The fogged glass becomes a canvas on which to paint in the photographic series Glass Corner, created by Peter Hoffman. A photographer, artist and educator from Durham, North Carolina, Peter has an eclectic and highly experimental attitude, which he seeks to develop through the original representation of places, situations and contexts.
Glass Corner is the name of the eponymous book of images that were taken through a window during the winter, which the artist spent in Chicago.
The work is a meditation on surface, environment, gesture and color, with consideration to how the window paradoxically connects and separates people in the public space.
American photographer, writer, and curator Aaron Schuman was born in Amherst, a small town in Massachusetts, the same small town that gave birth to Emily Dickinson on December 10, 1830.
It is to her, but also to Amherst itself, that Aaron pays homage in his latest photographic series SLANT. The whole project was born from the “Police Reports” section of a local newspaper, a weekly collection of crimes or even just suspicious events that occurred in the city. In 2014, the photographer started to cut out these blanks and store them, without yet having an idea on how to use them.
It wasn’t until later, after taking a series of photographs taken in the streets around Amherst, that he came up with the idea of accompanying the images with police reports, creating an association of elements with something in common, but not perfectly matching, just like Emily Dickinson’s famous slant rhyme.
Imperfect rhymes, or slant rhymes, are made up of words that sound the same. These assonances, then, can link two words, but also word and image; it is Dickinson herself who says this in the poem Tell all the truth but tell it slant.
Tell all the truth but tell it slant — Success in Circuit lies Too bright for our infirm Delight The Truth’s superb surprise As Lightning to the Children eased With explanation kind The Truth must dazzle gradually Or every man be blind —
In the same way as Dickinson, Aaron Schuman has created such a profound link between image and text that he has created a whole story that is composed of Amherst facts and Amherst photographs, but far from the true story of Amherst.
The final result, published in the bookSLANT, begins as a reportage of a small town like many others but ends up being a reflection on the thousands of false news stories we are surrounded every day.
Usually, when we think of motels, the common imagination leads us to visualize hotels located along American highways crowded with fugitive criminals or one-night stands, where someone always dies and blood ends up on the upholstery of the 1960s. That’s not really the case, at least not always. American photographerKurt Hollander has decided to make a photographic reportage called Happy City, which tells the story of Santo Domingo’s motels in a romantic way.
The shots taken at motels built between car repair shops, gas stations, and parks on the outskirts of cities in the Dominican Republic give the work an almost empty and mysterious sense. Kurt Hollander, who spent four days taking the pictures, captured the exterior of the structures. The photographs were taken at dawn or dusk and without people in the frame. This choice aims to accentuate the emptiness of this architecture of desire, leaving the viewer free to imagine what happens behind closed doors. A sort of “pull it off” effect.
Bright, bold signs adorn some of the motels, whose names include Obsession, Te Javi, Cariño and Happy City – from which the series is named. Each motel has a different design, ranging from ornamental buildings to those that resemble small villages. Although they were all built at the same time and funded by many of the same Chinese investors, each is a sumptuous tribute to a different architectural style.
Dorothy Circus Gallery‘s 2020 programming opens with a new project, the first entirely photographic exhibition curated by the gallery itself. It is What I’ve Seen So Far, a project born from the collaboration between the founder of Dorothy Circus Gallery, Alexandra Mazzanti and the founder of Grey Magazine, Valentina Ilardi, which is only the first chapter of what will be an annual appointment.
The artists on show will be Billy Kidd, Caitlin Cronenberg, Peppe Tortora, Laurent Chehere, Iness Rychlik, Anka Zhuravleva, Karel Chladek, Arash Radpour, Jesse Herzog, Giuseppe Gradella, Claudia Pasanisi, Mirko Viglino and Adriana Duque, who will participate with a number of works ranging from 2 to 6 each. Being, What I have seen so Far an exhibition that will live in both venues of the Dorothy Circus Gallery, the works will be divided between London and Rome.
The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.
Marcel Proust wrote it and it seems that the idea of creating What I’ve Seen So Far stems from this very concept: until now the Dorothy Circus Gallery has hosted works by artists, sculptors, and painters who asked us to understand their imagery and adapt it to us, instead photography asks us to observe how the photographer, to match our gaze to theirs.
Thanks to the shots in the exhibition we would have the opportunity to make a journey through the human soul and its feelings, from love to fear, from joy to pain, allowing anyone to be able to identify themselves and let themselves be completely enveloped by the imaginary offered by the works.
What I’ve Seen So Far will open in London on February 13th and in Rome on February 15th, for more information visit the Dorothy Circus Gallery website!