Although digital images dominate visual culture today, the photobook remains a meaningful and thriving form. A deliberate, ordered, and sometimes narrative arrangement of photographic images bound in a book with little or no text, the photobook is an intimate presentation from photographer to viewer, one on one. This selection of photobooks and photo zines, created by an international group of women artists in the last ten years, embodies essential truths told through eclectic visual vocabularies. The images encompass coldly objective photographs of American locations of mythic importance, digital photos snapped through a car window, and prints resulting from experiments with expired photo paper.
Gallery Press Release:
Tracey Morgan Gallery is pleased to present an exhibition of works from New York photographer Sharon Core. The artist creates extensively researched explorations of the living still life. In both series exhibited, 1606-1907 andUnderstory, we see the play between the illusion of a painting and the truth of a photograph set amidst the natural cycles of decay and renewal. This will be Core’s first show with the gallery.
In 1606-1907, begun in 2011 and ongoing, Core references a 300-year span of works from the pictorial convention of the floral still life, ranging from Dutch masters of the 1600s to modernist works of the early 1900s. Core is committed to absolute authenticity in her photographs, cultivating many of the plant and flower species in her works from heirloom rose grafts, bulbs, and seeds. These spectacular photographs evoke both the history which they reference alongside the fragile impermanence of the subjects. The longevity of flora and fauna in art history starkly contrasts with the fleeting nature of the subject itself, and these works live in a lush middle ground between reality and depiction. The resulting constructions are meticulous, vibrant, and somehow both fresh and familiar.
In Understory, Core moves beyond the ordered, meticulous, and formal tabletop arrangements into the environment itself. In lieu of the stark backdrop and tabletop, Core created a landscape inside of a geodesic dome/greenhouse on her land in the Hudson Valley. For this parallel landscape, Core chose a variety of symbolic and psychotropic plants, a fig tree, collections of decaying wood, moss, insects, reptiles and amphibians. Influenced by the 17th century Dutch painter Otto Marseus van Schriek who cultivated a bog for his “forest floor” paintings (or sottobosco), Core created her own quasi-natural location and living studio for photography. The term understory is used to describe the flora and fauna below the canopy of trees in a forest, essentially the low lying vegetation and decaying matter from which all new life emerges. Through her interaction with the chaos of decomposition in these images, she inches closer to our notions of disordered “reality.” She creates these worksthrough curating what she chooses to cultivate and bring into her engineered space, deeply interact- ing with the hidden corners and small pockets of the living studio. We do still see the deep, lush palette of her earlier work, the sharp, cinematic lighting, and the confrontation of our understanding of photography as simply a medium fordocumentation. The historical implications and tensions of both these and her earlier work wonderfully contrast with the temporal nature of her subjects, creating a captivating narrative, both conceptually and aesthetically.
Opening reception for the artist Friday, August 3rd, 6-8 pm.
On view from March 15 - April 21
Featuring artists Polly Apfelbaum, Saskia Baden, Marco Breuer, Sharon Core, Phyllis Galembo, Gregory Halpern and Ahndraya Parlato, Justin Kimball, Chad Kleitsch, Mark Lyon, Pete Mauney, Rune Olsen, Seth David Rubin, Parker Shipp, Julianne Swartz, and Sarah Sweeney
For the 40th Annual Photo Regional, we return to a curated format, instead of juried, in order to get a deeper look at smaller number of regional artists working in photography. Curated by artist Tim Davis, professor of photography at Bard College. Effects That Aren’t Special is a way to describe the sense that photography is a tool for describing the everyday in a way that we never easily acclimate to. Special effects are aesthetic tools that grab us, but almost always feel like filigree or decoration, abandoning our attention. The artists in this show employ optical, conceptual, or essential effects that we never get used to and that move to heart of the matter, defining the work rather than selling it to us. The show features generous selections from each artist, as well as a catalog with an essay by the curator. For more information on this exhibition, click here.
Thursday March 15, 5pm, Exhibition Tour and at 6:30pm, Curator's Talk
Friday, March 16th, Opening Reception from 6-8pm
Sage College, Opalka Gallery, 140 New Scotland Ave, Albany, NY 12208
In the Garden
On view from Friday, February 2nd to Sunday, April 22nd
Drawn from the vast George Eastman Museum collection in Rochester, New York, In the Garden explores the ways in which photography has recorded, interpreted, or staged the cultivated landscape in its many shapes and forms. More than 100 images, from the 19th-century daguerreotype to today's inkjet prints, illustrate the range of gardens that have fascinated photographers, and how both subject and medium stimulate one another: photographers wanted to capture nature, and nature became the perfect subject as they experimented with new techniques and processes. More than simply chemists, photographers increasingly became viewed as artists.
From botanical specimens to manicured gardens and suburban backyards defined by the ubiquitous barbecue, photographers have frozen in time how man transforms, depends on, lives in, and interacts with the land he inhabits. As such, photography stands out as a method for recording our surroundings, and photographs can be seen as a visual access to cultures and gardens around the world. Close-ups, panoramic views, architectural details, and people give us clues as to whose world we are entering.
In conjunction with the exhibition, on February 22nd, Sharon Core will be speaking about her work during a luncheon, lecture, and tour offered by the museum. For more information, click here.
Core's works featured at the Yancey Richardson Gallery stand A28, November 9-12.
Book Signing at the Aperture Foundation booth, Friday November 10 at 4:00 pm.
Group signing with Susan Bright, author of Feast for the Eyes with featured artists Hannah Collins, Sharon Core, Toby Glanville, Rinko Kawauchi, Susan Meiselas, Lorenzo Vitturi, and more.
For more information about the Paris Photo exhibition, see official website.
Core's "Oldenburgs" presented for the first time in T Magazine feature on Claes Oldenburg, "Claes Oldenburg is (Still) Changing What Art Looks Like," by Randy Kennedy, Sunday New York Times, October 22.
"Around 2005, the artist Sharon Core began photographing a series she made in which she constructed Claes Oldenburg sculptures from real food, drawing on her experience as a food stylist. 'Few artists have made common objects so viscerally and libidinously powerful' as Oldenburg, she says. She describes 'The Store,' Oldenburg’s 1961 installation featuring sculptures of objects one would find at any corner store as 'Rubens-esque...I felt compelled to make them with my own hands, with real food, as a way of participating in their sensations.'” - Randy Kennedy
Full article here.
Sharon Core's debut of Understory - Live View, a live stream video projection
"Live View is a departure from the still images and has grown out of my intense observation of the world inside the dome and its changes from minute to minute, hour to hour, day to day, season to season and year to year. Here the viewer is presented with a simulcast view of the environment to observe. One might see a turtle or praying mantis move into the frame or barely perceive the tendrils of a vine reaching to climb higher or none of these things. Live View asks the viewer to imagine what might exist outside of the human ability to perceive. Just as the light of day is continuously shifting just beyond our awareness, so do all elements in the natural world constantly move and change in a cycle of growth, decay, and regeneration." - Sharon Core
Exhibit Opening: Saturday September 30th 6-8pm
Open for Viewing: September 31, 12-6 pm and October 7-9th, 12-6pm
"Land and Memory is a multidisciplinary group exhibit curated by artist Caitlin Parker. The title is a response to Simon Schama's Landscape and Memory. Schama presents landscape as an Arcadian and largely masculine concept projected onto the natural world, in contrast to land, earth and raw matter. Contemporary artists, particularly women artists, are taking a more visceral and immersive approach to exploring the land around them. For these artists, landscape isn't something "other" to be observes from on high and imbued with Edenic mythology. For them, the depiction of "landscape" is less a static ideal then a living, transformative nature. It is the dirt itself, it's death and rot, the tiny vibrant colors and life we overlook, the polluted sites we live alongside and the ways we interfere with nature and nature's unstoppable resistance to our aggressions, both large and small.
All of the artists included in the show are women making work about the natural world. Most are in the Hudson Valley full or part time, allowing for dialogue with the Hudson River School painters. For some of the artists, the raw materials are foraged from the ground directly. For others, their work is exploring our complicated and decidedly unromantic relationship with the land, investigating the damage we do. The work exhibited is a mix of painting, photography and textile art."
Understory featured in Oakland University exhibition, "Ethics of Depiction: Landscape, Still Life, Human."
Oakland University Art Gallery, 371 Wilson Boulevard, Rochester, Michigan
Featured artists: Matthew Albanese, Greta Alfaro, David Allee, Jasper de Beijer, Amy Bennett, Julie Blackmon, Sharon Core, Roe Ethridge, Richard Finkelstein, April Gornik, David Hilliard, Alex Kanevsky, Patrick Lee, Richard Mosse, Michael Najjar, Toyin Ojih Odutola, Richard Renaldi, Hannah Starkey, Becky Suss, Jörn Vanhöfen, and Guido van de Werve.
"A fascination with the specificity and veracity of content in contemporary image making is what fuels this exhibition. The depiction of places, objects and people has been the raw material of visual art for millennia, and this capacity to record and editorialize subject matter is what makes visual art such a crucially informing and contextualizing pictorial capture of the time of its production.
These works represent something just short of an inundation of content, and the presentation – “salon style” – affirms the idea that kaleidoscopic subject matter is enriching and arouses curiosity about the way in which contemporary artists use data and themes in their work to create a reflection of their lifespan on earth. The ethos of the exhibition sees parallels with the cabinets of curiosities from the past. Like the curious viewers of old encountering such astonishing collections of objects, we today also experience a primary emotional connection to this type of work because its meaning is self-evident.
This exhibition is about the way objects, landscapes, and people can be rendered unambiguously and ethically (as opposed to metaphorically or abstrusely). Most of the images in the exhibition act as metonyms and so are not to be interpreted because they speak precisely and specifically for what they are." - Dick Goody, Curator
For more information on this exhibition, click here.
Work from "Early American," featured in Feast for the Eyes, released from Aperture in June 2017.
"...this is the first book to cover food photography’s rich history—not only in fine art photography, but also in crossover genres such as commercial and scientific photography and photojournalism." - Aperture Foundation
Work from Understory featured in group exhibition at Underdonk Gallery, Brooklyn.
May 12 - June 18, 2017
Opening Friday, May 12 7-9pm
Curated by Ashley Garrett; presenting works by Sharon Core, Valerie Hammond, Ruth Marten, Priscilla Fusco, and Deborah Masters.
Underdonk is pleased to present Nightjar, a show of five artists confronting human relationship with nature and animals. This relationship is rapidly changing as the ecosystem becomes increasingly hostile and threatening to both humans and animals. The exhibition explores the conceptual, spiritual, personal and investigative ways in which we can relate to the organic, natural world around us.
Sharon Core plants and grows the subjects of her photographs with her own hands. Having created a geodesic dome at her upstate studio, she explores the function and effect that long durational time can have on works of art. Planting, choosing and framing the contents of each photograph, Core is like a scientist as she moves all the way through form, even before it's inception. The resulting photographs embody both the literal "sottobosco" of the floral bed and it's ecosystem and references the 17th century Sottobosco painting genre (as in the work of Dutch painter Otto Marseus van Schriek). Core's photographs evoke a possessed, spatial presence in the woods, while a marginal world sets the stage for the darkening, deepening forest, from which slowly emerges an awareness of the delicate microworld of the forest bed.
Curated by George Rush and Ryland Wharton
Sharon Core, Arielle Falk, Aaron Gemmill, Jorge Gonzalez, Dana Hoey, Miranda Lichtenstein, Cameron Martin, Aspen Mays, Dennis McNulty, Walter Sutin, Roger White, Carmen Winant
Text by Ed Steck, Sci-Fi Bookstore by Reading Room
Saturday, September 10, 2016
6 - 8 pm
The Angela Meleca Gallery is excited to kick off its fourth season by inviting George Rush and Ryland Wharton to curate our fall show, Utopia Banished. Inspired by the sciene fiction books Marc Trilogy, by Kim Stanley Robinson, the exhibition examines the notion of a perfect society and how despite the impossibility of achieving this ideal, humanity isn't deterred from trying.
From the curators:
The way we see it, it's pretty much over. The illusion or even hope of a potential utopia that'll be for everyone. There will still be simulations: small, private, guarded luxury compounds for the wealthy of course, and perhaps well-wishing, under the radar collectives, but no more big thinking, no more universal social orders, no more democracy-as-utopia delusions. Too pessimistic? Maybe, but if we accept this truth then there is still work to do. For the artists in this exhibition, the work is on the walls.