—COMING IN MARCH 2017: More information about fall 2017 workshops, including one in San Francisco late September and one in New York City in midOctober.
—THE APERTURE WORKSHOP BOOK, 3d edition now available—Alex Webb & Rebecca Norris Webb on Street Photography and the Poetic Image—online at Amazon (US), as well as Amazon in France, Germany, Spain, Canada, Italy, Japan, India, and the UK.
—BUDAPEST, HUNGARY: THE SUFFERING OF LIGHT:
TUESDAY, FEBRUARY, 28, 6pm: Exhibition opening at the Műcsarnok, part of the Budapest Photography Festival 2017.
WEDNESDAY, MARCH 1, 6pm: Alex Webb slide talk followed by conversation with Mrs. Klára Szarka and Q&A, at Műcsarnok, as part of the Budapest Photography Festival 2017.
—UPCOMING SLANT RHYMES EXHIBITION AND BOOK LAUNCH (MARCH 23 ) in Madrid: “Rimas de reojo” (Slant Rhymes), a joint book by Alex and Rebecca published by La Fabrica, will be launched at the publisher’s Madrid bookstore, along with an accompanying SLANT RHYMES exhibition opening/book signing on Thursday, March 23.
—ROME/LAST WEEK IN MARCH: MY DAKOTA exhibition: My Dakota will be exhibited in Rome at Officine Fotografiche to celebrate the Italian edition of the book, along with an accompanying workshop, opening and gallery talk/walk through (Friday, March 31st), and joint slide talk/book signing by the Webbs (Wednesday, March 29).
—SAN FRANCISCO: La Calle exhibition runs thru Feb. 25, 2017 at the Robert Koch Gallery. Details here.
—YOUNGSTOWN, OHIO, McDonough Museum of Art: Jan. 20-March 3: La Calle exhibition.
—REGGIO EMILIA, ITALY: Alex and Rebecca’s Violet Isle: A Duet of Photographs from Cuba exhibition at Fotografia Europea, May 4 thru the end of June 2017. Here’s a link to the “Violet Isle Artist Commentary,” an audio presentation, on the MFA, Boston, Museum website, where the exhibition was shown 2011-2012 (there’s also a link at the bottom of the page to the review of the MFA, Boston, show in the Boston Globe).
“So image dances with image in their duet…Alex’s work startles and shocks, as always, with the complexity and crowdedness of its frames, perfect match to a country where everyone is always around you, though not doing very much at all… And Rebecca’s work rhymes with his partly because her interiors are equally evocative, and their stillness takes us into a realm of longing and tenacity… It is as if she catches the melancholy interiors, and all the quirky secrets kept there, one reason, perhaps, why the island still survives, in spite of everything.”—Pico Iyer, from afterword to Violet Isle
REVIEW OF VIOLET ISLE EXHIBITION at History Miami Museum (thru Feb. 4) by Mike Steyels on The Hundreds Blog.
LA CALLE REVIEWS
“One never gets the sense that the photographs of Alex Webb’s LA CALLE (Aperture, $60), a collection of streetscapes taken in Mexico between 1975 and 2007, were thought out much in advance. The pictures here present hectic (or eerily still) scenes in medias res, in which something has just happened, or is perhaps about to happen. Webb thrives on this uncertainty, creating compositions that give the impression that he has just shown up, and is in the process of trying to figure the situation out. The viewer, too, strives to piece together the overload of information: When looking at these brightly colored photographs, it can be difficult to settle on a focal point, or to see how the seemingly unrelated story lines interact. A singe shot may show vendors, lovers, a bicyclist, children playing, and dogs. The mood can be tough to pin down, too, as people’s faces register wildly different emotions, ranging from laughter to fear to tears. While each photo here looks curiously at the collective action it presents, the volume as a whole concerns itself with even more far-reaching connections. As Webb asks: What is the relationship between these portraits, one of which shows a man who appears to have been shot in the street, and the baroque drug violence that has erupted in the country? Webb resists definite answers, but his images suggest, in addition to a celebration of life on the street, a certain volatility—homelessness, poverty, and areas hemmed in by walls. One photo captures a foot blurring in movement as its owner disappears over a fence. True to form, Webb leaves us wondering what is being fled, and whether this was a successful escape.”—Michael Miller, from Bookforum’s Roundup of Best Art Books of 2016.
“In 1978, Webb took a picture of a boy staring warily in a Mexican graveyard, with a horse silhouetted high on a hill in the distance. The image is typical of the Magnum photographer’s three decades of work in Mexico, an engine of both awe and empathy. Webb shot mostly in color, with an eye for hot reds, sky blues, and dusty terra cottas. But in nearly every image such brightness is offset by deep shadow. Some compositions are as stark and strange as anything by de Chirico, but, more typically, the frame is alive with incident: four gesturing figures are anchored by the glass cannisters of a cold-drink stand; three women bend down in grief around a body lying crumpled in the gutter.”—New Yorker review of La Calle, September 2016