Hard Hitting Investigation 101

Marina Linchuk

You know how you always hear every model say the same thing - "I was so ugly as a child.", "My classmates all made fun of me.", "I was called ______" (fill in the blank - skinny knees, froggy face, fat lips, etc.). Well some magazine, and I apologize profusely for not knowing which one (please help out if you know). had the smarts to track down childhood pictures of a number of the most successful Russian models and as you can see they were not only far from ugly children but in most cases seem to have had quite an affinity for posing!

Anna Selezneva

Diana Farkhullina

Sasha Pivovarova

Vlada

Tanya D

Pretty in Pink

On my last day in L.A. I seemed to be bombarded by color. Above, a rather futuristic arrangement at the HBO offices in Santa Monica.

And below - I was passing by the Alexandra Von Furstenberg showroom and her plexi furniture caught my attention. They look like they're illuminated by some inner light source but it's just the brightness of the neon color. From both a design and sculptural point of view, these were an impressive surprise.

And on my last morning run of the trip, I passed this trash can full of discarded roses which seemed quite poetic at the time! Back to more of the usual photo fare when I return.

I Love L.A.

After going for a morning jog, I can report that Bel Air looks like pretty safe Obama territory. No McCain signs, no "Hockey Moms for Palin" signs, just the sight of bright blue of Obama adorning the multi-million dollar homes. Clearly an appreciation of irony is more of a New York quality than an L.A. one.

Later in the day I was in the Century City shopping center and came across a cart offering engraving of any photograph onto silver I.D. tags. I thought they were pretty impressive and as you can see looked like something Damien Hirst would have loved for his forthcoming auction had he known about them.

Letter from L.A.

I‘m currently in Los Angeles and driving along the Pacific Coast Highway today, I happened upon this remarkable sight on the campus of Pepperdine University. A memorial comprised of 2977 flags mounted on thin aluminum rods, the display stands for the number of lives lost during the Sept. 11 terrorist attacks. It was installed this past 9/11 and will only remain in place for one week. However, it has not been widely written about and only a few people pull over to photograph it, walk amongst the flags, and reflect.

Digging around on the internet, I discovered that one of the most controversial aspects of the project is that it was conceived of by Ryan Sawtelle – the president of Pepperdine’s College Republicans – and was funded by a number of strongly right wing outside donors. However, after some debate the “Wave of Flags” as it is called was ultimately supported by both the university administration and the undergraduate Young Democrats. So it is at once a memorial, an almost Christo-like art installation, and a tribute to freedom of expression.

Set against the deep green grass of the campus front lawn on one side and with the Pacific Ocean across from it on the other, however, it is both joyful and surprisingly abstract – qualities which happily depoliticize a symbol that has long been co-opted by one end of the political spectrum.

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While Joel Sternfeld tries his best to deliberately avoid the picturesque in his photographs of a field in central Massachusetts, I was of course most drawn to the more picturesque of his un-picturesque pictures. Sternfeld was being televised as I walked into the gallery (Luhring Augustine) so it seemed a nice change of pace to photograph that!

And finally ... phew! ... my last stop at Michael Mazzeo Gallery (formerly PEER) where they were still hanging the group show "How I Spent My Summer Vacation". What particularly caught my eye was the bottom picture by Cara Phillips - on one hand a head shot taken with ultra-violet light to reveal the damage sun can inflict to the skin, but on the other hand a visceral, luminous, interesting, and original piece!

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Well, what can one really say about Andre Serrano's new show at Yvon Lambert (other than that it's a load of crap - in this case different animal feces)? Serrano who came to prominence as a result of his controversial image of a plastic crucifix submerged in urine (a surprisingly complex and interesting work) seems to have gone the route of an immature art school provocateur.

The thing I'd like to to see is the process by which a contemporary art collector would select and purchase the work.

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For some reason, meteorites are the thing this month. Jean-Baptiste Hynh has photographs of them at Sonnabend, and at D'Amelio Terras Gallery Demetrius Oliver comes up with this boring combo. As the press release so helpfully explains:

Through large-scale photography, sculpture, slide-projection, and video, Observatory articulates a visual form for the cycles of thought, investigation, and experimentation endemic to artistic practice and self-discovery. Relying on materials encountered in daily routine and capturing their reflections off of curved surfaces, Oliver redeploys prosaic objects to unveil new contexts and sites of meaning ....

One day soon I promise to publish the best meaningless sentences from gallery press releases.

There's always a hip show of the moment and right now it's Roe Etheridge at Andrew Krepps. Etheridge is one of those photographers who works both the art and commerce side of photography and he seems to be quite influenced by the innovative color photographer of the 1930s, Paul Outerbridge. Again I could do without the conceptual layering with which the show is presented but I particularly liked the photo of Etheridge's wife, Nancy.

And there's another good giveaway if you like poster size prints.

Alessandra Sanguinetti (at Yossi Milo) continues her series begun in 1999 following two young Argentinian cousins -Guillermina and Belinda. Having cultivated an intimate and collaborative relationship with the pair, Sanguinetti's images seem both fantastical and surreal as the girls transition from childhood to adulthood.

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At Sonnabend, Jean-Baptiste Huynh pulls off an amazing rip-off Richard Misrach's seminal sky pictures, the only difference being a slightly more square format, a larger edition, and double the price. The pictures are 40,000 euros - yikes!

At 535 West 22nd Street, Julie Saul shows Jeff Whetstone's large scale photographs of caves in Tennessee and Alabama that were mined for the saltpetre soil which was used to produce gunpowder in the civil war era. These caves have since become hideaways for both explorers and teenagers as well as a waiting canvas for anything from love notes to graffiti. So the point is the relationship between early cave drawings and the markings left today.

In the same building, an unusually restrained but typically elegant show of work by Masao Yamamoto - he of the pinned up distressed little silver prints. However, a few more works might have been in order here!

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At Sikkema Jenkins & Co., the normally interesting Vik Muniz takes a real misstep with a show titled "Verso" which consists of painstakingly crafted 3-dimensional recreations of the backs of famous paintings and their frames. Laid out on the floor on wooden blocks they look boring and give off nothing. While it's not his style, simple photographs of the backs of the real paintings (or even my photographs of Muniz's new work) seem more interesting to me. But don't worry - it gets better ... and worse!

Case in point for better: a show at Carolina Nitsch Project Room of a collection of seminal Japanese postwar photography books. While it seems that everyone has been all over Japanese photography, the show is done with great care and even includes a video projection of every page of every one of the 20 or so books that make up the collection.

A general view followed by a close-up of a rare Sugimoto accordion fold book: