Portraits on view at Art Miami

We are ready for day three of Art Miami! This year, CEG is excited to be showcasing the work of ten artists at Booth A209. Today we will highlight three photographers whose work explore contemporary portraiture in collaborative ways: Omar Imam, Sandro Miller, and Bettina von Zwehl.

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Live, Love, Refugee © by Omar Imam (left) and My Hair, My Soul, My Freedom © Sandro Miller (right)

Omar Imam

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Untitled, 2015 © Omar Imam

In 2012, Syrian activist turned photographer Omar Imam was kidnapped and tortured by a militia and only let go when a friend intervened. Soon after, Imam left Damascus with his parents and wife, settling in Beirut where he and his wife started a family. In 2016, he moved to Amsterdam, where he currently resides. His family recently received paperwork that will finally allow them to join him.

Live, Love, Refugee is Imam’s photographic response to the chaos erupting in his homeland. In refugee camps across Lebanon, Imam collaborated with Syrians to create photographs that talked about their reality, rather than presenting them as a simple statistic. As a refugee himself, Imam understands the loss and chaos of being displaced from ones home. But dreams cannot be eradicated — dreams of escape, dreams of love, and dreams of terror. These dreams are what Imam set out to capture. The resulting images peel back the façade of flight, to reveal the spirit of those who persevere, despite losing everything that was familiar. These composed photographs challenge our perception of victimization, offering access into the heart and soul of humanity.

Sandro Miller

You likely know Illinois native Sandro Miller from his years of commercial work, as well as his collaboration with John Malkovich for an homage series. In Miami, you will see six images from Sandro’s new series, My Hair, My Soul, My Freedom, a celebration of the diversity, artistry, and power of black women’s hair. Sandro states: “this project is about highlighting the many ways in which black women embrace their freedom of choice and express their creativity through their hair, no matter the style or texture, whether they wear braids, dreadlocks, weaves, or whether they wear it natural or straightened. With each portrait in this ongoing project, I seek to recognize and honor black women’s power and beauty while celebrating blackness and black lives.

“I asked each woman who sat for My Hair, My Soul, My Freedom to share her personal ‘hair story’ with me. Working with a hair stylist and makeup artist, I was able to achieve a style of hair that my sitter had worn, or would be willing to wear out into the world today. Each woman’s skin was depicted with the same black tone to emphasizes the beauty of blackness, and serve as an equalizer to remove the potential for prejudicial skin color biases, and make hair the focal point. Additionally, my selection of decorative backgrounds was inspired by and includes several African prints. Though some models received striking black backgrounds, I selected the colorful and vibrant patterns for each person based on their individuality and the shapes and colors in their hair.”

Sandro Miller will be available to speak about his work at Booth A209 tomorrow, Friday, December 8, from 1:00 to 3:00 pm during a champagne meet and greet, along with artist Gregory Scott.

Bettina von Zwehl

Bettina von Zwehl was born in Munich in 1971 and received an MA from the Royal College of Art (RCA), London, in 1999, where she now lives and works. She has built her international reputation on subtle and distinctive photographic portraits.

As her practice has developed, she has continued to seek out different ways of exploring the form; from her early works, most often defined by the exacting conditions she imposed on her subjects, to her most recent projects which reprise the tradition of the painted portrait miniature of both, people and dogs. Her ongoing pre-occupation with the miniature was inspired during her six months as Artist in Residence at the Victoria & Albert Museum in 2011. Bettina’s first Chicago solo-show is currently on view at CEG, through December 30.

Make sure you are following us this week on InstagramFacebookTwitter and here on Cyclopsblog as we continue to feature the artists of Booth A209!

Art Miami

December 5 – December 10, 2017
The Art Miami Pavilion
1 Miami Herald Plaza @ NE 14TH St.
Downtown Miami
On Biscayne Bay between the Venetian & Macarthur Causeways
Miami, FL 33132

Download a complimentary pass for Art Miami on our website here.

Hours:

Wednesday, December 6 11am – 8pm
Thursday, December 7 11am – 8pm
Friday, December 8 11am – 8pm
Saturday, December 9 11am – 8pm
Sunday, December 10 11am – 6pm

 

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New work debuts at booth A209

Thanks to everyone who joined us for the VIP preview yesterday at Art Miami! We had an amazing night discussing our artists with you.
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Throughout the week, we will be highlighting the 10 artists on view in our booth, so check back to learn more about each of their processes. Today, we are spotlighting the 3 artists debuting new work that has not been exhibited prior to Art Miami: Clarissa Bonet, Gregory Scott, and Ysabel LeMay.

Clarissa Bonet

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SL.2017.1019, Chicago, 2017 © Clarissa Bonet

CEG is excited to be featuring a new piece from Clarissa Bonet’s series, Stray Light. The artist describes Stray Light as: “an ongoing photographic project aimed at imaging the nocturnal urban landscape. We have all but lost the night for our progress. In its place we have formed a new cosmos, one of vanished surfaces and flecks of light. Carefully constructing each image from multiple photographs, I reform the urban landscape in my own vision – one that seeks to reconstruct the heavens in its absence above the cityscape. Light emanating from each window references a world unknown, evoking a sense of mystery and awe. We no longer look up to the night’s sky with awe. Instead, that is how we look out at the city.”

Gregory Scott

Time, 2017  is Gregory Scott’s most ambitious piece to date, and features 57 different scenes involving 12 actors in 11 frames, juxtaposing the cycle of human life with symbolic paintings about life and death. In this new piece we see numerous scenarios: the progression of a newborn into a child, adolescent, adult, elder person and finally into mortality; tabletop images containing flowers, skulls, musical instruments… symbols that have a rich history in Vanitas paintings (a still-life genre that thrived in the 17th century); and a salon-style room at The Art Institute of Chicago, where Scott references famous works by Whistler, Vermeer, Rembrandt, Da Vinci and Rubens, that reference aging. Within these 11 videos, Gregory Scott creates a narrative about the stages of life and the passing of time that begins and ends with the incoming ocean tide.

Ysabel LeMay

We are thrilled to have on view Eden I, 2017 and Eden III, 2017  by Ysabel LeMay, two of three interchangeable new pieces that can be shown individually, as diptychs, or as triptychs. Lemay’s technique is very straightforward, yet extremely time consuming. She photographs flora, birds, tree limbs, flowers, and anything else she finds along her daily walks. Once back in the studio, she assembles all her files into her computer and starts layering images, using hundreds of individual files to construct each final photograph. Balancing color, light and subject, Ysabel LeMay creates pieces that vibrate with an intensity often experienced in dreams. Wonders continues LeMay’s dedication to the land and the endless beauty it evokes.

Make sure you are following us this week on InstagramFacebookTwitter and here on Cyclopsblog!

Art Miami

December 5 – December 10, 2017
The Art Miami Pavilion
1 Miami Herald Plaza @ NE 14TH St.
Downtown Miami
On Biscayne Bay between the Venetian & Macarthur Causeways
Miami, FL 33132

Download a complimentary pass for Art Miami on our website here.

Hours:

Wednesday, December 6 11am – 8pm
Thursday, December 7 11am – 8pm
Friday, December 8 11am – 8pm
Saturday, December 9 11am – 8pm
Sunday, December 10 11am – 6pm

Art Miami opens tonight!

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CEG at Booth A209

In its 28th edition, Art Miami remains as one of the nation’s leading international contemporary and modern art fairs, showcasing an array of iconic and exemplary works for more than 140 international galleries from over 22 countries. 

This year, Art Miami is debuting in a brand new prestigious waterfront location! The VIP Preview to benefit the Pérez Art Museum Miami takes place today, Tuesday, December 5, from 5:30 – 10:00 pm with a special hour of advanced access from 4:30 – 5:30 pm. We are thrilled to be showcasing the work of Daniel Beltrá, Clarissa Bonet, Liat Elbling, Omar Imam, Ysabel LeMay, Sandro Miller, Laurent Millet, Robert & Shana ParkeHarrison, Gregory Scott and Bettina von Zwehl.

Click here to view all the artwork and be sure to visit us this week at booth A209!

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Art Miami

December 5 – December 10, 2017
The Art Miami Pavilion
1 Miami Herald Plaza @ NE 14TH St.
Downtown Miami
On Biscayne Bay between the Venetian & Macarthur Causeways
Miami, FL 33132

Download a complimentary pass for Art Miami on our website here.

Hours:

Wednesday, December 6 11am – 8pm
Thursday, December 7 11am – 8pm
Friday, December 8 11am – 8pm
Saturday, December 9 11am – 8pm
Sunday, December 10 11am – 6pm

Happy Thanksgiving from CEG!

Everyone at CEG wishes you and yours a Happy Thanksgiving!

Our 30-year anniversary is in one short week. We are thankful for the amazing artists we represent, as well as for the support we’ve received from our collectors and all the friends of the gallery over the years.

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Wishbones, 2014 © Elizabeth Ernst

We will be closed November 23 through November 27. The gallery will reopen with normal business hours on Tuesday November 28. Have a safe and happy holiday!

Jim Ferguson joins the Chicago Project!

We are excited to present the work of our newest Chicago Project artist, Jim Ferguson!

Reconstructed Space 2, 1986
Reconstructed Space 2, 1986 © Jim Ferguson

About Jim: “I like to classify myself not as an emerging artist but as a reemerging artist. I have a BFA from San Francisco Art Institute and MFA from the School of the Art Institute of Chicago. After getting my BFA, I started showing and selling my work. As a result of this effort my work is in the collections of the Dallas Museum of Art, Seattle Art Museum, Museo Nacional de Antropologia- Mexico, Amon Carter Museum of American Art, The Art Institute of Chicago, and numerous private collections. I am also included in the Macmillian Encyclopedia of Photographic Artists and Innovators. I took an extended leave of absence from showing but not photographing.  Now I’m reemerging into the fine art photography scene.”

Reconstructed Space 3, 2008
Reconstructed Space 3, 2008 © Jim Ferguson

Reconstructed Space

Reconstructed Space is a portfolio made up of abstract landscape images taken in Europe, Asia, Latin America and the U.S. My intent was to share the hidden realities I see with my altered sense of depth perception.

Born cross-eyed, corrective surgery left me with no depth perception. I developed a different way of seeing things, measuring spaces, layers and distances that I use in my photography. It is this vision I share with my viewers.

Reconstructed Space 5, 1986
Reconstructed Space 5, 1986 © Jim Ferguson

Once I select a scene, I deconstruct then reconstruct the scene to show the viewer my take on the place, often creating an unfamiliar and potentially a disorienting depiction. I sometimes reinterpret a space by flattening and compressing layers of the various elements in the image.

I emphasize light, shadow, form and movement, in an effort to depict my personal perspective. By purposefully avoiding people and turning off color in my images I am able to produce a cleaner, stronger, more abstract photograph that brings out the graphic nature and textural elements in the shot.

Reconstructed Space 9, 2014
Reconstructed Space 9, 2014 © Jim Ferguson

Most of my photographs are taken outside the U.S., often in familiar locations. However, in my reconstructed images the locations become ambiguous. The scenes can be elusive. There is normally something, or enough in the image, that allows the viewer to define the image for themselves…to pull them into my work. I don’t care where they land as long as it’s a thoughtful landing. This allows the viewer to be part of the act of creation.

While often drawn to historical settings such as Medieval and Colonial towns and archaeological sites, I don’t feel obligated photographically to illustrate the preceding history, but to transform the place into powerful images that are both enigmatic and engaging.

Reconstructed Space 20, 2014
Reconstructed Space 20, 2014 © Jim Ferguson

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The Chicago Project is an online gallery initiative by Catherine Edelman Gallery, devoted to new and established photographers in the Chicago area, who we feel deserve recognition. It is our hope to expose local talent to a wider audience and we plan on adding photographers as we find them. If you are interested in learning more about the Chicago Project or would like information on how to submit, click HERE.

Ctrl+P: Photography taken offline – Nakeya Brown

We are excited to present our newest Ctrl+P artist Nakeya Brown. Photographs from two of her series, Hair Stories Untold and If Nostalgia Were Colored Brown, will be on view through December 30, 2017.

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The Art of Drying, 2014 © Nakeya Brown

 

Nakeya On Hair Politics
“I use photography as a tool to extract and redefine the symbols of femininity. My practice centers itself on black female subjectivity, black beauty, and often uses hair as an apparatus to identify facets of womanhood. I utilize time-specific effects that have racialized, commodified, and cultural relevance in relationship to black women’s bodies and lived experiences. The shower cap, the hot comb, vinyl records depicting images of iconic African-American songstresses, the perm kit, and hair dryers are just a few of the articles I photograph to entwine the materiality of the world with identity formation.”

 

Hair Stories Untold visualizes the unknown methodologies prevalent within to black feminine hair culture. Each photograph reveals a unique form of self-grooming that poses a beautification process which is both fraught and notable in our memory. Such acts of hair manipulation transform the modes in which personhood can be realized. Within it shared experience, remembrance, and material entities reflect a sense of identity.

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Lovin’, Livin’ & Givin’, 2014 © Nakeya Brown

If Nostalgia Were Colored Brown utilizes objects associated with home life and beautification processes as building blocks in constructing identity and black feminine spaces of self-care. Each tableaux is a site where memoirs, intimacy, womanhood, culture, and blackness converge in order to cultivate a sense of nostalgia. Iconic imagery of Diana Ross, Minnie Riperton, Stephanie Mills, Deniece Williams, Natalie Cole, LaBelle, and Melba Moore display the commercial potency of black women’s bodies in popular culture.

Nakeya Brown was born in Santa Maria, California in 1988. She received her BA in Visual Arts and Journalism & Media Studies from Rutgers University and her Master of Fine Arts from The George Washington University. Her photography has been exhibited at the McKenna Museum of African American Art, Woman Made Gallery, Hamiltonian Gallery, and The Urban Institute for Contemporary Art. Brown’s work has been featured in New York Mag, Dazed & Confused, The Fader, TIME, and Vice. Her work has been included in photography books Babe and Girl on Girl: Art and Photography in the Age of the Female Gaze. Brown was awarded the 2017 Snider Prize by the Museum of Contemporary Photography. She currently lives and works in Washington, D.C with her 5 year-old daughter, Mia.

LINKS:

Nakeya’s website
Dazed Digital
The Cut
TIME
The New York Times
The Washington Post
INFRINGE


Ctrl+P: Photography taken offline is an exciting venture at Catherine Edelman Gallery inspired by the hundreds of photographs we see on blogs and online galleries. Started in January 2011, CEG introduces Chicagoans to new artists we find while searching the web, exhibiting a small selection of one person’s work every two months, taking the pictures offline and putting them on the wall. It is our goal that Ctrl+P will provide further exposure for these photographers away from the glow of a computer monitor and without the temptation to click to the next link. We hope you will join us by unplugging from the internet and visiting CEG to see these photographs the way they were intended — in print.

Bettina von Zwehl: Portraits opens tonight!

December 1 marks our 30-year anniversary of the gallery. The gallery was established as a place to showcase new talent alongside well-known photographers. To celebrate this milestone, we are thrilled to debut the miniature portraits of London based photographer Bettina von Zwehl in her solo exhibition, Portraits. The show opens November 3 and runs through December 30, 2017.

The opening reception is tonight, Friday, November 3, from 5:00 – 7:00 p.m.

Tallulah and Jasmine, 2015
Tallulah and Jasmine, 2015 © Bettina von Zwehl


The history of miniature paintings can be dated as far back as the 16th century when wealthy Europeans commissioned their likeness for their loved ones or as a means of marital introductions. Originally made in gouache, watercolor or enamel, miniatures found a more utilitarian use with the invention of the daguerreotype and then ultimately the tintype. In today’s digital age of photography, with more and more artists printing billboard sized prints, Bettina von Zwehl is among a growing number of practitioners looking to the past to create powerful, intimate portraits, in a 7 x 5” or smaller format.

Portraits features several bodies of work which all address the formal portrait, presented in oval, round or arched frames. Von Zwehl taps into historical iconography, staging scenarios reminiscent of allegorical paintings. In Tallulah and Jasmine, a young girl stares at the camera holding a dead fish; in Sari (Lampropeltis Triangulum Nelsoni), an adolescent girl confronts the viewer with a milk snake wrapped around her neck; in her series Made Up Love Song, we see a woman in profile, photographed in the same position over the course of six months; The Sessions presents silhouetted portraits of a young girl printed on photographic paper which is then torn, suggesting the fragility of youth; and in her latest series Dog Portraits, pugs, terriers, and all breeds of dogs are elevated to a regal status normally affiliated with royalty. Whether photographing young girls, women, or canines, von Zwehl honors the past, creating an intimacy often lacking in art making today.

Jenson I, 2017
Jenson I, 2017 © Bettina von Zwehl

Bettina von Zwehl was born in Munich, Germany (1971) and currently lives in London. She received her MA from the Royal College of Art (London) in 1999. Her ongoing pre-occupation with the miniature was inspired by her six month Artist in Residence at the Victoria and Albert Museum in 2011. Solo exhibitions of her work have been held at a number of leading European and American museums and galleries including the Sigmund Freud Museum (Vienna, 2016) Freud Museum (London, 2016), Fotogaleriet (Oslo, 2014), National Portrait Gallery (London, 2014), Centrum Kultury Zamek (Poznan, 2011), Victoria & Albert Museum of Childhood (London, 2009) and The Photographers Gallery (London, 2005). Her photographs are held in various collections including The Solomon R. Guggenheim Museum (New York, NY), Mint Museum (Charlotte, NC), Victoria and Albert Museum (London, England), The National Portrait Gallery (London, England), The Rubell Family Collection (Miami, FL) and Pier 24 Photography (San Francisco, CA).

See the entire exhibition on our website here.