Daniel Josefsohn, Halbe Mensch, halb Frau, 1998.

Daniel Josefsohn,
Moving Playfully
between Fine Art
and Fashion

Daniel Josefsohn (*1961, lebt in Berlin) arbeitet seit 1995 als freischaffender Fotograf für zahlreiche Magazine wie Die Zeit, das Magazin der Süddeutschen Zeitung, Jetzt!, Brand Eins oder Monopol. Bekannt wurde er mit Schwarz-Weiß-Portraits von Jugendlichen, die er für eine Kampagne des Musiksenders MTV entwickelte. Neben Fotografien und Fotostrecken schafft Josefsohn auch Filme oder Objekte. So hat er über Elternhaus, einer 1997 gegründeten Künstlergruppe, mit „MoslBuddJewChristHinDao“ ein Parfüm für den Weltfrieden produziert. Der Duft wurde von Mark Buxton entwickelt, die Idee, den Flakon, bzw. die Verpackung sowie die Werbekampagne von Josefsohn. 2010 wurde er mit dem Lead Award in Gold für die beste Anzeigenkampagne des Jahres „Half Wild, Half Child“ für das Modelabel Herr von Eden ausgezeichnet.

Seine Arbeiten bewegen sich an der Grenze zwischen Kunst, Design, Modefotografie und Gestaltung. Sie fangen damit das Gefühl einer Generation ein, die sich spielerisch zwischen den unterschiedlichen Medien und Stilrichtungen bewegt und eine ganz eigene Sprache für ihr Leben und ihre Umwelt gefunden hat. Das besondere seiner Arbeiten aber liegt in ihren Brüchen: Seine Fotos sind nicht nur ästhetisch und durchkomponiert. Vielmehr verbergen sie unter ihrer hochglänzenden Oberfläche das Abgründige und Verschwiegene. Wie z.B. die Aufnahmen eines bürgerlichen Wohnhauses in der deutschen Provinz. Die Architektur, der dazugehörende Garten, die Gardinen vor dem Fenster erscheinen beliebig. Doch handelt es sich um den Ort eines Verbrechens, welches durch den „Kannibalen von Rothenburg“ weltweit medial bekannt wurde. Gerade diese Spannung zwischen der formal ästhetischen Oberfläche der Aufnahmen und der entsprechenden Geschichte, bzw. das Wissen um die Ereignisse, lädt die Bilder politisch auf. Ob es sich um Rechtsradikalismus in Deutschland oder den Nahost-Konflikt in Israel handelt, Josefsohn findet ungewöhnliche Motive und irritierende Szenen. Seine Serie •Jewing Gun• porträtiert junge israelische SoldatInnen. Die Fotografien sind geprägt von einer Widersprüchlichkeit zwischen den Uniformen und kleinen Accessoires wie z.B. Sonnenbrillen, die die Aufnahmen wie eine Modestrecke für ein Magazin wirken lassen. Tatsächlich aber zeigen sie den Ausdruck von Persönlichkeit, den diese Menschen der Uniform mit diesen Details abringen. Das alles hält Josefsohn nicht aus der Situation des unbeteiligten Beobachters fest, sondern mit den Augen des bewusst Hinsehenden und jenseits von den medial so häufig wiederholten Stereotypen.

Abbas Akhavan >>

Daniel Josefsohn, Die neue S-Klasse, 1998. (detail)

 

 

Charles Burchfield, End of the Day, 1938, Watercolor on paper, 97.1 x 148 cm,

Robert Gober Curates Charles Burchfield
Curated by acclaimed sculptor Robert Gober. Heat Waves in a Swamp: The Paintings of Charles Burchfield features more than 100 watercolors, drawings, and paintings from private and public collections, as well as selections from Burchfield’s journals.

Charles Burchfield >>

Palette and pigments – Restorer’s palette and pigments in the Conservation Department.

Science's Role in Sorting out Fakes and Mistakes
The first major exhibition of its kind, Close Examination: Fakes, Mistakes and Discoveries celebrates the remarkable collaboration of scientists, conservators and art historians at the National Gallery. The National Gallery’s Scientific Department was founded in 1934.

Fakes >>

Noal Lidor, Wailing Wall, bells embedded in salt.

Objects Interrupted and Retasked as Ready-Mades
In her practice Noa Lidor often uses objects from the everyday such as bells and recorders, whose intended uses she disrupts to create new narratives.  She uses these objects as ready-mades, interested in the formal and symbolic qualities they are imbued with.

Noa Lidor >>

Olga Chernysheva, Russian Museum, 2003, Video  6 minutes, © Olga Chernysheva.

Everyday Russian People beyond the Realm of Context
Olga Chernysheva captures everyday life in post-Communist Russia and her subjects are the ordinary people of Moscow. Although she maintains a distance from her subjects, Chernysheva is not critical of them in the sense of judging either them or the political or social conditions that contextualise their lives.

Olga Chernysheva >>

Jean-François Millet, The Gust of Wind, 1871-73. Oil on canvas. National Museum of Wales.

Sisters Who Collected from Major Movements
The works in Turner to Cézanne have been drawn exclusively from the collection of the Davies sisters, who sought to collect works that reflected major movements of the time. They collected during a crucial moment in the history of art, when European painting was undergoing a revolution in style, theme, and technique.

Turner to Cezanne >>

Visual and Verbal
Small Craft Warnings
for the Digerati

The Internet is a Pandora’s Box of readymade information. In quasi-objects of a mental kind, Jack Rees connects societal interactions with ideas that imbue history, architecture, theology and straightforward visual impact. Our need for information is the center of his theme here -- information that we tend to massage and manipulate to our own ends
 
An architect, artist, designer and thinker, Rees uses this exhibition to prick up our senses. One can see, feel and smell this blending of organic and manmade materials that scores a catchy musical cadence. Painted antique pine panels are the rhythm, but his 18-foot installation, Balibu Tower, is the hook.  
 
In the original Tower of Babel, Babylonian society wanted to create a “stairway to heaven.” Following the Great Flood, according to the Book of Genesis, an enormous tower was built with the intention of uniting humanity by speaking a single language. Displeased with the builders' intent, Yahweh (God in Hebrew) came down and confused their languages and scattered the people throughout the earth (Genesis 11:5-8). 
 
The structural frame of wood and steel Rees uses is actually the top stage of a windmill tower, contrived to support “ribbons” made from polycarbonate, an engineered plastic that retains its memory. This tower facilitates the manifestation of ribbons as an improvisational piece. Latin, Hebrew and Arabic letters in gray, blue, red and orange colors are created with sign printing technology. A “great collector of patterns”, Rees has worked on this idea for last two years, calling it an “ongoing investigation of forms that are comprised of surfaces...” Soaring upward in the center of the 31 x 21 foot gallery, one is instantly drawn to the tower in a gasp of ‘Excelsior!’  Balibu unifies the fundamentals of communication.  Our differences, like the ribbons, remain inexplicably tangled, leaving us to repeat history.  
 
Rees is owner of an architecture and construction company in Kansas City, Missouri. He holds a Master of Science degree in Architectural Studies from the University of Texas and attended Cooper Union, School of Architecture in New York City. In 2007, he edited and published The Sixth Surface: Steven Holl Lights the Nelson-Atkins Museum (topo|graphis press) which discusses the museum’s world-famous 2007 addition. His work has been seen around the globe, including a 1982 group installation at famed PS1 in Long Island City, New York that designed and installed Manhattan Miniature Golf, a playable miniature golf course made by nine different sculptors.   
 
Optical Algorithm explores batik textiles, Maori tattoos, Modernist painting and woodblock print patterns through sixteen wood panel drawings.  Composed of antique pine measuring about 22” x 45”, they line the gallery walls, guarding the tower on two sides. The pine was salvaged from the wood columns of a 19th century furniture factory in Kansas City’s commercial West Bottoms neighborhood. These pieces pay respect to the carpentered spaces of 18th and 19th industrial architecture. 
 
Rees uses a seven coat process similar to furniture finishing. He paints, scrapes it off and starts over until a satisfactory image emerges. The finished design is an organic integration to the wood’s natural grain.  
 
Pieces like Optical Algorithm z85 (2010, casein, shellac, lacquer, UV ink on antique pine) respect the order of the grain and add another layer of aural sensation to enhance a sense of volume. Optical Algorithm n845 (2010, casein, stain, enamel, oil, lacquer on antique pine) highlights the imperfect shape of the wood.
 
The frames for each piece are also crafted by Rees and fitted to absorb the potential for growth or shrinkage as wood is apt to do.  Stained lightly or darkly ebonized, each frame is organic to the panel.
 
Although the body of panels holds a certain grace, as a group the abundance of mutated colors are too cerebral. Their total beauty is recognized when lined up, adding strength to Balibu and all its historic aspects. 

Jack Rees >>

Jack Rees, Optical Z85Msm. (detail)