2018/04/03

THE PHOTO GRAPHY SHOW 2018

THE

PHOTO

GRAPHY

SHOW

PRESENTED BY AIPAD

April 5 – 8, 2018

Vernissage: April 4, 2018

Pier 94 | New York City

JHB Gallery

Booth 314

https://aipadshow.com/Exhibitors/Galleries/JHB-Gallery

Yuki Onodera

The World is Not Small – 1826, No. 04, 2012

https://yukionodera.fr/en/works/world-is-not-small-1826/

Archival pigment print on fber base paper, 50 x 64 in., Edition of 6

© Yuki Onodera, Courtesy of JHB Gallery, New York

26 Grove Street, Suite #4C

New York, NY 10014

212-255-9286

info@jhbgallery.com

www.jhbgallery.com

https://www.artsy.net/aipad?m-id=ca13&utm_medium=referral&utm_source=fair-aipad&utm+campaign=logo


2018/03/09

COME BACK ! Retour à la photo

COME BACK !  Retour à la photo
Februrary 16 – Mars 24. 2018.
Galerie de l’Etrave
Espace d’art contemporain
74200 Thonon-les-Bains, France

https://www.thononlesbains.com/fr/agenda/1/4838574-exposition-come-back-retour-a-la-photo.html

Taysir Batniji, Philippe Bazin, Jhon Coplans, Stéphane Couturier, Patrick Faigenbaum, Maria Hahnenkamp, Isabelle Grosse, Isabelle Lévénez, Myriam Mihindou, Cirenaica Moreira-Diaz, Yuki Onodera, Jean-Charles Pigeau, Arnulf Rainer, Jean-Pierre Raynaud, Klaus Rinke, Georges Rousse, Samuel Rousseau, Cécile Straumann, Ji-Yeon Sung, Patrick Tosani, Xavier Zimmermann.
Philippe Piguet, exhibition curator


2018/03/08

ART GALLERY OF TAKASHIMAYA 110th Anniversary : Memorial Exhibition

Takashimaya 110th Anniversary Memorial Exhibition

110th Anniversary : Memorial Exhibition

“風詠抄—TAN
 

ART GALLERY OF TAKASHIMAYA
March 7 – 20, 2018.
Takashimaya, Nihonbashi, Tokyo.

Takeshi IGAWA Yuki ONODERA Shihoko FUKUMOTO Yuichi INOUE Shigeki HAYASHI Kimiyo MISHIMA Yasuko IBA Sueharu FUKAMI Shin MIYAZAKI


2018/03/04

“Paris c’est Elles”

___________________________________________________
“Paris c’est Elles”

La Boîte 31 de Marie-Ange Guilleminot

https://awarewomenartists.com/nos_evenements/paris-cest-elles/#

En créant l’œuvre La Boîte, Marie-Ange Guilleminot la destinait, depuis 1997, non seulement à la diffusion des éditions et des livres d’artistes mais aussi à son inscription dans le paysage urbain parisien historique si particulier des quais de Seine… avec quatre boîtes de bouquiniste aujourd’hui situées entre l’École nationale supérieure des beaux-arts et La Monnaie de Paris, à deux pas du Pont des Arts, face à l’Institut et à la statue de Condorcet.
Reliée à un statut associatif et présidée depuis 2009 par Marie-Laure Bernadac, La Boîte 31 favorise la rencontre du livre d’artiste avec le plus grand nombre et manifeste la volonté de l’artiste d’investir l’espace public le plus commun, celui de la rue et du simple trottoir. Depuis près de 20 ans, l’ouverture des boîtes est rythmée par l’invitation d’artistes et permet au public de découvrir de manière singulière objets d’art, ouvrages inédits, rares et originaux.
Dans le cadre de “Paris c’est Elles”, accompagnée de Pauline Laudet et de Clara Chevrier, Marie-Ange Guilleminot a réalisé une sélection de livres d’artistes femmes et œuvres plastiques.

À l’occasion de la Journée internationale
des droits des femmes, l’association AWARE :
Archives of Women Artists, Research
& Exhibitions investit l’espace public
durant un long week-end avec une question
historique, culturelle et sociale : quelles
sont les oeuvres d’artistes femmes qui ont
marqué le paysage parisien et où sont-elles ?
Tous les après-midi, des étudiant·e·s
issu·e·s de l’École du Louvre proposeront
des médiations face aux oeuvres, pour une
traversée de l’histoire de la sculpture publique
à travers la géographie de la capitale.
En dialogue avec le travail de leurs ainées,
de jeunes artistes ponctueront ces parcours
de performances et installations éphémères.
 
Organisé en partenariat avec la mairie de Paris, l’École du Louvre et la Monnaie de Paris
Remerciements : CNAP, COARC, FMAC, musée du Louvre – sous-direction des jardins
—————————–
AWARE
110 boulevard Saint Germain 75006 Paris (France) — info[at]aware-art[.]org — +33 (0)1 55 26 90 29
—————————–

2018/03/01

The Object’s Portrait – JAYNE H BAUM Gallery

JHB Gallery

Yuki Onodera: The Object's Portrait

13 January – extended until March 22, 2018

 

Recognizing that you’re in an unstable, suspended state and looking at the world from that perspective, everything becomes visible. You’re forced to become a foreigner, who doesn’t belong to anything. You need to understand that even the earth you’re standing on is just a fiction.    
Yuki Onodera

A selection of Yuki Onodera's works from her Portrait de Fripes and Study for Image á la Sauvette series, among others, are on view at JHB Gallery. In these works, Japanese artist Onodera re-examines the relationship between the object, image and motion, often exploring themes of seriality, optical illusion and embodiment. She repeats simple gestures by playfully layering existing images and objects into new abstrac­tions.

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Look Out The Window, No. 01, 2000, Gelatin silver print on fiber base paper

These homes, photographed in the streets of Tokyo, become floating illuminated formations in space. In Onodera’s Look Out The Window series, the artist re-affirms conceptions of the camera obscura, by creating a connection with the “camera” as “room.”
 

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Look Out The Window, No. 14, 2000, Gelatin silver print on fiber base paper

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Eleventh Finger No.9, 2008, Photogram, gelatin silver print on fiber base paper

Onodera obscures both the subject and the viewer’s gaze in her Eleventh Finger series. Onodera writes: “Captured in my photographs were the faces of people who I had shot without their permission. Was I supposed to hide their faces to respect their personality rights? If so, I wanted to avoid the kind of blurred out faces you often see in such photo. I wanted something that would treat them with due respect – yes, I wanted to hide them in a more elegant, refined manner. My solution was these pure white, decorated masks.”
 

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Eleventh Finger No.4, 2006, Photogram, gelatin silver print on fiber base paper

In the Portrait de Fripes (Portrait of Second-hand Clothes) series, Onodera turns garments into objects in space. "Taking these items that Boltanski used as a symbol of a historic tragedy, Onodera displays them one at a time against the backdrop of her open window, restoring their individuality and creating a bodiless photographic portrait," wrote Tomoko Okabe, Curator, Tokyo Metropolitan Museum of Photography.
 

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Portrait de Fripes No. 01 (Portrait of Second- hand Clothes), 1994, Gelatin silver print on fiber base paper

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Study for "Image à la sauvette", No.7, 2016, Acrylic paint on gelatin silver print

Being the motif, pet bottles are presented as squeezed or crushed, and though distorted in shape, the idea of them as a container still remains. The liquid bursting out from the bottle mouth is directly painted on the gelatin silver print, as an act of intervention and interaction with the image itself.
 

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Study for "Image à la sauvette", No.8, 2016, Acrylic paint on gelatin silver print

Transvest – Iris & Noah, 2000, Gelatin silver print on fiber base paper

Onodera extracts images from magazines and newspapers and re-contextualizes them into new silhouettes. The images are reproduced from scenes including historical ruins, streetlights at night and microscopic photo-images. "Using her extremely rich and sensitive visual perception, Onodera's photography captures and magnifies objects of daily life, stripping of their intrinsic attributes, and significance, while bestowing on them a new recognition that goes beyond their own self, creating unusual and outstanding pictures," writes Xiao Xiaolan, Curator Shanghai Art Museum.

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Transvest – Wat, 2009, Gelatin silver print on fiber base paper

To view Onodera's available works and for pricing information please contact the gallery at info@jhbgallery.com

For more information please contact JHB Gallery at info@jhbgallery.com.

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