“Let the Good Times Roll. 1 Blond, 53 yrs old, curvey, buxom, slim, clean,petite. No diseases or drugs. Seeking healthy, honest, reliable, financially secure younger man for discreet sensual fun. Ext#1084”. 2008

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Mom with Wrist Brace. 2008. C-print. 38″ x 30″. edition of 5

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Mom and Me in Thrift Store. 2005

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Mom and me in the mirror. 2002

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Girls I Wanted To Do. 2002

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Me and Mom in Photobooth. 2007

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Untitled (Entire Roll). 36 mounted C-print. 52″ x 81″

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Mom in New Home. 2006. C-print. 32″ x 40″. edition of 5

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“Pretend you’re Actually Alive” (2008) is a chronicle by artist LEIGH LEDARE, about his unusually intimate relationship with his mother, which features photographs of her in the buff or with her young lovers and written anecdotes.

Using the format of a journal, he invites the viewer to bear witness to his private life and more particularly to his complex intimacy with his mother, a highly sexualised persona and a former professional ballerina who turned stripper.

The first impact is brutal and immediate, prompting an immediate head-shaking refusal to accept the troubling and explicit content, coupled with a slow-burning realisation that despite this impossible material, the rhetorical presentation of the material was precisely calculated and incredibly sophisticated. It is the ability to achieve this impossible equilibrium between form, (or rhetorical address), and content, that marks Ledare out as one of the most engaging and original artists working with photography at the moment. And this intellectual tactical facility with framing and presenting material of intense emotional. – by SIMON BAKER

LEIGH LEDARE lives and works in New York City. He received his MFA from Columbia University in 2008. Working primarily in photography and video, his work takes up an investigation of how we are formed as subjects, not merely at the level of identity but at the level of our projected desires, motivations and aspirations. His last project “Double Bind” has been presented at Arles in 2010 and has been acclaimed.

Stay tuned!

Marfa/Crash by RITA ACKERMANN. 32 Pages, Tabloid 26 x 38 cm, Color b/w Offset, First Edition, 2009
Co-Published by Nieves and Fiction Inc.

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“I’m here in the desert of Marfa, Texas for a month-long residency at The Chinati Foundation (…). Here, I’m working with elements of the enviroment. I like working like this which is fortunate because there is pretty much nothing else here to work with. CHRISTOPHER WOOL has a studio down here, and we drove around yesterday taking pictures of these three-dimensional collages made by locals in their backyards out of car parts and what most consider garbage. We also took some amazing pictures of these architectural landscapes around here which remind me of RICHARD PRINCE sculptures.

I’m calling this the Month of the Marfa Crash Sketch because all that I brought down to Texas was an old drawing that I started mixing up with what I found here. The sketch has danger and fearlessness, passion, sex and continuity in a vast space. To find those things I need to go with the flow. My flow is made from this crash and I’ll take it all back to the city to mix up this fresh blood. I’m hanging out with TY MITCHELL, this outlaw cowboy who tells me about rattlesnake bites, smuggling guns and drugs and bike crashes in the middle of the night. He has been an outlaw since he was sentenced to an El Salvador jungle war and never made it back to civilization. He fears nothing and his attitude makes him the coolest man I’ve ever met. He is the most primitive man, yet with all the grace of a gentleman. He wants to take me to his ranch too — I feel like I’m living in a movie like The Misfits or Paris Texas. – by RITA ACKERMANN for purple DIARY

When New York-based artist RITA ACKERMANN went to Marfa for an Artist-in-Residence program at The Chinati Foundation (a non-profit gallery dedicated to the late DONALD JUDD) in 2009, what she foundinspired  her. She channeled her feelings of dislocation in a barren locale into “marfa/crash,” a series of fiery, expressive drawings, collages, photographs and paintings.

Fiction Inc.., in cooperation with Swiss-based independent publisher Nieves, has released an over-sized magazine which is the seventh issue of THE International, the Tokyo-based art publication.

And good news: you can buy one the book “Under Pressure from 2006-2007” released on occasion of RITA ACKERMANN‘s work shown at the 2008 Whitney Biennial at the Whitney Museum, New York in the WFW Store

Fensterplatz & Abgeschiedenes. Your brother was tortured in Irak

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Fensterplatz & Abgeschiedenes. I want to go back to where I came from

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Fensterplatz & Abgeschiedenes. THE spidermann

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Fensterplatz & Abgeschiedenes. Sleepwalker

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I discovered this series by Swiss photographer FABIAN UNTERNÄHRER during an exhibition at PhotoforumPasquART in Bienne (Switzerland) last December. I immediately felt attracted to his artificial and crazy world: a true invitation to plunge into FABIAN UNTERNÄHRER‘s subconscious.

Make sure to check out his editorial and personal work via his website: http://www.fu-photo.ch/

from the series “I Heart Transylvania”. 2010

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I Heart Transylvania is a generous selections of photographs by JASON NOCITO taken in and around Vancouver B.C over several years. JASON NOCITO lives in New York and is a contributing photographer for such magazines as The Fader, Dazed and Confused, and Nylon. He was the house photographer for the Wrong Gallery (2002-2005) and his photos were used for advertisements for the 2006 Berlin Biennial. He has been included in numerous group exhibitions.

In short, JASON NOCITO possesses a master focus, a severe sift and technique that is intuitive rather than calculated, thoughtful rather than systematic. All of these images, whatever their subject, are carefully composed, captured and cast in their own discreet time to show us who we are, in ways we haven’t seen before.

You can see the whole series on Tiny Vices. Additionally JASON, in collaboration with ARA DYMOND, will be showing work starting tonight at Taxter & Spengemann in New York.

Double Rabbit. Coloured pencil on paper
176 x 296 cm. 2007

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Double Rabbit (detail). Coloured pencil on paper
176 x 296 cm. 2007

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Untitled. Coloured pencil on paper
210 x 300 cm. 2008

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Untitled (detail). Coloured pencil on paper
210 x 300 cm. 2008

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Untitled (detail). Coloured pencil on paper
210 x 300 cm. 2008

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Spass Vogel. Coloured pencil on paper
196 x 158 cm. 2007

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I’m Counting On You Potatoe Head. Coloured pencil on paper
196 x 380 cm. 2006-2007

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Norwegian graphic artist PER DYBVIG creates drawings which are usually produced spontaneously, with a sense of urgency and almost feverishness that results in a comedic cosmos of bizarre figures and creatures. DYBVIG draws extremely fast, frantic, sometimes while walking. The majority of the works emerge out of specific situations and in rapid sequence.

His large-format coloured pencil drawings blend a variety of styles, utilizing information from radio, newspapers and magazines. The drawings are made without corrections, their only filter being a fluid movement from eye to mind to hand to paper. They represent a mixture of Stream of consciousness and Écriture automatique, where visual moments are arrested and fused with fragments of language.

In 2009/2010 PER DYBVIG started to transfer his drawings into film. The first work Hunter Hare Dog and his most recent one Around the House or in the Bar, both refer to Norwegian fairy tales. It takes up the comical-abysmal story of the hunter and his dogs, but makes it even more brutal.

And good news: you can view his work at Christine König Galerie in Vienna until the 3rd March 2011

Hypnerototarsia (Lose your dreams, Lose your mind). Serie Intarsi (Inlays) for Domus. 2011. produced by COLOMBO STILE. Private collection

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STEFANO CASCIANI’s illustration in the latest issue of Domus (#943 January 2011) is reigniting my obsession with mandalas. Six months after having posted the first drawing by Italian designer and artist STEFANO CASCIANI,  I’m still in love with these little gems.

disposition (detail). 1990 wood, cardboard, white paint, 6 neon lights, 40 elements
140 x 928 x 1028 cm. 110 qm / square meters. Collection Frac Languedoc-Roussillon. exhibition view at KW Berlin. photo: DIETER LOSKEN

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disposition. 1990 wood, cardboard, white paint, 6 neon lights, 40 elements
140 x 928 x 1028 cm. 110 qm / square meters collection frac languedoc-roussillon. exhibition view at KW Berlin. photo: DIETER LOSKEN

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cellule no. 5. 1992 wood, cardboard, paint, neon lights 405 cm, ø 240 cm
exhibition view at KW Berlin. photo: DIETER LOSKEN

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cell n° 4. 1991. wood, cardboard, white paint
147 x 180 x 247 cm. Collection Capc musée d’art contemporain, Bordeaux

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proposals for a habitat. 1992. wood, cardboard, white paint, neon light
180 x 270 x 370 cm. collection of Centre Pompidou, Paris
Courtesy galerie Chantal Crousel

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cell n° 2. 1991. wood, cardboard, white paint
exhibition view at KW Berlin. photo: DIETER LOSKEN

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cellule no. 5. 1991. wood, cardboard, paint, neon lights. 350 x 215 x 48 cm
exhibition view at KW Berlin. photo: DIETER LOSKEN

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cell n° 2 (prototype). 1992 wood, cardboard, white paint
250 x 430 x 220 cm. exhibition view, Kunsthalle Zürich (1997). photo : A. Troehler

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Israeli artist MEIR ESHEL moved to Paris in the late 1980s, where he adopted the pseudonym ABSALON. There, in the short time before his sudden death at the age of twenty-eight, he engages himself with space and creates groups of work such as “Proposals for Everyday Objects” and “Proposals for Habitats,” including six minimalist living units modelled on the dimensions of his own body that ABSALON designed for various major cities around the world. Reduced to a vocabulary of strictly geometrical forms these pieces convey a sense of absolute abstraction ,they are neither purely sculptural nor architectural in the classic sense, yet without alluding to utopian ideas. He termed these structures Cellules—“bastions of resistance to a society that stops me from becoming what I must become.”

KW Institute for Contemporary Art in Berlin is presenting the first comprehensive solo exhibition of the artist’s work; the show unites all six of his completed cells with his six city-specific prototypes, as well as unseen videos, drawings, and films. A catalogue containing essays by the curator and others accompanies the show (on view until 20 February, 2011).

Sarah Beth with Pipe, 2006
C-print. 30 x 24″. Edition of 5

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Ready Crust. 2008
C-print. 42 x 53.25″. Edition of 5

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Sunset #2. 2008
C-print. 57 x 42″. Edition of 5

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Nancy in Wellfleet. 2008
C-print. 36 x 27.5″. Edition of 5

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Williamsburg Bridge. 2008
C-print. 42 x 54″. Edition of 5

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Debora Muller with Tripod. 2008.
C-print. 43 x 33″

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Moon. 2003
C-print. 53 x 43″

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Viewed in succession, ETHRIDGE’s images loosely coalesce into something like a makeshift code, or the spasmodic transmissions from a broken-down satellite, tumbling anarchically off course and into empty space — Is anyone out there? – by GIL BLANK

Drawing upon the descriptive power of photography and the ease with which it can be accessed, duplicated, and recombined, New York-based photographer ROE ETHRIDGE combines and recombines already recontextualized images subverting the photographs’ original roles and renewing their signifying possibilities. He shifts between photographic subjects, swiftly discarding them for inverse yet connected subjects. Subjects are set aside, only to be revisited and intermixed with the others. “It’s the same image whether it’s illustrating a text or has a caption, on the walls or on a bus stop. I like the fact that photography is ubiquitous and polymorphic, that it can be for the specialist or the dilettante or sometimes both at the same time.”

What interesting is the fact that for ETHRIDGE, the exhibition itself becomes–in a way analogous to the pages of a magazine–a containing structure in which to temporarily map and order images in terms of their interrelationships rather than their singular meanings. These “visual fugues”, a combination of different types of pictures – portraits, still lifes, interior scenes – acquire their meaning from the salient way in which they have been shuffled and laid out in nonlinear narrative structures.

“I like to keep the series short and linked,” he says. “And then there are these one-offs–travel pictures, pictures from a job, pictures of food–that aren’t part of a series but which become their own group.”

One of four artists featured in this year’s New Photography exhibition at MoMA, ROE ETHRIDGE has contributed to many international magazines, including the New York Time Magazine, Harper’s Bazaar, W, Visionaire, I-D, Vice, Artforum, Flash Art, and Art Review. Additionally his work has been exhibited widely in museums and galleries across the US and Europe and he is renowned for his self-published artist’s books (ps. the book “Rockaway” is now available in the WFW Store).

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Danish photographer EVA MARIE RØDBRO combines portraits, still lifes and landscapes, shot in a natural style that is distinctive as well as personal. She demonstrates in her latest work, “Fuck You Kiss Me”, a special knack of being able to capture the fragile sensitivity of youth – and to convert it into restless images. She filmed and photographed “Fuck You Kiss Me” with a regular digital photo-camera during a two-month trip to Nuuk (Greenland) and its surroundings.

EVA MARIE RØDBRO spent a year studying at Fatamorgana, the Danish school of art photography, and graduated from the Gerrit Rietveld Academie in Amsterdam in 2008.

A publication of  “Fuck You Kiss Me” is available via her website!

Stock Market: Up And Down Panic! (20th October 1987). 2007
marker, paper. 188 x 147.3 cm

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Mail Bomb Alert (12 December 1994), 2007
marker on paper. 188 x 147.3 cm

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Let’s Go Get ’em! (19 October 1996). 2007
marker on paper. 188 x 147.3 cm

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Cops and Teens, He Won’t Be A Cop Again (30th September 1994). 2007
marker on paper. 188 x 147.3 cm

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Newsroom 1986-2000, 2007 Cops and Teens.  21 drawings, marker on paper 188 x 147.3 cm each

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Stock Market: ’87 Crash Wall St. Bloodbath (19th October 1987). 2007
marker, paper. 188 x 147.3 cm

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Stock Market: Up And Down Black Friday (15th April 2000). 2007
marker, paper. 188 x 147.3 cm

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These large-scale drawings have been created for the exhibition “Newsroom 1986–2000” (2007) at Mary Boone Gallery, where Polish artist ALEKSANDRA MIR with a group of assistants copied 240 NYC tabloid covers in felt-tip marker and mounted them in an ever revolving installation to simulate the daily workings of a Manhattan newsroom. She has been using the Sharpie household marker since 2001 to create her black and white signature drawings that simulate printed matter such as news, maps or botanical prints.

News becomes history as soon as it is reported. What fascinates me in talking about history is the paradoxical movement backwards while obviously propelling ahead with a story into the future. The NYC tabloids New York Daily News and New York Post serve as practical tools that unite the population around shared joys and fears; they help spread the city’s gossip and form its identity. Whether one buys them or not, a glance at the headlines while passing by a deli or waiting for a bus is enough to be connected to the diverse masses that make up their readership. Never mind if what is reported is mostly disaster or scandal.

The material output of the agency will take the form of drawings, which for me are traces of activities such as reading, moving, talking, remembering and reporting . – by ALEKSANDRA MIR

ALEKSANDRA MIR is a Polish artist who studied Communications at Schillerska/Gothenburg University in Gothenburg (1986–87), Media Arts at the School of Visual Arts in New York (earning her BFA in 1992), and  Cultural Anthropology at The Graduate Faculty, The New School for Social Research in New York (1994–96).

Disgruntled by a day job sometime during the mid to late nineties, I made a large stack of these Xeroxes. My intent, I think, was to replace the legitimate work documents in every drawer and file folder of the desk I kept in the office—a paper transfusion to be discovered later by my boss or co-worker. I wussed out and never did it

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Oversleepers. 2007. Lightjet print. 42,25″ x 30″
Inverted Bush. 2007. Lightjet print. 43,25″ x 29,75″

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from the exhibition “A Stack of Black Pants” at Cherry and Martin, Los Angeles. 2010. Images courtesy of Cherry and Martin

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from the exhibition “A Stack of Black Pants” at Cherry and Martin, Los Angeles. 2010. Images courtesy of Cherry and Martin

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Composite. 2008, light jet print mounted on reproduction of original photograph by PETER DEAN ROSSI, wooden camera made by RUYELL HO. 52,5 × 30,75 × 2,5 inches

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Yin Yang Bandana. 2010. Grand scale inkjet print on fabric, embroidery thread, acrylic and wax. 96 x 12 inches

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Irreconcilable Indifferences. 2010
Chromogenic color print. 44 x 34 3/16 inches

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Expose for the Shadows, Develop for the Highlights (Perforated Sampler): White Light, Crewel Point, Triangle 208.33%, Glasses (His), Portrait (Hers). 2010 . Hand-drilled Sheetrock, wood, latex paint, chromogenic color prints, CNC-cut acrylic, acrylic on canvas . 96 x 72 x 5 inches

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The Skies The Limit (LEAVE ME ALONE). 1998–2009. Hand painted, rainbow tie-dyed T-shirt, acrylic, graphite, and oil pastel on canvas

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The work of AMANDA ROSS-HO can be difficult to get a handle on from any one perspective: full of jokes, inversions and feedback loops, personal anecdotes and family history, obscure taxonomies and seemingly random associations, all routed through giddy myriad media. But after seeing her work at MoMA last week, I was haunted by her installations. And when, for the second times in the week, I stumbled upon her work at New Museum of Contemporary Art, I knew she is a talent to watch!

AMANDA ROSS-HO received a BFA from the School of the Art Institute of Chicago and an MFA from the University of Southern California. Ranging from sculpture, installation, painting, and photography, she uses collected items as newspaper articles, narcotics agency records, old photographs, home-craft instruction booklets and bits of jewellery, to develop her idea that everything —from old memorabilia to tools—can be recycled in the creative process. Her assemblages draw from the histories and associative meanings of discarded objects to describe points of cultural intersection.

“In a really basic sense, I wanted to produce pieces that were frontloaded with familiarity but in the end proposed a completely different legibility. To say something different with the same terms. Or to say something the same with different terms.”

She grew up in a family of artists and commercial photographers. In her work, she has said, “family structure is mined not for the nostalgic or for the autobiographical but rather as a fertile framework of proximal relationships and connectivity, as well as a peripheral zone that informs the self.” Within this framework, the artist renegotiates the conventional definitions of the medium photography.

AMANDA ROSS-HO is one of the four artists featured in New Photography 2010 organized by ROXANA MARCOCI, a curator in MoMA’s photography department. This exhibition is on view until January 10, 2011.

by BRIAN DEGRAW

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by NECK FACE

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by DAN COLEN

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by AGATHE SNOW

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by LEO FITZPATRICK

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by RITA ACKERMANN
all images from the book “Leo Fitzpatrick. FUCK FRIENDS”. 2009

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“Fuck Friends” was an exhibition at Asia Song Society in New York two years ago. I didn’t see the show and I didn’t experiment the gallery – owned by TERENCE KOH – during my stay because it was closed. But I managed to grab the exhibition book.

The exhibition consisted primarily of collaborations—collages, drawings, and paintings that LEO FITZPATRICK made with his friends, many of whom are well-known artists. But included also a wide sampling of LEO’s solo practice (works on paper, paintings, and video). LEO FITZPATRICK is primarily an actor – he was Telly in LARRY CLARK’s 1995 film KIDS –, but he also belongs to an exclusive class of people who definitely do something—you just don’t really know what it is.

All of this, the vast array of images, texts and collaborations, is like watching television: In fact, if TV has one cohesive message, it is that everything is watchable. One image is followed randomly by another, the sequence held together only by the flimsiest narrative. It is no imaginative leap, then, to propose that viewing his work is a lot like watching TV. After all, the random juxtapositions of the artist’s drawings and catch-phrases (most of which are culled from the screen) can be found just as easily amid basic cable’s Thursday night line-up. – by JARED KILLEEN for Dossier Journal

Asia Song Society is inconspicuously located on the outskirts of Chinatown in a repurposed storefront with nothing but an awning bearing the title “Kunst”. Stay tuned for the reopening planned for Spring 2011!

BING LEE, Picto Diary after 1983. print on rice paper. New York, 1993

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One of the best thing about travelling is finding new magazines, books (old or new), newspapers or zines… I so love it!

Last week in New York, I found a gem: Picto Diary after 1983 by BING LEE at the Mercer Street Books & Records – I don’t know if this bookshop is well known or not but it’s absolutely worth the trip. You can find a massive selection of used, out-of-print and even some new books about architecture, design, art (inclusive exhibition catalogues), poetry and many more subjects. It’s simple: I could have bought the entire shop!

BING LEE is a Cantonese-born resident of New York city where he established the BING LEE Studio in 1990, and has been commissioned to design and install site-specific public art projects like the Canal Street Subway Station among others. He is also a founding member of Godzilla-Asian American Arts Network, Epoxy Art Group in New York, and Visual Art Society in Hong Kong.

The visual vocabulary developed in the “Picto Diary” becomes a significant portrayal of his work and involves Calligraphic Automatism which is based on intuitive drawing in order to unleash hidden emotions, dreams and desires. Picto Diary after 1983 compiles a monthly selection of pictograms reflective of political events, or private states of mind, and this, from 1983 to 1991. So intimate. No need to say that I love this book!

Eastern and Western modes of communication meet in BING LEE‘s Picto Diary. Are his images visual poetry, westernized pictograms, intellectual puzzles, or dream concoctions? That they may be read in all these ways is the secret to the pleasure they provide. – by ELEANOR HEARTNEY

Make sure to watch online the 2000-2001 Picto Diary!

Wing Span

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406 Rooftop At Night (Rob). 2009

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Details from “A Walk Alone in the Rambles (Mark)”. 2009

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Detail from Objectification (Jared, New York). 2008

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Time for Reflection. 2006

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Untitled (David). 2009

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JEREMY KOST is known on the New York circuit as “the Polaroid artist”. He uses his polaroid camera as a filter, firmly situated between the beautiful boy on one end and the artist’s inner workings on the other.

Influenced by ANDY WARHOL, he also finds inspiration in underground scenes of the East Village and the Lower East Side where he documents cultural sub-currents, and records fleeting traces of celebrity. KOST presents his Polaroid output unedited, a strategy which, he asserts, “keeps the integrity of the whole moment unfolding before you.”

JEREMY KOST pictures the absolute surface of desire, but his picture are not a critique of the media image. For him, the media image is the real of desire, not the other way around (…) there is no secret authentique desire. The desire of the image is your desire. – by JUSTIN LIEBERMANN

THIERRY DREYFUS explores uses of light in his illuminating new show, “(Naked) Absence – (Blinding) Presence,”at The Invisible Dog Art Center in Brooklyn, New York. Photo© WE FIND WILDNESS

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Maze of mirrors. Photo© WE FIND WILDNESS

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A red wall of light is reflected in the mirrors, which creates a kind of artificial horizon. Photo© WE FIND WILDNESS

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Photo© WE FIND WILDNESS

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Photo© WE FIND WILDNESS

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LUCIEN ZAYAN, director of The Invisible Dog at his desk. Photo© WE FIND WILDNESS

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(Naked) absence – (blinding) presence… (dis)appearances. THIERRY DREYFUS’s solo show at The Invisible Dog Art Center in Brooklyn, New York. Until February 20th, 2011. Photo© WE FIND WILDNESS

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During my trip in New York, I had the chance to experiment the first major solo exhibition in America of French artist THIERRY DREYFUS at the raw and creative space called The Invisible Dog (a converted dog accessories factory).

If you are not familiar with the work of THIERRY DREYFUS, he is best known for having sculpted, drawn and projected light onto prints, objects, scenographies and historical monuments in endless innovative ways, and this over the past 30 year. This new exhibition is presenting personal pieces about light and how this elusive element interacts with objects, sounds and space – a combination that has a very immersive and disorienting effect on the viewer.

“When in contact with light, I do not think: light has its own instinctive behavior that reveals individual emotions. Extending its scope to the 3rd and 4th dimensions, it reaches everyone in a unique way. Emotional by nature, so is the intrinsic meaning of the installation I have created at The Invisible Dog” – THIERRY DREYFUS

On the ground floor, he installed a series of mirrors with an aged, textured surface reflecting ourselves and lit by a red wall. “Besides light, there is nothing more powerful than the mirror – a subjective hole inside reality – to attract the visitor’s attention, thereby forcing one to dive into oneself,’ says DREYFUS. The next room plunges you into darkness, with only the sound of DREYFUS‘ heartbeat for company. As its pace gradually accelerates, so the light begins to illuminate a resin figure of a man, and, when it reaches its heart attack-worthy crescendo, the light becomes so bright that the figure seems to disappear.

In the basement is presented a photography exhibition, based on the idea of filling emptiness, playing with reflections and “mise en abime”, triggering the visitor’s attention to reach him intimately through a static or dynamic experience: “If one were always to say where, to describe the intent with which a picture was taken, to express what happened when it was shot, it would blur the image and disrupt it’s inner silence. This intellectual idea of what might have happened “there” adds up to replace or disrupt our initial sensation. It annihilates our first feelings.”

Opened a year ago as a gallery and studio, The Invisible Dog is a vibrant and unique art space. If you want my advice: don’t miss the restroom!

Make sure to watch all the pictures of this exhibition in the WFW Flickr!