Pieter Hugo
Looking Aside

January 11 - February 24, 2007

Pieter Hugo was born in 1976 in Johannesburg, South Africa. His photograpic work focuses on global social issues with an emphasis on Africa and other developing countries. He has worked for numerous print publications, including Adbusters, Colors, Dazed & Confused, The New Yorker and Sunday Times (London), producing visual essays on issues ranging from tuberculosis in Malawi to slavery in Sudan, slums in Brazil to old age communities in South Africa.

Amy Arbus
On The Street: 1980 - 1990

March 8 - April 21, 2007

Between 1980 and 1990, over five hundred of photographer Amy Arbus's impromptu and edgy portraits of New Yorkers appeared in the Village Voice's monthly fashion feature, "On the Street." The column's missive was to document the city's most adventurous trendsetters as they went about their lives. But Arbus's photographs tell much more than a style story. From the irreverent to the gritty, every one of these images is a potent tribute to self-expression. Taken as a whole, they reflect an era of contradictions, a time in America when urban individualism and raw creativity were courageously fighting for breathing room and holding their own in a culture ruled by wealthy conservatism and Republican politics.

On the Street features the most revealing and expressive photographs taken by Arbus on the city's fashion-fertile sidewalks. From the unknown to the unmistakably famous, her subjects are all equally unforgettable. Arbus's ubiquitous lens captured the most influential style-makers, from The Clash on the set of Martin Scorsese's The King of Comedy and Madonna the same week her single "Everybody" hit the charts, to Anna Sui, Joey Arias, Phoebe Legere and countless other local artists, actors, costume designers, shop owners, musicians, make-up artists, graffiti artists, and downtown scenesters. From eyewear to underwear and schoolgirl skirts to backless shirts; from women dressed like men to men that are barely dressed; from lipstick to just plain shtick - there is no aspect of 80's style that goes unrepresented.

Tanya Marcuse
Undergarments and Armor

March 8 - April 21, 2007

Olaf Otto Becker
Under the Nordic Light

April 26 - June 9, 2007

Olaf Otto Becker photographs in color, almost always at night, finding images in the landscape that mirror and reflect his interior life. The lon exposures and nerthern night's flat light allows the artist to produce images of haunting beauty in deeply saturated colors. A bright green in the Nordic sun turns into a deep verdant green in a Becker photograph. The atmosphere is palpable. The images that result are diverse, ranging from precipitous waterfalls and endless expanses of sea to gravel construction sites and concrete dams. Carefully constructed, yet never artificial, the landscapes capture the sincere, philosophical quality of Becker's character. Led by intuition, Becker is drawn to pirmeval images of land and water that resonate subconsciously.

Josef Hoflehner

April 26 - June 9, 2007

Josef Hoflehner has also had a long held fascination with remote and secluded places. As a photographer, he has traveled to 25 countries on all seven continents in order to capture his surreal, minimal black and white images - wooden posts, weathered rocks, fences, piers, abstract objects in snow, water or sand 0 moments often overloooked by the naked humen eye. Known for working with long exposures and reducing the landscape o elemental shapes, Hoflehner has won awards at the international level. His work has been shown in several solo exhibitions in England, Austria, and New Zealand.

Creating intricately assembled dioramas out of cardboard, plaster, faux fur and paint, Nix sets the scene for the photograpic image that is the final form of her wild imagintive manipulations. The work in this show is a mix of projects; from rural Kansas landscapes, Accidentally Kansas, to urban city scenes in Some Other Place, to an examination of the internal emotional terrain in Lost, to her most recent project, Shadows of the City. The series imagines our museums and public spaces as revered and lonely monuments to knowledge and history, slowly decaying - repossessed by a not-so-benevolent nature.