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The encounter between Pessi Margulies (http://pessi.com) and Gil Lavi (http://gillavi.com) is one between a painter who started using a camera as a brush, and a photographer who started photographing with a pencil.Their almost primal relations with these technics had surfaced new dilemmas between language and tool; Margulies’ photographs are quite painterly, while Lavi’s childlike portrait drawings are following photographic composition and weight rules . In their work both challenge each other’s tool and its relevance to their own, and how far can one medium contain another. At the same time both artists are utilizing their well experienced tool with the new experimented one as part of their subject matter: A search for a grounding place. Their search is walking us through each memory’s footprints.

Walking is a recurrent motive in Margulies’ video and photographic work, while in her paintings recurrent is the physical house constructed by layers of memories. In her abstract photographs series Margulies depicts color stains as footsteps, road-map or building blocks for the desired safe place…..while exhibiting the painterly qualities of her photography.

Combining drawing with his photographs, Lavi’s is using materials from childhood as flashbacks; The image of the red lights against a car’s windshield originated by the memory of missiles he used to watch flying over his house during the gulf war. He reacts to the image, not to the moment itself, by applying to it a naive drawing thus highlights the discrepancy between the experience and its meaning. Lavi’s body of work “Existential Fear” is made of six panels of black and white plains, represents the endless search for for escape against the feeling of loss of sense of self and place.

Studio 88, 93 N 6 street Brooklyn NY
Friday Nov 1st, 6pm – 10pm Saturday Nov 2nd, 12pm – 10pm Sunday Nov 3rd, 12pm – 6pm

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4th if July

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sidewalk

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Next week I will be exhibiting a couple of photographs during the Tel Aviv Photo Fair 2013 in the Contemporary by Golconda gallery. If you are in Tel Aviv, you are invited to the opening night on April 11th 8:00 pm at 22 Nachmani St.

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My friends in LA are invited to the opening event of the Month of Photography Los Angeles in Robert Berman gallery. My work is part of the show. Please RSVP.

 

Month of photography Los Angeles

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Read the full article on PDN

Photography District News

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I once had a dream. A dream about a good dark city.

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Untitled Photograph

Untitled Photograph

Untitled Photograph

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Israel decided to focus on public diplomacy, to define the country as a brand, and to research the country’s values, personality, and global potential. I was hired to bring it to life. The study and the definitions took place years before I entered the picture in order to create the official brand Israel book and National Portrait Photo Bank.

Brand Israel

The creative photography process needed for the Brand Israel project and the National Portrait Photo Bank was broken down into a number of parts. The first of them was to understand the the value of branding Israel, the personality of the brand and the promise that the brand holds relating to groups of theoretical surveyors who led the way in defining the brand.

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After understanding the importance of the work in finding visual perspectives that can express the story of the brand and deconstruct the value of the brand into actions (to convey, to connect, to initiate, to defend), the personality of the brand was broken into into visual elements (clothing, body language, movement) that would be woven together with photos telling a story or representing a value related to the promise of the brand. All of these elements connect the assets of the brand and photographical language (color sheet, lighting,cutting), creating a product that is unique to Brand Israel.

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Using each element, I focused on different subject areas: food, beach, art and religion. Each subject conveys the value of the brand across a variety of settings. I chose to find people in their everyday attire in order to keep a pure and informal essence in the brand, searching for movement to find dynamic human occurrences in order to bring out brand elements like spontaneity, extroversion and energy.

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Once I identified the subject areas, the developmental language was the next and most challenging step. The language not only needed to be disassembled methodically, but also had to rely on inspirational sources from many elements. Photographic language helps develop a story and gives a visual identity by developing a unified photographic lineage throughout all of the Brand Israel photography.

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Having a consistent lineage allows the photographs to create immediate first impressions and convey messages that the written word cannot. Photography is the principal tool to convey substance and themes. The photographic language is the part that completes the photographic identity of the brand and achieves the goal of broadcasting the identity in the way that the brand aspires to look in the eyes of the world.

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In all of the campaigns that Israel undertook in past decades, Israel was photographed as if it were Europe, or in stark contrast, Sydney, Australia. The output of color, gentle lighting, composition and styling had little connection between the photos and the message.

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A gap like this not only creates a disconnect between the brand and its identity, but also conceals the brand’s personality. It is interesting that this situation would arise in Israel, a place with such a distinct personality and contrasts that cannot be found anywhere else in the world.

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The key point in the creation of Israel’s photographical language is to use the language as an asset to the brand.

In light and in unique contrast, in diverse fields in the area, and in elements from the Israeli worldview, the experience of viewing the photography of Brand Israel complements the energetic feeling of visiting the real Israel.

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Photographer Interview

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McDonalds

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Santa Night Out NYC

Santa Night Out NYC

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On a lazy Sunday afternoon after trying a new brunch spot in LIC, I had the most unusual subway ride back to Manhattan. I didn’t know what I was in for when I heard the train pulling into the station and ran down the stairs and upon arriving on the platform, I was soon disoriented, amazed and instantly amused when I saw that the M train I had boarded was not an M train with which I was familiar, but instead was an “S” train, part of the limited run of the MTA’s vintage train from now through the end of the year each Sunday a few times per day.

I jumped in the train before it left, landing in a passenger car that began service in 1910, according to the MTA staffperson inside of the car. The train was much darker inside than the well-light E train I was expecting, lit by round incandescent bulbs, cooled by open windows & fans and furnished with cushioned seats. Moving into the next car, a specimen from 1957, I noticed brighter lights and “modern” oscillating fans that replaced the Tommy Bahama-like ceiling fans of yesteryear from the car of 1910.

I was lucky enough to have my camera with me and began to shoot immediately, focused on capturing everyone’s amazement with this blast from the past. While some riders knew about the S train, many were as surprised as I was.

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Photographer Gil Lavi

The White House photograph. Photographer Gil Lavi
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A Photo Editor posted earlier today this video of a conversation between photographers Mark Seliger, Alan Cumming & Sebastian Kim. The conversation is part of a new youtube series about photography by Reserve channel, hosted by photographer Mark Seliger. I had good time watching.

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