole struggle for meaning since the 1970's has been a struggle for identity. It's pervasive, but most of us can't identify what happened except in personal terms. By what happened, I mean what went wrong, what gave us this sense of collapse or disappointment. The Germans were hurt not just personally but culturally as well. It's very hard for us in America to complain or to feel that our complaint is justified, because, after all, what are we complaining about? That objects we surround ourselves with are disappointing? I mean, it's a joke, we're more embarrassed about having believed in the superficial qualities of America, and it's hard to see yourself in that light. But because the Germans were so devastated culturally, you can identify with their struggle for renewal. Baselitz made a formal decision to turn his images upside down. Before that he had been making traditional realist pictures, often genre and figure scenes. So he decided to turn history upside down. He distanced himself from history, almost as a kind of penitence, a kind of self-ostracism.


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Fischl's latest paintings are of the Corrida Goyesca held each September in the Andalusian town of Ronda. The toreros, or bullfighters, dress in 18th century attire as in the era of the Spanish painter Goya, who designed their distinctive costume. The bull fight has captivated artists from Goya to Hemingway and Picasso.

Corrida in Ronda / ERIC FISCHL / EXHIBITION
Mary Boone Gallery • Oct 21-Dec 2009 • 541 West 24 Street, NYC