New York, April 5, 2024 — The Judd Foundation is set to unveil an extraordinary exhibition showcasing the innovative works of renowned artist Robert Irwin at 101 Spring Street in New York. Titled “Robert Irwin,” the exhibition presents three compelling pieces, marking the first posthumous display of Irwin’s work in the United States. These artworks delve into the depths of visual perception, extending the inquiries initiated by the artist over fifty years ago within the same space.

One of the highlights of the exhibition is the monumental Sculpture/Configuration 2T 3L (2018). Rising nearly ten feet in height, this column composed of layered acrylic units evokes Irwin’s pioneering work from the late 1960s. Positioned in the same spot as one of Irwin’s twelve-foot columns exhibited in 1971, this piece serves as a poignant continuation of his exploration into visual phenomena. Lawrence Weschler aptly encapsulates the essence of Irwin’s work, describing it as engaging with “the incidental, the transitory, the peripheral.”

Complementing this masterpiece are two other ephemeral creations, AS GOOD AS IT GETS (2023) and “C and C” (Complex/Coherent) (2021). These sculptures epitomize Irwin’s lifelong fascination with shadow, reflection, and color. Part of his unlights series, these works ingeniously utilize fluorescent tubes and color gels to interact with natural light, casting reflections that blur the boundaries between art and environment.

The historical significance of Irwin’s presence at 101 Spring Street dates back to his first exhibition in 1971, where he and Donald Judd showcased a single acrylic column. Their collaboration, informed by a mutual interest in space and human perception, challenged conventional notions of art by integrating it with architectural elements. Irwin’s philosophical musings on art’s intangible nature resonate profoundly, as he remarked, “Like time and space, it [art] has no actual physical properties. Or infinite physical properties.”

Curated by Flavin Judd, Artistic Director of Judd Foundation, and organized in partnership with the Estate of Robert Irwin and Pace Gallery, the exhibition promises an immersive experience for art enthusiasts. Public programs and extended hours will accompany the showcase, inviting audiences to delve deeper into Irwin’s groundbreaking oeuvre.

Robert Irwin joins a prestigious lineup of artists featured in Judd Foundation’s ongoing exhibition series at 101 Spring Street, reaffirming the space’s legacy as a hub for innovative artistic discourse. Since 2015, the Foundation has honored luminaries such as Rosemarie Castoro, Dan Flavin, and Yayoi Kusama, underscoring its commitment to fostering dialogue around contemporary art.

Don’t miss this rare opportunity to witness the transcendent legacy of Robert Irwin as his groundbreaking works come to life once again at 101 Spring Street. The exhibition will run from [dates] and promises to be a testament to Irwin’s enduring influence on the world of art and perception.

For more information on the exhibition and accompanying programs, please visit https://juddfoundation.org/programs/robert-irwin/

Robert Irwin
April 4–August 31, 2024
101 Spring Street
New York, NY

Opening reception: Thursday, April 4, 5:00–7:00pm
Public exhibition hours: Friday–Saturday, 1:00–5:00pm

https://www.positive-magazine.com/judd-foundation-presents-posthumous-exhibition-of-irwins-work/?utm_source=rss&utm_medium=rss&utm_campaign=judd-foundation-presents-posthumous-exhibition-of-irwins-work

Renowned American artist Cindy Sherman has once again captivated the art world with her latest body of work, challenging conventions and delving deep into the intricacies of representation and identity. With a career spanning over four decades, Sherman has consistently pushed boundaries, and her newest series promises to be no exception.

In this groundbreaking collection, Sherman ventures into uncharted territory, employing digital manipulation to construct a diverse array of characters using parts of her own face. The focus of the series lies solely on the visage, stripping away any scenic backdrops or props, thereby placing a spotlight on the complexities of the human face.

Utilizing a combination of digital collaging techniques and traditional methods such as makeup, wigs, and costumes, Sherman creates a cast of unsettling characters who exhibit a range of emotions and expressions. Through meticulous layering and manipulation, she constructs, deconstructs, and reconstructs faces, blurring the lines between reality and illusion.

One of the most striking aspects of Sherman’s process is her dual role as both photographer and model. By embodying her subjects, she challenges the traditional power dynamics inherent in portraiture, offering a unique perspective on the relationship between artist and subject.

Each portrait in the series is a composite of Sherman’s own features, meticulously rearranged to create distinct personas. Despite the layers of digital manipulation, the images retain a sense of classical portraiture, offering viewers a glimpse into the rich inner worlds of Sherman’s imagined characters.

Sherman’s creative process involves subtle alterations that significantly impact the overall impression of each portrait. From the positioning of props to the manipulation of facial features, every detail is carefully crafted to evoke a specific mood or narrative.

The use of digital manipulation in Sherman’s work harks back to her earlier explorations of identity through prosthetics and theatrical effects. By incorporating these techniques into her latest series, she further accentuates the tensions between identity and artifice, inviting viewers to question the nature of self-representation in the digital age.

Born in 1954, Cindy Sherman rose to prominence in the late 1970s as part of the Pictures Generation movement. Since then, she has continued to push the boundaries of contemporary art, garnering acclaim for her thought-provoking explorations of identity and representation.

Sherman’s work has been recognized with numerous awards and honors, including a MacArthur Fellowship and the prestigious Hasselblad Award. Her influence extends far beyond the art world, with major retrospectives held at institutions such as the Museum of Modern Art in New York and the National Portrait Gallery in London.

With her latest series, Cindy Sherman reaffirms her status as one of the most important artists of her generation, pushing the boundaries of art and challenging viewers to reconsider their perceptions of identity in an increasingly digital world.

Cindy Sherman
Exhibition: 29 Mar – 4 Aug 2024

PHOTO ELYSEE
Place de la Gare 17 1003 Lausanne
Wed-Mon 10-18, Thu 10-20

https://www.positive-magazine.com/cindy-sherman-unveils-groundbreaking-new-series/?utm_source=rss&utm_medium=rss&utm_campaign=cindy-sherman-unveils-groundbreaking-new-series

In a groundbreaking event that melded the worlds of cinema and sport, the 74th Berlin International Film Festival premiered a unique project as part of the cultural programme for the UEFA EURO 2024 championship. Titled “Berlinale Meets Fußball,” the initiative showcased the talents of young footballers from across Germany, highlighting diversity and inclusion through the medium of film.

The centerpiece of the event was the unveiling of “Eleven Tomorrows: Berlinale Meets Fußball,” a compilation film comprising eleven documentary shorts. Produced by students from the University of Television and Film Munich (HFF) under the artistic guidance of Benedetta Films, these films offered intimate portrayals of young football teams, capturing their dreams, struggles, and triumphs.

The world premiere of “Eleven Tomorrows: Berlinale Meets Fußball” took place at the prestigious Haus der Berliner Festspiele on February 21, 2024. Alongside the screening, the Berlinale hosted a series of engaging activities, including panels, workshops, and discussions, aimed at fostering dialogue and understanding within the football community.

One such panel, titled “Meet the Ref,” organized in collaboration with the Philipp Lahm Stiftung, provided a platform for over 100 participants from diverse backgrounds to engage in conversations about respect, cohesion, and tolerance in football. Tim Frohwein from the Philipp Lahm Stiftung hailed the success of the panel, emphasizing football’s role as a catalyst for meaningful discussions.

“The ‘Meet the Ref’ panel in Berlin once again showed that football can be a key to opening up spaces for discussion,” said Frohwein. “It’s encouraging to see that formats like ours also get a stage at a film festival like the Berlinale.”

In addition to the panel discussions, the event featured a “Film Workshop” led by industry professionals Sadek Asseily and Julia Härtel. Participants were given the opportunity to delve into the basics of filmmaking, unleashing their creativity and exploring the intersection of football and storytelling.

Reflecting on the workshop, Asseily remarked, “The Berlinale Meets Fußball film workshop was not just a workshop – it was a firework display of creativity, intensive teamwork, and an impressive demonstration of how diverse and meaningful football can be for people.”

Following its successful premiere in Berlin, “Eleven Tomorrows: Berlinale Meets Fußball” is set to embark on a nationwide tour, with screenings planned in the hometowns of the featured football clubs. The films will also be showcased at other festivals, amplifying the voices of young footballers and spreading the message of diversity and inclusion.

With Kurzfilm Agentur Hamburg handling distribution, the impact of this innovative collaboration between the Berlinale and the football community is poised to resonate far beyond the confines of the cinema, leaving a lasting impression on audiences across Germany and beyond. As the UEFA EURO 2024 championship approaches, “Berlinale Meets Fußball” stands as a testament to the power of art and sport to unite and inspire.

https://www.positive-magazine.com/berlinale-meets-fusball-fusion-of-film-and-football-at-uefa-euro-2024/?utm_source=rss&utm_medium=rss&utm_campaign=berlinale-meets-fusball-fusion-of-film-and-football-at-uefa-euro-2024

Washington, DC – von ammon co is thrilled to announce the debut of “Feels Like Heaven,” a captivating solo exhibition by American artist Tim Brawner. This marks Brawner’s inaugural solo showcase with von ammon co and represents the gallery’s thirty-first project at its current location.

The collection of works presented in “Feels Like Heaven” offers a diverse ensemble aimed at evoking a sense of perplexing desire. Drawing inspiration from the Late Middle Ages trend of transi, or cadaver monuments, Brawner’s pieces challenge conventional notions of mortality and eternity. These artworks, reminiscent of the putrefied cadavers depicted in cathedrals across Europe, compel viewers to contemplate the preparation of the elite for the afterlife, juxtaposing the impermanence of mortal existence with the sublime transition to the heavens.

Brawner’s dynamic painting style, characterized by its polymorphic nature and unconventional techniques, seamlessly blends elements akin to those found in cosmetic artistry with the aesthetics of fashion magazines and graphic novels. Soft brushstrokes, aerosol shading, and textured pearls converge to create images reminiscent of makeup compacts, challenging traditional notions of artistic expression.

Central to Brawner’s narrative are subjects portrayed in states of ecstasy, satisfaction, or achievement, reminiscent of luxury advertisements. However, these seemingly glamorous depictions are subverted by macabre undertones, with figures joyously engaging in activities despite their desiccated forms or skeletal appearances. Brawner employs these contemporary symbols of desire to prompt deeper reflections on mortality and the pursuit of eternal fulfillment.

In several works, Brawner ventures into the realm of the “cute,” incorporating images of kittens and farm animals alongside traditional symbols of allure. This deliberate juxtaposition confronts the viewer with the commodification of desire and the inherent complexities of aging and mortality, inviting contemplation on the fleeting nature of earthly pursuits.

“Feels Like Heaven” challenges viewers to confront the dichotomy between desire and mortality, inviting them to contemplate the transient nature of existence through a lens of contemporary aesthetics. Brawner’s masterful execution and thought-provoking imagery ensure that this exhibition will leave a lasting impression on all who experience it.

The exhibition will be on view at von ammon co in Washington, DC, offering visitors an opportunity to engage with Brawner’s compelling exploration of desire and eternity.

https://www.positive-magazine.com/new-exhibition-feels-like-heaven-by-tim-brawner/?utm_source=rss&utm_medium=rss&utm_campaign=new-exhibition-feels-like-heaven-by-tim-brawner

COTIGNOLA, Italy – In a celebration of contemporary art and the transformative power of papier-mâché, the Civic Museum Luigi Varoli of Cotignola (RA) proudly announces the inauguration of “Salve,” a groundbreaking exhibition by American artist Christian Holstad. The event, scheduled for Saturday, March 9, 2024, at 5 p.m. at Palazzo Sforza, marks a significant milestone in the exploration and enhancement of papier-mâché within the realm of modern art.

Curated by Gioele Melandri, “Salve” emerges from a comprehensive project aimed at delving into the multifaceted dimensions of papier-mâché in contemporary artistic expression. Christian Holstad, born in Anaheim, California, in 1972, stands at the forefront of this exploration, infusing his unique sensibility into the exhibition’s fabric.

The exhibition delves deep into Holstad’s profound sensitivity towards various themes inherent in papier-mâché artistry. From themes of rejection to the transformation of waste into potential resources, Holstad’s works serve as a poignant reflection on the contradictions permeating today’s consumer society. Through his personal and visionary approach, Holstad seeks to demystify societal constructs, employing a diverse array of materials and techniques including reused materials like newspaper, fruit tree prunings, and discarded plastic.

“Papier-mâché serves as a trigger, igniting a journey through the intricate tapestry of Christian Holstad’s artistic vision,” explains curator Gioele Melandri. “In ‘Salve,’ we witness the convergence of tradition and innovation, as papier-mâché transcends its conventional boundaries to provoke thought and evoke emotion.”

The exhibition unfolds in two distinct yet interconnected acts. The first act, titled “A flutter of butterflies atop debris to reach our gentle heights,” debuts on the opening day, featuring Holstad’s monumental installation, “Gentle Parade.” This captivating ensemble comprises deformed shopping carts adorned with papier-mâché butterflies, symbolizing a call to gentleness and delicacy amidst societal upheaval. Alongside this installation, Holstad’s paper sculptures from the late 1990s will be showcased, alongside new works created specifically for the occasion.

Following the opening act, “Hello” takes center stage on Friday, April 12, inviting visitors to explore Holstad’s drawings crafted from newspaper paper since the 1990s. The exhibition extends beyond the confines of the museum, occupying the sacred space of the Church of Pio Suffragio, where Holstad’s sculptural works find a harmonious juxtaposition with the surroundings. An accompanying event, curated by the cultural association MAGMA, promises an immersive experience, further enriching the exhibition’s narrative.

“Salve” represents a testament to the collaborative efforts of the Municipality of Cotignola and Gruppo Hera, fostering cultural enrichment and artistic innovation within the Romagna region. As Holstad’s first solo exhibition in Romagna, the event underscores the artist’s enduring connection to the region, where he has immersed himself for several years.

Accompanied by a comprehensive catalog and a diverse program of guided tours and educational workshops, “Salve” invites audiences to embark on a transformative journey through the creative mind of Christian Holstad.

Christian Holstad’s illustrious career spans international exhibitions, from Paris to New York, showcasing his unparalleled talent and unwavering commitment to artistic expression. As “Salve” takes center stage in Cotignola, it reaffirms Holstad’s status as a visionary artist pushing the boundaries of papier-mâché artistry on a global scale.

Museo Civico Luigi Varoli, Palazzo Sforza
Corso Sforza 21, Cotignola (Ravenna)

Until the 30th of June

https://www.positive-magazine.com/american-artist-christian-holstad-unveils-papier-mache-in-cotignola/?utm_source=rss&utm_medium=rss&utm_campaign=american-artist-christian-holstad-unveils-papier-mache-in-cotignola

Ravenna, Italy – Saturday, April 20, 2024 – The Fondazione Sabe per l’Arte proudly presents “ITALIA REVISITED #1: A Showcase of Images,” a solo exhibition by Massimo Baldini, curated by Claudio Marra. Sponsored by the Municipality of Ravenna and the Department of Cultural Heritage of the University of Bologna – Ravenna Campus, in collaboration with the Academy of Fine Arts of Ravenna, this event is set to commence at 11 a.m. on Saturday.

Established in 2021 as a hub for the promotion and dissemination of contemporary art, with a particular emphasis on sculpture, the exhibition space has now expanded its horizons to embrace photography in 2024, exploring its connections with plastic research, landscape, and physical and mental space.

In the mid-1980s, the “Viaggio in Italia” (“Journey in Italy”) led by photographers under Luigi Ghirri’s guidance revolutionized the iconography of the Italian landscape, freeing it from the old postcard model. Now, four decades later, we stand on the cusp of another radical transformation characterized by the pervasiveness of production and the blending of heterogeneous scenarios.

Massimo Baldini, a photographer born in Ancona but adopted by Bologna, is the architect of a new way of seeing the Italian landscape, sampled in the artist’s book “Italia Revisited #1: A Showcase of Images.” His work is marked by flashes of irony and magnificent incongruities: a lampshade winks at Brunelleschi’s dome, Michelangelo’s David oversees an ATM, a Riace bronze becomes a TripAdvisor review, a pizzeria decorator quotes Edvard Munch. “Italia Revisited” is a long-term project presented in multiple segments, initially unveiled in 2023 at Baraccano in Bologna and now reimagined in a new setting conceived for the spaces of the Fondazione Sabe per l’Arte, paying homage to Ravenna.

Having spent considerable time in publishing, Massimo Baldini has since dedicated himself exclusively to photography. Among his notable solo exhibitions are “Italianité” in Paris at Maison de l’Italie in 2017, “A Tour not so Grand” at the Fondazione Carlo Gajani in Bologna in 2018, and “White Noise” at the Galleria Made4Art in Milan in 2022. His photographic book “Gli italiani,” featuring texts selected by Claudio Giunta, was published by Il Mulino in Bologna in 2019. Baldini also participated in MIA Photo Fair in Milan in 2024 with his work “Human/Nature.”

Claudio Marra, formerly a full professor of the History of Photography at the University of Bologna, has extensively explored the historical perspectives on the relationships between photography and visual arts. His texts, ranging from “Le idee della fotografia” in 2001 to “Che cos’è la fotografia” in 2017, have become reference points in the field.

The Fondazione Sabe per l’Arte, founded in November 2021 with the aim of promoting and disseminating contemporary art, particularly sculpture, in the city of Ravenna, engages in various cultural activities. Presided over by Norberto Bezzi and Mirella Saluzzo, it benefits from the advisory services of a scientific committee coordinated by Francesco Tedeschi, professor of contemporary art history at the Catholic University of the Sacred Heart in Milan. The artistic direction is entrusted to Pasquale Fameli, an art critic and scholar from the University of Bologna.

Situated just a few steps from the MAR – Museum of Art in Ravenna, the Foundation also focuses on cataloging the works of Mirella Saluzzo and establishing a specialized library on contemporary sculpture.

The opening of “ITALIA REVISITED #1: A Showcase of Images” at the Fondazione Sabe per l’Arte promises to be an unmissable event for lovers of contemporary art and photography, offering a unique opportunity to explore the Italian landscape through the creative lens of Massimo Baldini.

Location: Fondazione Sabe per l’arte | via Giovanni Pascoli 31, Ravenna, Italy
When: 20th April – 30 June 2024
Opening: 20th april 2024, at 11 
Opening Hours:  Thursday, Friday, Saturday, and Sunday from 16-19
Free entrance

https://www.positive-magazine.com/italia-revisited-1-a-showcase-of-massimo-baldini/?utm_source=rss&utm_medium=rss&utm_campaign=italia-revisited-1-a-showcase-of-massimo-baldini

As Milan Design Week approaches, anticipation mounts as Diesel Living with Lodes prepares to introduce two new additions to its acclaimed lineup: Megaphone and Cross. These innovative designs epitomize the intersection of timeless elegance and modern functionality, offering captivating options for both residential and hospitality spaces.

Megaphone, a table lamp inspired by the iconic shape of 1950s megaphones, seamlessly blends vintage charm with contemporary flair. Its conical silhouette widens upwards, reminiscent of a poised instrument ready to emit sounds, yet instead, it bathes surroundings in soft, enveloping light. Crafted with meticulous attention to detail, Megaphone features a blown glass lampshade in gradient metallic finishes, exuding an air of mystery and sophistication. The lamp rests atop a sleek black steel base, housing an E27 filament bulb and boasting an adjustable dimmer switch for customizable lighting experiences. With its bold shapes and clean lines, Megaphone serves as a stunning accent piece, whether gracing a living room sideboard or illuminating a hospitality setting with its modern allure.

Meanwhile, the Cross pendant lamp embodies simplicity and elegance, reimagining pure triangular shapes into a functional design masterpiece. Its conical fabric diffuser is adorned with a distinctive ‘X’ detail at the top, not only lending visual interest but also providing structural support for stability. The lamp’s ivory-colored fabric shade exudes warmth, enhanced by subtle seams aligned with the cross detail. Like its counterpart, Cross features an E27 bulb connection and an adjustable dimmer switch, offering versatility in lighting intensity. Whether hung alone or in clusters, this pendant lamp infuses spaces with a soft, inviting glow, making it equally suitable for intimate residential settings or dynamic hospitality environments.

Both Megaphone and Cross will take center stage at Diesel Living’s Fuorisalone space in Brera from April 15 to 30, 2024, inviting visitors to experience firsthand the marriage of exquisite craftsmanship and contemporary design. With their striking aesthetics and functional versatility, these new additions are poised to captivate audiences and redefine the boundaries of modern lighting. As Milan Design Week unfolds, Diesel Living with Lodes continues to reaffirm its commitment to innovation, offering inspired solutions for discerning clientele seeking both style and substance in their interiors.

https://www.positive-magazine.com/diesel-living-with-lodes-unveils-two-striking-additions-for-milan-design-week/?utm_source=rss&utm_medium=rss&utm_campaign=diesel-living-with-lodes-unveils-two-striking-additions-for-milan-design-week

In a celebration of art, culture, and the resilience of women, the Republic of Uzbekistan proudly announces its participation in the prestigious 60th International Art Exhibition — La Biennale di Venezia. The event, scheduled to run from April 20 to November 24, 2024, promises to be a captivating exploration of identity and migration through the lens of Central Asian women, under the guiding theme “Don’t Miss the Cue.”

ADDRESS Arsenale, Tese Cinquecentesche

EVENTS April 17–18–19, pre-opening days; April 18, 12.00pm, inauguration

WEBSITE www.acdf.uz

Curated by the Centre for Contemporary Art Tashkent, the Uzbek Pavilion’s debut at La Biennale di Venezia will showcase the visionary work of artist Aziza Kadyri. Collaborating with the Tashkent-based Qizlar collective, Kadyri’s project delves into the multifaceted experiences of women from Central Asia, inviting viewers to ponder the complexities of belonging and identity within the context of migration.

“‘Don’t Miss the Cue’ is a platform where women’s voices converge, each echoing a unique journey of migration, transformation, and resilience,” shares Kadyri. “Through art and technology, we reimagine our cultural heritage, weaving together narratives of the past and present to shape a contemporary Uzbek identity.”

At the heart of the exhibition lies a captivating theatrical setting, reminiscent of the communal Houses of Culture that once dotted Eurasia in the early 20th century. Sculptures, meticulously crafted from traditional costume sketches, mingle with immersive audiovisual installations by the Qizlar Collective, creating an evocative tableau that explores the intricate relationship between the female body and its environment.

Anastasia Kurylova, Executive Director of the Qizlar Collective, emphasizes the importance of amplifying women’s voices within the exhibition. “Our aim is to unveil the essence of women’s identity, weaving their narratives into the fabric of our art,” says Kurylova. “Through collective practices and shared experiences, we strive to create a space where women’s stories can flourish.”

Moreover, the exhibition boldly embraces the intersection of technology and tradition, offering a thought-provoking reinterpretation of Uzbek hand embroidery, known as “suzane.” Utilizing artificial intelligence, traditional suzane patterns undergo a metamorphosis, blurring the boundaries between past and present, tradition and innovation. This fusion serves as a poignant commentary on the evolving nature of culture and the profound impact of technology on societal norms.

The National Pavilion of Uzbekistan’s debut at La Biennale di Venezia marks a significant milestone in the country’s artistic journey. Having participated in previous editions of the Biennale, Uzbekistan continues to assert its presence on the global stage, captivating audiences with its rich cultural tapestry and innovative artistic endeavors.

With “Don’t Miss the Cue,” Uzbekistan invites visitors to embark on a transformative journey, where art becomes a conduit for understanding, empathy, and connection. As viewers navigate through the exhibition’s immersive installations, they are prompted to reflect on their own experiences, reimagining notions of identity and belonging in an ever-changing world.

As the curtains rise on the 60th International Art Exhibition in Venice, Uzbekistan stands poised to leave an indelible mark on the global art scene, reaffirming its commitment to fostering dialogue, collaboration, and cultural exchange.

https://www.positive-magazine.com/uzbekistan-art/?utm_source=rss&utm_medium=rss&utm_campaign=uzbekistan-art

Fellow Photographers,

I want to introduce myself. I’m Dan Harlacher, the VP of Products at ON1. You may recognize me from some ON1 announcement videos if you have been with us for a few years. My role at ON1 is guiding the design and development of ON1 Photo RAW and the rest of the photo editing software product line. I’ve been with ON1 since the beginning, eighteen years now. Only a few people in technology get to work most of their careers for the same company these days. For me, ON1 is more than my employer or company; it’s my team and family. Many of the original team members are still with us, and we have grown up and raised our kids together. It’s a fantastic place to work because of our passion for photography.  

I started photography in middle school, shooting film on a Canon FTb. I was the photo editor for my high school newspaper and yearbook. I went to college, quickly changed my major to photography, and started assisting a well-known commercial photographer to build my skills. In college, I was an early adopter of digital photography and was the first student to use ink prints for assignments. Remember, this was in 1996. After college, I started my portrait and wedding studio with a friend. However, the call for digital photography pulled me to the big city, where I integrated systems and trained professional photographers transitioning from film to digital in the early 2000s. Then, on a chance meeting on an airline flight, I made the move into software product management, and well, here I am. 

When it comes to photography, I have shot just about everything: Portraits, weddings, boudoir, pets, babies, special events, racing, airshows, sports, commercials, and even a live nuclear reactor core while standing on top of it. However, when it comes to what I love, it has always been landscapes and fine art. Photography is a great excuse for a hike, and I will take it whenever possible. 

What I love the most about my job is that I can combine my love and deep knowledge of all things photography with my problem-solving skills. I know first-hand where photographers struggle in post-processing. I know and use every tool out there, and it’s part of my job to understand the competition. Even though I have access to every app under the sun, I use Photo RAW daily for my photography. That’s as it should be; I designed it for photographers like me, so I know it can do everything I need well. If you have ever heard the old expression “eat your own dog food,” I firmly believe in using what you make. Sure, it isn’t perfect; no app is, but there are dedicated people like me listening to users like you to make it faster and better all the time. 

If you haven’t heard of ON1 or Photo RAW 2024, please give it a try. You can use it for a full 30 days without limitation, and it won’t watermark your photos in trial mode. We have made it a ton faster, and I know even more dramatic improvements are coming soon. The new user interface is much cleaner and easier to use. The new Brilliance AI is my new starting point whenever I open a photo to edit it. It gets me 90% done just by turning it on. I spend that last 10% using Super Select AI to fine-tune and mask the subject matter and apply the new on-trend presets with today’s styles.  

As the guy who designs it, we have some fantastic stuff up our sleeves that we are already working on. We will continue on our usability, performance, and stability mission and bring you new and improved features in the coming months and years. I hope to see you in the ON1 community soon! We have a ton of free training on using our apps, just like our friends here at KelbyOne. We appreciate your support and trust. 

https://layersmagazine.com/meet-dan-harlacher-vp-of-products-at-on1-passionate-photographer-discover-on1-photo-raw-2024.html

Gagosian Gallery has announced a groundbreaking exhibition, “Made on Market Street,” marking the first-ever showcase dedicated exclusively to the works of iconic artist Jean-Michel Basquiat produced in Los Angeles. Curated by Fred Hoffman in collaboration with Larry Gagosian, the exhibition will run from March 7 to June 1, 2024, offering a rare glimpse into Basquiat’s prolific output during his time in California.

Basquiat’s venture into the vibrant art scene of Los Angeles in the early 1980s was a significant departure from his New York roots, yet it yielded a remarkably productive period in his career. Between November 1982 and May 1984, he created around a hundred paintings, numerous works on paper, and six silkscreen editions in Venice, California. “Made on Market Street” brings together nearly thirty of these seminal works, shedding light on this pivotal era in Basquiat’s artistic journey.

Larry Gagosian reflects on Basquiat’s affinity for Los Angeles, stating, “Los Angeles has always been a great city for artists and Jean-Michel seemed to find it a refreshing change from New York.” Basquiat’s collaboration with Gagosian began in 1981 when he was invited to exhibit in LA for the first time. The subsequent solo exhibition at Gagosian Gallery in April 1982 marked his West Coast debut, establishing him as a significant voice in the art world.

During his time in California, Basquiat collaborated with Fred Hoffman, producing notable works such as “Tuxedo” and “Untitled” in 1982 and 1983. These large-scale silkscreen prints, characterized by stark contrasts and evocative imagery, exemplify Basquiat’s multifaceted artistic vision.

The exhibition also highlights Basquiat’s iconic paintings from this period, including “Hollywood Africans” and “Horn Players,” which pay homage to jazz legends and reflect his deep connection to music and street culture. Basquiat’s exploration of themes such as Black identity and urban life resonates throughout his works, underscoring his enduring influence on contemporary art.

One of the exhibition’s highlights is the inclusion of Basquiat’s studio artifacts, including wooden slats from a courtyard fence that he repurposed as supports for some of his most iconic paintings. Works like “Flexible,” “Gold Griot,” and “M” showcase Basquiat’s innovative use of materials and his ability to infuse his art with layers of meaning and symbolism.

“Made on Market Street” is accompanied by a comprehensive catalogue featuring archival material, installation images, and essays by prominent art experts. A conversation with Larry Gagosian, Fred Hoffman, filmmaker Tamra Davis, and Basquiat’s sisters provides further insights into the artist’s life and legacy, offering a comprehensive exploration of his work in Los Angeles.

With “Made on Market Street,” Gagosian Gallery continues its commitment to preserving and promoting Basquiat’s legacy, marking the seventh exhibition of his work since his passing in 1988. As visitors immerse themselves in Basquiat’s vibrant creations, they are invited to rediscover the enduring brilliance of one of the most influential artists of the 20th century.

https://www.positive-magazine.com/gagosian-unveils-first-ever-jean-michel-basquiat-exhibition-in-l-a/?utm_source=rss&utm_medium=rss&utm_campaign=gagosian-unveils-first-ever-jean-michel-basquiat-exhibition-in-l-a