EMILY SHUR, one of my favorite contemporary photographers, returned from Japan a couple of weeks ago with a new group of photographs. And Andy Adams, one of my favorite photography colleagues, posted an early view of this work on his site Flak Photo. You can view rough scans of Emily's recent trip on her BLOG here and here, view Emily's Website and sign up for your Daily Flak Photo here11.13.2009
EMILY SHUR: Flak Photo Today
EMILY SHUR, one of my favorite contemporary photographers, returned from Japan a couple of weeks ago with a new group of photographs. And Andy Adams, one of my favorite photography colleagues, posted an early view of this work on his site Flak Photo. You can view rough scans of Emily's recent trip on her BLOG here and here, view Emily's Website and sign up for your Daily Flak Photo here
11.12.2009
MARY VIRGINIA SWANSON: Fine Art Photography Guru
Mary Virginia Swanson, Marketing Consultant,
MV Swanson and Associates Photograph (c) ACP
MV Swanson and Associates Photograph (c) ACP
Photographer Debbie Fleming Caffery with MVS at Review Santa Fe'sCenter For Contemporary Arts Public Portfolio Viewing
MARY VIRGINIA SWANSON is committed to helping photographers advance their careers by providing insights into the most effective ways to introduce their work to gallery and museum professionals.
After receiving an MFA in Photography from Arizona State University (ASU) in 1979, she served as workshop coordinator for The Friends of Photography, an organization founded by Ansel Adams, Beaumont Newhall and other key figures. Swanson headed the expansion and management of its educational programming, including the famed Ansel Adams Workshops, bringing hundreds of eminent photographers to teach in the programs at FOP.
In 1984, Swanson relocated to New York City to direct Special Projects for Magnum Photos, the landmark photojournalism Cooperative founded by Henri-Cartier Bresson, Robert Capa, David “Chim” Seymour and George Rodger at the end of World War II. It was during her tenure at Magnum that Swanson became aware of the increasing market for image licensing rights and reproduction. In 1991, Swanson launched SWANSTOCK, a landmark alternative agency, managing licensing rights for fine art photographers. Well, you need to read her impressive bio for all the rest!
After receiving an MFA in Photography from Arizona State University (ASU) in 1979, she served as workshop coordinator for The Friends of Photography, an organization founded by Ansel Adams, Beaumont Newhall and other key figures. Swanson headed the expansion and management of its educational programming, including the famed Ansel Adams Workshops, bringing hundreds of eminent photographers to teach in the programs at FOP.
In 1984, Swanson relocated to New York City to direct Special Projects for Magnum Photos, the landmark photojournalism Cooperative founded by Henri-Cartier Bresson, Robert Capa, David “Chim” Seymour and George Rodger at the end of World War II. It was during her tenure at Magnum that Swanson became aware of the increasing market for image licensing rights and reproduction. In 1991, Swanson launched SWANSTOCK, a landmark alternative agency, managing licensing rights for fine art photographers. Well, you need to read her impressive bio for all the rest!
Swanson currently works with photographers as a marketing consultant and is a sought-after portfolio reviewer at events such as Review Santa Fe, Fotofest and PhotoLucida. Her workshops and lectures on the subject of marketing opportunities and awareness have aided photographers in moving their careers to the next level. Swanson maintains a popular blog, Marketing Photos, and is the author of a self-published book, The Business of Photography: Principles and Practices.
If you are in NYC Monday November 16th, do not miss MVS's lecture hosted by the American Society of Media Photographers, info below. And check her website for upcoming lectures in a city near you.
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MVS Talk 11.16.2009
PRESENTING YOUR WORK TO THE FINE ART COMMUNITY
Studio 385 • 385 Broadway (White x Walker) • NYC ($20. / Students $5.) Register HERE
PRESENTING YOUR WORK TO THE FINE ART COMMUNITY
Studio 385 • 385 Broadway (White x Walker) • NYC ($20. / Students $5.) Register HERE
During this presentation, Mary Virginia Swanson will provide insights into the most efficient and effective avenues for introducing your work to industry professionals towards presenting your work in the collectible fine art market. She will discuss the strategies surrounding submitting work to national and international juried exhibitions and portfolio review events such as FotoFest, Photolucida and European festivals. Art fairs such as AIPAD and Photo LA will be discussed from the standpoint of assessing market trends and helping artists determine which dealers will be most appropriate for their work. Swanson will also cover the professional practices necessary to effectively present your photographs in the market, as well as sharing examples of effective self-promotion materials in print and on-line formats. Handouts with related information will be shared with participants.
11.10.2009
OLAF OTTO BECKER: Above Zero
ILULISSAT ICEFJORD 5, 07/2003Photograph (c) Olaf Otto Becker /All Rights Reserved
RIVER 1, POSITION 13, 07/2007Photograph (c) Olaf Otto Becker /All Rights Reserved
INLANDEIS 5, 08/2008Photograph (c) Olaf Otto Becker /All Rights Reserved
OLAF OTTO BECKER
ABOVE ZERO • NOV 10- JAN 9
AMADOR GALLERY
41 E 57 St, NYC
A Conversation With Olaf Otto Becker
ABOVE ZERO • NOV 10- JAN 9
AMADOR GALLERY
41 E 57 St, NYC
A Conversation With Olaf Otto Becker
11.09.2009
ALEXANDER VREELAND: Elizabeth Glaser Pediatric AIDS Foundation Uganda Visit
Families affected by HIV and AIDS at Kawolo Hospital, UgandaPhotograph (c) Elizabeth Glaser Pediatric AIDS Foundation
Families affected by HIV and AIDS share stories, Kawolo Hospital, UgandaPhotograph (c) Elizabeth Glaser Pediatric AIDS Foundation
Families share stories at EGPAF get-together, Kawolo Hospital, UgandaPhotograph (c) Elizabeth Glaser Pediatric AIDS Foundation
Alexander Vreeland and Foundation President / CEO Pamela Barnesplant 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.
"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 ResponsePhotograph (c) William R Wilson /All Rights Reserved
Auto Immune Response #2Photograph (c) William R Wilson /All Rights Reserved
Auto Immune Response #4Photograph (c) William R Wilson /All Rights Reserved
Auto Immune Response #5Photograph (c) William R Wilson /All Rights Reserved
Auto Immune Response #6Photograph (c) William R Wilson /All Rights Reserved
Auto Immune Response #10Photograph (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
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 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
Check out the Opening party for Deborah Turbeville's exhibition Silent Film posted below
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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, 2004Photograph (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.
SUZY ALLMAN: NYC Marathon
The Marathon Runners on the Verrazano-Narrows BridgePhotograph (c) Suzy Allman /All Rights Reserved/NY Times 11.2.09
The NYC Marathon Runners, Verrazano-Narrows Bridge, 10.1.2009Photograph (c) Suzy Allman /All Rights Reserved
SUZY ALLMAN PHOTOGRAPHY WEBSITE
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
11.02.2009
LUKE SMALLEY: CLAMPART Nov 5th
1st Anniversary, 2008Photograph (c) Estate of Luke Smalley /All Rights Reserved
Visiting Day, 2008Photograph (c) Estate of Luke Smalley /All Rights Reserved
Untitled (Arm Wrestle), 2008Photograph (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 PM521 West 25 Street NYC
WEBB + WEBB: Radius Book Launch Nov 5th
Havana (Rooster), 2008 / Radius BooksPhotograph (c) Rebecca Norris Webb /All Rights Reserved
Santi Spiritus (Boys and Dusk), 1993 / Radius BooksPhotograph (c) Alex Webb /All Rights Reserved
Havana (Colorful Wing), 2008 / Radius BooksPhotograph (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' widePhotograph (c) Herman Velez /All Rights Reserved
HH The Dalai under Nagarjuna's ThangkaPhotograph (c) Herman Velez /All Rights Reserved
(please click image to enlarge)
HH The Dalai Bestowing Blessings at Radio City Music Hall, NYCPhotograph (c) Herman Velez /All Rights Reserved
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.
+ + +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.
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.
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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.
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VIDEO'S
DUMBO GALLERY WALK: Gallery List
Sara & Justin, 2009 / Randall Scott GalleryPhotograph (c) Nadine Rovner /All Rights Reserved
www.nadinerover.com
Dreamboats Collective at Umbrage GalleryPhotograph (c) Adam Golfer /All Rights Reserved
www.adamgolfer.com
DUMBO 1st THURSDAY GALLERY WALK
Thursday Nov 5th Participating Galleries:
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
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