Photographers! Get your cameras ready ! 11/25/11 Picture Black Friday III

Photographers! Get your cameras ready ! The Third Cycle of Picture Black Friday...A call for photographers to Capture the Day... is this Friday November 25, 2011. The competition is FREE to enter and this years the jurors are: Elizabeth Avedon, John A Bennette, Brian Ulrich, Ruben Natal-San Miguel, Jon Feinstein and Shane Lavalette. 
http://www.pictureblackfriday.org/

http://www.pictureblackfriday.org/

Picture Black Friday

www.pictureblackfriday.org

ARTmostfierce Affordable Print Pick of the Week- MoCP 2011

Brian Ulrich
Marshall Fields 2009

Yes folks, fresh out of the oven. A real bargain . I will start with  Brian Ulrich's. Good selection. At $300.00 editions of 50.
Happy Shopping!
http://mocp.org/shop/index.php?main_page=index&cPath=11

ARTmostfierce Affordable Print Pick of the Week- Brian Ulrich for Humble Arts Foundation

Brian Ulrich, JC Penney, Dixie Square Mall, 2009, pigmented archival inkjet print, 8 x 10 in., Ed. of 20

Still sick in bed but my eyes and ears are very alert....so here!
This print is fabulous and at edition of only 20 ...come on folks!
Also with this purchase Humble Arts Foundation will give you a Friendship Level Membership.
A Win -Win !
Happy Shopping!

Brian Ulrich Limited Edition Print

This limited edition print is available at the Friend membership level

Ulrich focuses on themes of consumer culture in his works. He describes the background behind his Copia project (2002-2006), stating:


“In 2001 citizens were encouraged to take to the malls to boost the U.S. economy through shopping, thereby equating consumerism with patriotism. The Copia project, a direct response to that advice, is a long-term photographic examination of the peculiarities and complexities of the consumer-dominated culture in which we live. Through large scale photographs taken within both the big-box retail stores, and the thrift shops that house our recycled goods, Copia explores not only the everyday activities of shopping, but the economic, cultural, social, and political implications of commercialism and the roles we play in self-destruction, over consumption, and as targets of marketing and advertising. By scrutinizing these rituals and their environments, I hope that viewers will evaluate the increasing complexities of the modern world and their role within it”.


Since we ultimately see ourselves in these images, I aim to elicit compassion and empathy for those depicted by creating formal images that are elegant and beautiful. By combined photographs taken candidly with a medium-format film camera outfitted with a waist-level viewfinder and available light, and the large format studied compositions in thrift shops, I can capture lost excitement and overwhelmed, subsumed moments. The large-scale prints allow the viewer to stop and notice with a distanced perspective familiar places and things. Over time these images take on new meaning, ones anthropological and historical of an affluent society at the dawn of the 21st century. Our experience and history of this time is evidenced in what we buy and what we use up.”


Ulrich continues to explore themes of consumer culture in the U.S. in his later projects Thrift (2005-2007) and Dark Stores (2008-2009). These two series address the hardships of the downturned economy and the failure of consumerism to prevent the closing of many large retail establishments. Together they form a decade-long project under the Copia umbrella. An exhibition at the Cleveland Museum of Art is planed for 2011/2012 with an accompanying monograph.

INSTRUMENTS OF EMPIRE- Amy Stein & Brian Ulrich -1/28/2010 @ Caption Gallery

© Amy Stein

© Brian Ulrich

Not missing this show and neither should you!

Two of my favorite photographers and friends whose work, I really admire and inspire me the most. Both being educators, there is a lot to see and learn from.

See you tomorrow!

Instruments of Empire
Photographs by Amy Stein and Brian Ulrich

Caption Gallery
55 Washington Street, No. 802
Brooklyn, NY 11201
www.caption.is
January 28-March 25, 2010
Opening Reception:
Thursday, January 28
6:30-8:30 p.m.
Amy Stein is represented by ClampArt
Brian Ulrich is represented by Julie Saul Gallery

Press release for the ones who don't know about his two stars here:

Instruments of Empire: Photographs by Amy Stein and Brian Ulrich
January 28 – March 25, 2010
Opening Reception Thursday, January 28, 6:30-8:30
Caption Gallery is pleased to announce a dual exhibition of photographs by Amy Stein and Brian
Ulrich. The exhibition links two powerful photographic series, Ulrich’s recent “Dark Stores,” and
“Stranded,” here presented for the first time.
“Dark Stores” examines the all-too-familiar landscape of global brands and big-box retail in the
context of a market economy in crisis. His work is a form of visual sociology, providing a portrait of
empty spaces, darkened outlets, and, by implication, people left out when the boom recedes.

Amy Stein’s “Stranded” offers us a vision of people at the mercy of forces beyond their control.
Metaphorically, the images stand in for the people we don’t see in Ulrich’s photographs. In the
aftermath of Hurricane Katrina, Stein had the idea to take portraits of motorists she saw stranded
by the roadside. The series became, in her words, “a meditation on the despondence of the
American psyche stuck in an unfamiliar space between distress and relief.”
The powerful, dystopic visions of Stein and Ulrich expose the transformation of human beings into
consumers, with little power or agency. They recall Napoleon’s dictum: “In the eyes of the empire
builders, men are not men but instruments.”
Amy Stein is a photographer and teacher based in New York City. She has been exhibited nationally
and internationally and her work is featured in many private and public collections. In 2006 she won
the Saatchi Gallery/Guardian Prize for her “Domesticated” series, which was released as a book in
2008. In 2007, she was named one of the top fifteen emerging photographers in the world by
American Photo magazine.

Brian Ulrich lives and works in Chicago. His first monograph, Copia, was published in 2006 by
Aperture as part of the MP3: Midwest Photographers Project. In 2007 Ulrich was named one of the
year’s 30 Emerging Photographers by Photo District News and a critic’s pick by Richard Woodward
for ARTnews magazine. He was recently awarded a 2009 John Simon Guggenheim Memorial
Fellowship. Both he and Stein are members of Piece of Cake, a European-based group of photo
artists who collaborate on projects, discussions, publications and other initiatives.
Caption is dedicated to promoting photography as a narrative art, in an exhibition format that brings
together word and text. The gallery showcases leading artists whose projects bridge the gap
between art and editorial photography, as well as emerging visual storytellers. It is located
contiguous to Generation, a communications firm that works with not-for-profit, cultural and
cause-related institutions.

Brian Ulrich- Talk & Book Signing-Friday Jan 29 @ VERSUS- Hous Projects

© Brian Ulrich

Please join us Friday January 29, 2010 from 5:30-7:00 PM @ Hous Projects Gallery for a talk and book signing with Photographer and 2009 Guggenheim Fellowship recipient Brain Ulrich.

The talk will be hosted by VERSUS curator, Ruben Natal-San Miguel and co hosted by Heather Huber of Hous Projects Gallery.


Much of this work is part of the larger project Copia for which Ulrich is currently working on a Guggenheim Fellowship and planning to continue across the country making pictures for a compilation of photographs to culminate in a book that examines 100 years of consumer culture in the US.

Besides talking about his current body of work, Brian, also will talk about the works in the show VERSUS and the perspective of the new generation of photographers.

See you all Friday!

Date:
Friday, January 29, 2010
Time:
5:30pm - 7:00pm
Location:
Hous Projects Gallery, 31 Howard St 2nd Flr,NY, NY 10013

http://www.facebook.com/event.php?eid=268246532996&ref=mf
http://www.housprojects.com/exhibitions/versus.html
http://notifbutwhen.com/

An Interview with Brian Ulrich

Brian Ulrich
KLINGMAN'S FURNITURE, 2008
11x14" edition of 15, 40x50" edition of 5

Brian Ulrich is one of the most talented and prolific photographers in the current world of Contemporary Photography. Just a few weeks ago, Brian was also selected as  the recipient of a prestigious Guggenheim Fellowship award. 

I sent Brian's these interview questions a few months ago before all this happened and they were part of The State of the ART Market interview Series. I gave more time to Brian because, I know how busy he always is. 

With a solo show opening this Thursday May 28, 2009 at the Julie Saul Gallery and with a selection of works from the photography series Thrift (2005 - 2008) and the currently in progress Dark Stores, Ghostboxes and Dead Malls, the timimg is just perfect due the thematic content of the photographs and our current economic climate.

If you are not familiar with Brian Ulrich's work , I suggest you start knowing  now. If you aspire to collect American Contemporary Photography, I suggest you start collecting Brian's work. Not only he is one of the best talents and educators out there now, he is one of the nicest people you will ever meet.

Lets see what Brian has to say!

Ruben Natal-San Miguel- As most of us know, you are a Photographer based out of Chicago Illinois, Can you tell us in your opinion how is the Current State Of the Art Market in the Mid-West Area?

Brian Ulrich

TARGET, 2008
11x14" edition of 15, 40x50" edition of 7

 

Brian Ulrich-The current state of the art market everywhere seems in flux! In general the mid west has always had to compete with the coasts. Most collectors like to make trips to NY, or LA, etc... to peruse through the many galleries. To some buying work in your hometown can be less of an 'event'. To the contrary though there are some fantastic artists making very strong work here and the community is very supportive of each other. As well there are some collectors who are super supportive of mid west artists and will always buy work, others could care less about where an artist lives and just look at the work regardless. So a barometer of this is difficult. Things are shifting and in some ways the artists here who are more likely to supplement their work by other means are already 'prepped' for a downturn.

RNSM.- Is this affecting in any way your photography assignments? Your Fine Art work?

Brian Ulrich

FARMER JACK, 2008
14x11" edition of 15

BU-For me, editorial and commission work is a challenging way of putting myself in new situations to problem solve my way out of. When the job seems like an interesting venture and I have the time I'll certainly take it. I wouldn't say I'm getting more or less. I have noticed prices for some jobs getting lower with editorial often giving me smaller budgets to work with. Not much of a problem with me as i'd rather drive than fly and stay with a friend than in a hotel.
As for my own work the economy is certainly giving me a lot more to photograph! Somehow I've managed to survive on my work enough to simply continue it. My definitions of success as an artist and person are not based on a pipe dream of monetary windfalls. It really only happens to so few artists. If I can continue and give back to my community (in the form of hiring other artists to assist me, teaching, workshops or otherwise), things couldn't be better.

Brian Ulrich

TOYS R US 1, 2009
11x14" edition of 15, 40x50" edition of 7

RNSM- Has your inspiration changed making you redefine your retail series or just created new ones? Please Explain

BU-I was pretty lucky to stumble across a subject that is continually changing and ever complex. The big box Retail series gave way to Thrift, Thrift led to Backrooms and as of late, the newest project Dark Stores, Ghostboxes and Dead Malls. Through all this I've become even more keenly aware of the history of the project and I'm often making references to older pictures, which changes or further informs them in new ways. It can sometimes appear like a bit too epic of a project from the outside but I'm confident in the end result.

Brian Ulrich
CIRCUIT CITY, PONDEROSA STEAKHOUSE, 2008
14x11" edition of 15, 50x40" edition of 7

RNSM- How about as an Educator?

BU-As a teacher, entirely. When the market turns all so many of the young people who came to school thinking there was a bevy of collectors and galleries awaiting them with open arms when they graduate are slowly coming to the realization that the practice of making art has to have a bigger and often more personal motivation. Like my work, my teaching is based on the premise of raising people's consciousness of how we live in the world and how we might empower ourselves. Understanding media, advertising and helping students to become more visually literate not only enforces those ideas but will give them better tools in their own artistic practice. Writings by John Berger and Marshall McLuhan become more relevant than ever.

RNSM- Do you think that the current economic climate has affected the students creativity in any way? How? Why?

BU-As above, if the motivations are not for some degree of art world success then the work can become more paramount. Why would anyone ever take up this practice? What impact can it have on the self, the community and outside art communities? These are all questions I'm hearing from students today and I can't tell you how invigorating that is. What if success as an artist is not based on an ad in Artforum but rather how it informs people in the community (however big or small one defines that community).

Brian Ulrich

LEVITZ, 2008
14x11" edition of 15, 50x40" edition of 7

RNSM- Is the economy and current topics such as change of government ever discussed in class as a way to motivate students creativity?

BU-Last fall during the election all my classes discussed topics about the election and the sense that for them, after coming into adulthood under the Bush administration, that there really could potentially be a paradigm shift in the culture.

Brian Ulrich

CIRCUIT CITY, 2008
14x11" edition of 15, 50x40" edition of 7

RNSM- Some of us saw your photograph of a Circuit City gone out of business, Are you in the process of doing a photojournalist series based on disappearing businesses?

BU-I wouldn't call it photojournalistic but rather an art project that leans towards propaganda. The project Dark Stores, Ghostboxes and Dead Malls is an extension the Copia project and my earlier work. In some cases I'm photographing the same spaces I photographed in 2002 now closed and boarded up. With so much investment in a retail based economy it was bound to fall. When you set up an economic model that is only successful when there is exponential growth, you're setting up a real problematic situation. We are seeing the results of that now that many in the lower income citizens have been experiencing all along no matter what the GDP says.

RNSM- You had the eye on the consumerism aspect and the interaction and reaction of people towards retail and shopping...What got you started ? Why?

BU-The project began back in 2001 after 9/11. I wanted to see if people were in fact 'patriotic shopping' as the then president had instructed us to do. Once I really began to examine the environment of shopping culture it immediately stripped away much of the illusion of the places and revealed a society that seemingly acted outside of their own accord in response to advertising gimmicks. The idea and issue of a society so wrapped into a post-modern illusion seemed so huge and important that I had to try and make pictures of it. So the man holding the fishing pole isn't just overwhelmed with choice but he's acting exactly as the store, brand and culture prescribe.

RNSM- Were you by documenting such aspects of retail sort of forecasting its demise?

BU-My first book moquette for Copia was exhibited at my MFA show in 2004. It was set with faded out romanesque type and bright white pages. Even at that point after 3 years of working on Copia it was clear that this way of living was not based on sustainability. Other civilizations have fallen over less.

Brian Ulrich
POWERHOUSE GYM, 2008
11x14" edition of 15

RNSM-As you well know by now, I am great admirer of your work because its message and some sort of dark humor behind it...it is very sophisticated and highly intellectual ...do you think the average person gets it? Why?

BU-One of the reasons I'm interested in my work acting as a sort of propaganda is that it uses the language of photograph to communicate a concept. People understand this stuff whether it's through a giggle or through some sort of awakening. The work acts as a reflection in many ways of our own lives, there are obvious and subtle things there, just like our own lives. The pictures let us stare indefinitely which one has to do to get the idiosyncratic aspects but I also like that the work can act as simply as people shopping.

RNSM-In my opinion you are a pretty successful photographer, most ones usually move or already live in NYC...Why you remain in Chicago? (I know why...it a gorgeous city).
Your family is in NY State...Had you ever thought about moving back? Why?

BU- grew up in Long Island suburbs and spent a lot of time making trips to the city. Even in the 80's when NYC was really struggling, those trips were always filled with excitement and mystery. After my undergraduate education I did move back to New York. I felt (and still feel) for myself it can be difficult to make work. I'm one who enjoys having the freedom to investigate my ideas fully and while that's certainly possible there the cost and pace of living can makes more anxious than creative. Another part of this is I like to explore and there are so many other interesting areas in this country I want to know, NY can be so insular and even claustrophobic.
I've found Chicago a nice balance btwn. the NY and a slightly more relaxed atmosphere. It most of all allows me to be closer to my subject. An hour drive in any direction will lead me to various small industrial areas, suburbs or farmland, this is like having much more of the greater part of America smashed up on your doorstep. The community here does have many opportunities for young artists in terms of venues, in addition to a community of artists who are more likely to collaborate and be forthcoming with exchanges of ideas/opportunities. The incentive to do that is high as it only leads to more attention to the community and thusly increases the quality of work.

RNSM- Your work has such a strong Americana presence,imagery and message...How is your work conceived in another countries? Europe?

BU-Strangely, I haven't really had much attention from European audiences. I've often thought that would be the case but perhaps since the work presents an America that is quite similar to Europe it mirrors more of the degree to which our societies have been more homogenized globally. I have had encouraging reactions to much of the work through magazines and some shows. A large fashion magazine published a beautiful portfolio of the Thrift work last year. The French Le Monde magazine published a suite of photographs along with an interview with economist Jeffrey Madrick which was a poetic pairing. There have been some shows in Munich, England and the Netherlands but maybe Europe isn't yet ready. Which is fine in some respects, as the project is ongoing.

Brian Ulrich

CHEVROLET, 2008
11x14" edition of 15, 40x50" edition of 5

RNSM- Can you tell us what are you working on right now?

BU-I just received a Guggenheim Fellowship that will hopefully allow me to take some time off from teaching to really focus on some traveling and photographing. I plan to work further on the Dark Stores, Ghostboxes and Dead Malls chapter and then the idea is to revisit many of the earlier ideas of Copia all at once. Next year, I have plans to begin the process of editing almost 10 years of photographs in one book that would be a marker of the first decade of the 21st century visited through the veneer of consumerism.

Untitled, Thrift 2006 (0635)
by Brian Ulrich

RNSM-In your opinion what is your assessment for the future of the Art Market?

BU-Woah this is a big question. Again with a shift in economy comes some changes and people often have to ask hard questions. With much of the excesses of the 20th century brought into the 21st a dilemma; the production of objects outweighs the ability to consider them. The art market fell victim to this as much as any other. I have already noticed this change and perhaps we don't need as many objects or as many shows, magazines, artists, venues, etc. Over the last few years it was so sad to see so many clearly putting up the most weak mediocre work at artfairs simply because the audience was so huge and buying. 'Sale-able' reigned supreme which doesn't necessarily merit profound and lasting works.
I was quite encouraged to see my gallery Robert Koch in San Francisco do a group show called Dystopia in February which highlighted the fact that many of their artists were responding to social/political issues through their work. It was a show that a museum would have to jump through some serious hoops to do. I don't think they would have done that show a year ago.
If we simply change our qualification of what 'success' is then we're all fine. Success does not have to be sold out shows but could really be the luxury of being abel to participate, make work you love and communicate with a community who will consider the objects you create. I'd like to see more of that spirit held high in the art market. It's tough there is a lot at stake but loving the thing you buy should outweigh investment, in my opinion.

Brian Ulrich
CHANEL, 2008
14x11" edition of 15, 50x40" edition of 7

RNSM- How do you think ART community can pull together and brace tall this current turmoil?

 BU-As above, the community has to act like one. Artists like Cara Philips and Amy Elkins and the Humble Foundation are putting together grants for artists. They barely have money themselves but are working hard to support the community. This as an artistic gesture is huge and hopefully inspires others to think more this way. It's something I've had plans for, for some time as well. Again changing our definition of success from one where 'stars' are celebrated and more into one where being able to participate in the cultural dialogue is key (I know very socialist! ;)

RNSM-Thank you Brian...you are the best!

Opening Thursday, May 28 5:30 -7pm

Julie Saul Gallery
535 West 22 Street
6th Floor
New York, NY 10011
Phone: 212 627-2410

http://www.saulgallery.com/

A review of the show here:

http://www.photographmag.com/aboutcover/

ARTmostfierce AFFORDABLE PRINT Pick of the week

BRIAN ULRICH
Gurnee, IL
2005; from the series Copia; archival pigment print, 11 x 14." Edition of 20.
Collector Level Membership: $350

This week  Artmostfierce Affordable Print of the week goes to a limited edition print released by SF Cameraworks by extraordinaire photographer, friend and new Guggenheim Fellowship recipient, Brian Ulrich.

From his famous Copia series this print tilted Gurnee, Il. is only a  limited edition of 20  and come on folks only $350.00 USD. This one is a must buy and have...I already got mine so...go and get yours. Remember only 20 available and I know some friends who already made a move on it! 

 

Stay tuned for an interview with Brian Ulrich coinciding with his next solo show at Julie Saul Gallery opening May 28, 2009.

http://www.sfcamerawork.org/getinvolved/membership/prints.php
www.notifbutwhen.com/

''Revisiting AMERICA''Tonight ! 10/15/08 @ Bond St. Gallery

Brian Ulrich
Chicago, IL 2004
Carbon Pigment Print
30 x 40" Edition of 6



ARTmostfierce encourages you to pay a visit or show up tonight for the opening of
REVISITING AMERICA

CURATED BY amani olu
The show includes the work of dear friend and talented artist Brian Ulrich

Exhibiting photographers: Timothy Briner, Jon Feinstein, Matthew Gamber, Justin James Reed, Angie Smith, Brian Ulrich and Michael Vahrenwald

Opening reception: Wednesday, October 15, 2008
Press preview: 4 – 6 pm Public reception: 6 – 9 pm
On view: Wednesday, October 15 – Saturday, November 15, 2008

Press inquiries: kate@bondstreetgallery.com

BOND STREET GALLERY
297 Bond Street Brooklyn, NY 11231 (Carroll Gardens)
718.858.2297 Directions: F/G to Carroll St. or R to Union St.

Gallery Hours: Tuesday – Saturday 11 am – 6 pm

BOND STREET GALLERY is pleased to present Revisiting America, a group show curated by Amani Olu. This exhibition explores the shift in American culture following the Second World War, and how that shift has influenced American values today.

Timothy Briner, Justin James Reed, Michael Vahrenwald and Angie Smith each address the dichotomy inherent in economic progress. Briner intimately photographs the people and spaces in various towns named Boonville across the country. His pictures capture the remnants of small-town America despite the rapid development of strip malls and suburban hegemony. Reed examines how homogeneity in corporate development has created an unfamiliar and unnatural American landscape. Seeing with a subtler eye, Vahrenwald photographs the empty spaces between agriculture and commercial architecture. He uses ambient light from the parking lots that parallel these spaces to create a sense of leftover, discarded landscape. Similarly, Smith photographs newly developed residential communities. Her images offer a less bleak view of development, depicting how people inhabit these once isolated environments.

Jon Feinstein and Brian Ulrich use consumerism to draw conclusions about American behavior. Feinstein’s simultaneously alluring and repulsive imagery begs the viewer to reconsider fast food consumption, while Ulrich’s portraits document the tedious consumer experience, providing a window onto the perfunctory ritual of "big box" shopping.

Finally, Matthew Gamber creates photograms of iconic American television shows such as Leave it to Beaver, Hogan’s Hero and I Love Lucy. Using the television as a light source, these photograms deal with advent of technology and ideologies of the day.

About the Curator
amani olu, 28, is the founder and executive director of Humble Arts Foundation and the director/curator of BOND STREET GALLERY. Originally from Philadelphia, he relocated to New York City in August 2005 to establish Humble as a resource for emerging art photographers. From 2003 – 2005, he published b.informed, a quarterly lifestyle magazine that combined elements of documentary photography, graphic art, music and fashion. He lives in Brooklyn.

For additional information or visuals, please contact Kate Greenberg at kate@bondstreetgallery.com.


///


Biographies


Timothy Briner
Timothy Briner (b. 1981) is an American photographer living and working in Brooklyn, NY. Raised in Indiana, Briner moved to Massachusetts to attend the Hallmark Institute of Photography in 1999. Briner recently returned from a year-long journey in which he documented six smalls towns across the continental United States, all named Boonville. Briner's work has been exhibited locally and nationally.

Jon Feinstein
Jon Feinstein is a photographer and curator based in NYC. His work has been published in Gotham, Nylon, Heeb, New York Press, and Vice and has been exhibited throughout the United States. He is also the curatorial director for the art-photography non-profit Humble Arts Foundation. He has curated numerous exhibitions, most recently "Young Curators New Ideas," and "31 under 31: Young Women in Art Photography." Jon holds a BA in photography from Bard College.

Matthew Gamber
Matthew Gamber earned an MFA from the School of the Museum of Fine Arts/Tufts University. He is currently an imaging technician with Imaging & Preservation at Harvard University, and Editor-in-Chief of Big RED & Shiny. He has taught at Savannah College of Art & Design, Art Institute of Boston/Lesley University, College of the Holy Cross, and Massachusetts College of Art & Design. Gamber is represented by Gallery Kayafas in Boston, Massachusetts.

Justin James Reed
Justin James Reed (b. 1981) received his MFA in photography from the Tyler School of Art in Elkins Park, Pa. His photographs have been exhibited nationally and internationally, and are in numerous private collections. He teaches at the Pennsylvania College of Art & Design, Tyler School of Art, and The College of New Jersey. He lives in Pennsylvania.

Angie Smith
Angie Smith is a freelance photographer based in Los Angeles. Originally from Eugene, Oregon, she moved to upstate New York to attend Bard College in 1999. After studying photography for four years with Larry Fink, she moved to New York City to start her career. In 2007, Angie left New York to return to her West Coast roots. She now resides in Los Angeles. She continues to exhibit her work, as well as shoots for magazines nationwide. Her work has appeared in publications such as The New York Times Magazine, Forbes, Budget Travel, and Men's Journal.

Brian Ulrich
Brian Ulrich was born 1971 in Northport, NY. His photographs portray contemporary consumer culture. His first monograph, Copia was published in 2006 by Aperture as part of the MP3: Midwest Photographers Project. In 2007 Ulrich was named one of the years 30 Emerging Photographers by Photo District News magazine, and a critic’s pick by Richard Woodward for ARTnews magazine.

His work has been recently featured in the New York Times Magazine, Orion Magazine, Newsweek, Mother Jones magazine, the Chicago Tribune, Artforum, Harper’s, La Frabricca, Leica World, Phat Photo (Japan), and as a frequent contributor to the like-minded magazine Adbusters.

Brian is represented by Rhona Hoffman Gallery in Chicago, Robert Koch Gallery in San Francisco, and Julie Saul Gallery in New York.

Michael Vahrenwald
Michael Vahrenwald is a photographer who lives and works in New York City. His work has been shown at a variety of venues including the Whitney Museum, New York and the Walker Art Center, Minneapolis. His work will be included in the upcoming show "Worlds Away" at the Carnegie Museum of Art in Pittsburgh, PA. He is currently a Visiting Professor of Photography at Bard College and The Cooper Union.

See you There!!!!


bondstreetgallery.com.