Archive for June, 2013

30
Jun
13

Exhibition: ‘Petrina Hicks: Selected Photographs, 2013’ at Helen Gory Galerie, Prahran, Melbourne

Exhibition dates: 12t June – 6th July 2013

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“They’re thoughtful pictures that arouse curiosity rather than desire.”

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Robert Nelson

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A stunning, eloquent and conceptually complex exhibition buy Petrina Hicks at Helen Gory Galerie. It seems churlish to repeat writing about the themes and mythologies exhibited in the work after they have been so excellently delineated in the catalogue essay by Dan Rule. Everything that you need to know about the work is in that concise piece of writing.

I am just going to add that the photograph Venus (2013, below) is one of the most beautiful photographs that I have seen “in the flesh” (so to speak) for a long while. Hicks control over the ‘presence’ of the image, her control over the presence within the image is immaculate. To observe how she modulates the colour shift from blush of pink within the conch shell, to colour of skin, to colour of background is an absolute joy to behold. The pastel colours of skin and background only serve to illuminate the richness of the pink within the shell as a form of immaculate conception (an openness of the mind and of the body). I don’t really care who is looking at this photograph (not another sexualised male gaze!) the form is just beauty itself. I totally fell in love with this work.

Forget the neo-feminist readings, one string of text came to mind: The high fidelity of a fetishistic fecundity.

Marcus

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Many thankx to Helen Gory Galeries for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Petrina Hicks. 'Venus' 2013

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Petrina Hicks
Venus
2013
Pigment print, Edition of 8
100 x 100cm

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Petrina Hicks. 'The Birth of Venus' 2013

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Petrina Hicks
The Birth of Venus
2013
Pigment print, Edition of 8
100 x 133cm

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Petrina Hicks. 'Birdfingers' 2013

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Petrina Hicks
Birdfingers
2013
Pigment print, Edition of 8
100 x 100cm

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Beauty and Artifice

Catalogue Essay by Dan Rule

“There’s a particular acuteness to the various strands, cues and counterpoints informing Petrina Hicks’ by now extensive body of work. Her highly keyed brand of hyperrealism is at once incisive in tenor and rich in historical, referential and allegorical depth.

An obvious vantage has long been that of the advertised image. Hicks’ subjects, palette and props are enveloped in a slickened and stunningly sickening sheen that is all too familiar. Augmented, buffed and polished, her works are traces of the highly aestheticised and fetishistic images that proliferate throughout the popular visual language. The skin, hair, clothing, surface and light assume an all but unsettling patina. The index is set askew amid the insidious markers of style and desire.

But Hicks’ highly constructed images aren’t mere transgressions of what has become a gleaming vernacular form. Every encroachment into the frame, every flat, luridly coloured backdrop has an implication and a consequence. In previous works, she has broached creation mythologies; she has recast religious subplots and in gloss and saccharine. Her 2011 series Hippy and the Snake – which comprised a painstakingly realised 25-minute video work alongside a collection of large-scale photographs – might have been read as a flirtation with Eve’s dalliance with the serpent in a re-imagined Garden of Eden.

Sex, birth and death also lurk amid Hicks’ latest series of images, presented as the central strand of her Selected Photographs exhibition. Set against a muted, neutral backdrop, these large-format photographs broach both the portrait and the still life, teasing out a taxonomy of sensuous allegories and sinister omens. In the somewhat aptly titled Bird Fingers, a young girl intently studies her fingertips, each of which is adorned with a tiny bird’s skull, as if a finger puppet or a jewel. That the girl’s expression is neither one of fear nor admiration – but rather, a measured intrigue – gives this work a fascinating twist. Her reaction to death is unlearned; she studies and surveys and pieces together the evidence. Another work, The Hand That Feeds, sees another young protagonist calmly offering her palm to a crow – an avian so often cast with the pall of death.

Venus, meanwhile, sees a woman hold a glossy, pink conch shell – fleshy and open – before her face as if a beacon. The accompanying Birth of Venus is a still life comprising a conflation of symbologies and references. An overfilled champagne glass perches beside the aforementioned shell, a string of pearls draped across and within its span. It delves deep into both art and socio-feminist history. While the pearl has long invoked purity and femininity throughout mythology, the conch engenders that of fertility. But these works also echo with a more contemporary resonance – one perhaps found in second-wave feminism. While the champagne might be read as an allusion to upward mobility and financial independence, the string pearls almost resemble birth control pills (perhaps an allegory for the emancipation of the female reproductive organs?). In New Age, a jagged crystal takes the place of pubic hair, resting hard and sharp against the softness and fragility of the flesh. This symbol for healing only works to amplify the vulnerability of the body. That Hicks’ engages with such themes in 2013 points to the folly of complacency. The notion that we can sleep in the wake of  feminism is bogus, null and void.

Indeed, Hicks’ retrieval and reinterpretation of mythologies and social precedents suggests that history repeats. While her images of children suggest minds unsullied by the scourge of learned prejudices and social mores, Venus and her like describe the continuum of the sexualised male gaze. That Hicks’ co-opts a visual language so often used to hock products and desires serves as the ultimate repost. Human complexity can continue to exist, even amid the cycle and the cynicism of the commercial artifice.”

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Installation view of 'Petrina Hicks: Selected Photographs, 2013' at Helen Gory Galerie

Installation view of 'Petrina Hicks: Selected Photographs, 2013' at Helen Gory Galerie

Installation view of 'Petrina Hicks: Selected Photographs, 2013' at Helen Gory Galerie

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Installation views of Petrina Hicks: Selected Photographs, 2013 at Helen Gory Galerie

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Petrina Hicks. 'Enigma' 2013

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Petrina Hicks
Enigma
2013
Pigment print, Edition of 8
100 x 100cm

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Petrina Hicks. 'The Hand That Feeds' 2013

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Petrina Hicks
The Hand That Feeds
2013
Pigment print, Edition of 8
100 x 220cm

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Petrina Hicks. 'The Beauty of History' 2010

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Petrina Hicks
The Beauty of History
2010
Pigment print, Edition of 8
85 x 85cm

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Petrina Hicks. 'New Age' 2013

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Petrina Hicks
New Age
2013
Pigment print, Edition of 8
100 x 220cm

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Helen Gory Galerie
25, St. Edmonds Road,
Prahran, Vic 3181

Opening hours:
Wed – Fri 11 – 5pm
Sat 10 – 4pm

Helen Gory Galerie website

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28
Jun
13

Exhibition: ‘Troy Ruffels: Cinder’ at James Makin Gallery, Collingwood, Melbourne

Exhibition dates: 13th June 13 – 6th July 2013

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This scratching away at reality. Abstractness of becoming.

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Tension. Music. Light. Undertow.

  1. A current below the surface of the sea moving in the opposite direction to the surface current.
  2. An implicit quality, emotion, or influence underlying the surface aspects of something and leaving a particular impression.

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Imagined, chthonian (of or relating to the underworld, from Greek khthonios, of the earth) landscape.

(Dis)possession of the land, as though the land is rebelling against subjective gaze of the viewer.

Prosaic titles (Bracken, Cinder, Rift) with a poetic zest (remains of the day).

Spaces of isolation / human marking (thumbprints on work) / absence / presence.

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Manifestations of the mind.

The landscape as Other.

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Dr Marcus Bunyan for the Art Blart blog
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Many thankx to James Makin Gallery for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Gustave Courbet. 'The Wave' c. 1869

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Gustave Courbet
The Wave
c. 1869

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Troy Ruffels. 'Sea #3 (remains of the day)' 2013

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Troy Ruffels
Sea #3 (remains of the day)
2013
Archival solvent based inkjet print on composite aluminium
107 cm x 107 cm
Edition of 12

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Troy Ruffels. 'Bracken' 2013

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Troy Ruffels
Bracken
2013
Archival solvent based inkjet print on composite aluminium
107 cm x 107 cm
Edition of 12

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Troy Ruffels. 'Cinder' 2013

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Troy Ruffels
Cinder
2013
Archival solvent based inkjet print on composite aluminium
107 cm x 107 cm
Edition of 12

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Troy Ruffels. 'Sea #4 (Second Winter)' 2013

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Troy Ruffels
Sea #4 (Second Winter)
2013
Archival solvent based inkjet print on composite aluminium
107 cm x 107 cm
Edition of 12

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“This exhibition sees photo media artist Troy Ruffels employ innovative techniques to create his evocative imagery, which is heavily informed by the natural world. Ruffels has developed a unique process of drawing from multiple photographic source images to create each final work, which is subsequently printed using solvent based inks onto composite aluminium sheets, as opposed to standard archival papers. By utilising the reflective qualities of the aluminium Ruffels illuminates his intriguing landscape imagery with shifting light effects.

“Photo-media artist Troy Ruffels extends the boundaries of traditional photography towards a realm of limitless creative possibilities. Observing and recording sites within the Tasmanian wilderness and beyond, Ruffels draws from multiple source images to arrive at his final works. In doing so the artist weaves a highly personal and emotive response to various locations within the natural world that have remained lodged in his imagination. His process allows for a range of atmospheres and moods to be evoked, from a dreamlike softness, to a densely weighted gravity.

Overall the works in ‘Cinder’ reflect a highly personal response to place, as in the process of revealing nature’s secrets the artist reveals a part of himself. Ruffels displays his impressive technical and creative prowess in transfiguring and reassembling the elements, blending fact with fiction to tell the understory of the night.” (Marguerite Brown, Cat. Essay JMG Journal, 2013)”

Press release from the James Makin Gallery website

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Troy Ruffels. 'Cicada' 2013

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Troy Ruffels
Cicada
2013
Archival solvent based inkjet print on composite aluminium
120 cm x 240 cm
Edition of 3

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Ruffels_1-WEB

Ruffels_4-WEB

Ruffels_3-WEB

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Installation views of Troy Ruffels: Cinder at James Makin Gallery

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Troy Ruffels. 'Etude No.9' 2013

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Troy Ruffels
Etude No.9
2013
Archival solvent based inkjet print on composite aluminium
107 cm x 107 cm
Edition of 12

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Troy Ruffels. 'Rift' 2013

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Troy Ruffels
Rift
2013
Archival solvent based inkjet print on composite aluminium
107 cm x 107 cm
Edition of 12

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Troy Ruffels. 'Understory' 2013

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Troy Ruffels
Understory
2013
Archival solvent based inkjet print on composite aluminium
107 cm x 107 cm
Edition of 12

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Troy Ruffels. 'Sea #1 (Arc)' 2013

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Troy Ruffels
Sea #1 (Arc)
2013
Archival solvent based inkjet print on composite aluminium
107 cm x 107 cm
Edition of 12

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James Makin Gallery
67 Cambridge St.
Collingwood Vic. 3066
T: 03 9416 3966

Opening hours:
Tuesday – Saturday: 11am – 5pm
Sunday – Monday: By Appointment Only

James Makin Gallery website

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26
Jun
13

Exhibition: ‘The Naked Man’ at Ludwig Museum of Contemporary Art, Budapest

Exhibition dates: 23rd March – 30th June 2013

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Many thankx to the Ludwig Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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*PLEASE NOTE THIS POSTING CONTAINS ART PHOTOGRAPHS OF MALE NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

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Tibor Gyenis. 'Hommage á Ana Mendieta' 1999

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Tibor Gyenis
Hommage á Ana Mendieta
1999
from the series Hommage á Ana Mendieta
Courtesy of the Artist

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Spencer Tunick. 'Düsseldorf 5 (Museum Kunst Palast)' 2006

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Spencer Tunick
Düsseldorf 5 (Museum Kunst Palast)
2006
Courtesy Stephane Janssen

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Károly Halász. 'Body-builder in Renaissance manner' 2000

Károly Halász. 'Body-builder in Renaissance manner' 2000

Károly Halász. 'Body-builder in Renaissance manner' 2000

Károly Halász. 'Body-builder in Renaissance manner' 2000

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Károly Halász
Body-builder in Renaissance manner
2000
Courtesy of the Artist

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'The Naked Man', exhibition views

'The Naked Man', exhibition views

'The Naked Man', exhibition views

'The Naked Man', exhibition views

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The Naked Man, exhibition views, Ludwig Museum of Contemporary Art, Budapest, 2013
© Photo: György Darabos

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“While the naked female body or nude is an accepted theme in art, the unclothed male body has appeared over the centuries, ever since classical antiquity, solely through depictions of the hero or martyr. Today however, the naked male body, provocatively revealed in contemporary art, is far from a heroic figure. The exhibition The Naked Man examines the ways in which the appearance of the naked male body has changed and been transformed over the last century. The changes in the male image from the end of the nineteenth century till today are traced through eight thematic areas.

The chronological starting point of the exhibition is the turn of the 19th and 20th centuries, when not even the traditional values of masculinity were spared by the crisis of identity, as manifested in the work of such artists of fin de siècle Vienna such as Egon Schiele and Oskar Kokoschka. For modern artists, the stripped down, naked male body was a bearer of revelation, self-knowledge and renewal. From this starting point, the exhibition follows the naked man through 20th and 21st century history, presenting challenges to the hegemonic model of male identity through the work of close to 100 artists, from questioning traditional male role models to the search for alternatives, from facing up to weakness and fragility to exploring the desiring gaze, body worship and the erotic pose.

In the depiction of the undressed male body there are also clues as to the changing social role of men, the formation of male identity, which is inseparable from both changes occurring in society and the workings of power. Power defines the gaze, which for centuries has been in the possession of men, while women have been merely the objects of the gaze. This division of roles between men and women in society was held to mirror the eternal or ‘natural’ order. The exhibition reassigns the roles, since the object of the gaze is no longer women, but men. How far this signifies the loss, sacrifice or transfer of possession of the gaze can be considered in depth with the help of thematically organised artworks.

The stripped down male body is defined by particular points of crisis. In that sense, the very spirit of the life reform movement that appeared at the turn of the century was one in which the naked male body was seen as a harmonious part of nature and a symbol of the desire to renew society. The naked man appears completely differently in relation to homosexuality. The homoerotic gaze eroticised the male body and examined it as an object of desire. The influence of feminism can be felt in artistic approaches that involve putting on make-up, the hiding of the sexual organ, as well as its ‘relocation’ or symbolic loss, all ways in which male artists have called attention to the arbitrariness of the designation of gender boundaries. Indefinable sexual identity, which is adaptive to the role of the opposite sex, is a revolutionary affront to the conventional expectations of traditional notions of masculinity and femininity. Heroic, hard masculinity, the healthy, body radiating physical strength, is a particularly important symbol for dictatorships. The disciplined body that conforms to the rules symbolises dominance over bodies. It is opposite to the anti-hero, the defenceless, vulnerable male body, that of the man who deliberately suffers pain in the desire to get back his lost power.

The man who belongs to a sexual or racial minority, along with the chubby or aging male, is forced out of public space and confined to the private sphere, cut off from the connection of the male body to power. The body symbolises power, which can only truly be possessed if its nakedness is not completely revealed, if the sexual organ remains hidden. One of the last taboos of the cultural sphere of Christianity is the sight of the male sexual organ. After all this, what remains an interesting question is whether the female gaze can be an instrument of power. In addition, how do we view the nude studies that were once an indispensible part of academic artistic training, along with earlier and more recent attempts at depicting naked male models? How do we see the relation between artist and model in the self-portrait, in which the artist uses his own naked body as a terrain for the merciless exploration of the self?

The new masculinity does not view cultural roles as naturally given, but rather revolts against them, smashing taboos and unveiling fetishes. In the region of Central and Eastern Europe the body of the naked man is enriched with further layers of significance. In the art of former socialist countries, the naked male body was seen as an expression of enslavement to the patriarchal system, while gender roles are also worthy of examination in this context. After the collapse of the system, the changed geopolitical order, old and new desires and power relations were inscribed onto the body, shaping the new masculinity.”

Press release from the Ludwig Museum website

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Herbert List. 'Young Arab with foxtail lilies, Hammamet, Tunisia' 1935

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Herbert List
Young Arab with foxtail lilies, Hammamet, Tunisia
1935
Münchner Stadtmuseum

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Jimmy Caruso. 'Arnold Schwarzenegger' 1978

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Jimmy Caruso
Arnold Schwarzenegger
1978
Münchner Stadtmuseum

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McDermott & McGough. 'Tattoo Man in Repose' 1891/1991

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McDermott & McGough
Tattoo Man in Repose
1891/1991
© McDermott & McGough
Courtesy Galerie Jerome de Noirmont

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Rudolf Koppitz. 'In the lap of Nature' Self portrait c. 1923

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Rudolf Koppitz
In the lap of Nature
Self portrait
c. 1923
Münchener Stadtmuseum / Sammlung Fotografie

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Richard Avedon. 'Rudolf Nureyev' 1961

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Richard Avedon
Rudolf Nureyev
1961
© The Richard Avedon Foundation
Courtesy Stephane Janssen

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Pierre et Gilles. 'Apolló' 2005

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Pierre et Gilles
Apolló
2005
Model: Jean-Christophe Blin
© Pierre et Gilles
Courtesy Galerie Jerome de Noirmont

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Pierre et Gilles. 'The Death of Adonis' 1999

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Pierre et Gilles
The Death of Adonis
1999
Private collection, Paris

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David LaChapelle. 'Celebrity Gleam' 2002

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David LaChapelle
Celebrity Gleam
2002
Courtesy of Galerie Thomas, Munich

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Ludwig Museum of Contemporary Art
1095 Budapest Komor Marcell Street 1
Hungary 06 1 555-3444

Opening hours:
Tuesday-Sunday: 10.00-20.00
Closed on Mondays

Ludwig Museum of Contemporary Art website

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25
Jun
13

Exhibition: ‘Gilbert & George – London Pictures’ at MKM Museum Küppersmühle für Moderne Kunst, Duisburg

Exhibition dates: 20th March 20 – 30th June 2013

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I used to think that Gilbert & George’s work was inventive and relevant, that it had something important to say about contemporary culture. These days I am not so sure. It seems all to easy to rip headlines from the tabloid newspapers. Who cares about dog, death, money, school, cute kids, etc… as commented on by these pulp editions. Gilbert & George seem to have become a pastiche of themselves, cartoon cut-outs hovering in contextless backgrounds with staring eyes and gormless faces. “I am contextless, unhappily spinning in the vacuum of my own indolence,” the work seems to be saying. We already know that we are becoming a society of shortened, fractured words and sentences on mobile phones and in newspaper headlines, of absence/presence where people absent themselves from their surroundings while on mobile devices, we all know that already… I don’t think it takes mediocre art to point it out. It’s not very insightful (as Gilbert & George used to be).

I think they need a good boot up the bum to get them back to making work that takes the viewer somewhere, that actually challenges people’s belief systems, not some pulp driven comment on contemporary culture. Take a look at their early work if you don’t believe what I am saying: look at how alive the pictures were, how much vitality and energy they had, and how challenging the work was!

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Many thankx to the Museum Küppersmühle für Moderne Kunst for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Gilbert & George. 'Lick' 1977

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Gilbert & George
Lick
1977

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1977-queer

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Gilbert & George
Queer
1977

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Gilbert & George. 'Dog' 2011

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Gilbert & George
Dog
2011
© Gilbert & George / Courtesy of the Artist and White Cube Gallery

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Gilbert & George. 'Money' 2011

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Gilbert & George
Money
2011
© Gilbert & George

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Gilbert & George. 'School Straight' 2011

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Gilbert & George
School Straight
2011
© Gilbert & George / Courtesy of the Artist and White Cube Gallery

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Gilbert & George. 'Death' 2011

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Gilbert & George
Death
2011
© Gilbert & George

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“Completed in 2011, “London Pictures” is the title of the cycle created by the London-based artists Gilbert & George, to which the eponymous exhibition in the MKM from March 20, 2013, is dedicated. Taking as their theme the countless newsagent posters collected by the artists themselves over a period of six years, the artists compile a detailed inventory of quotidian human behaviour, which they then submit to their hallmark humanistic gaze, and in so doing, furnish their own perspective on the psycho-social condition of our Western societies. What emerges is an extensive series of images from which the MKM is, for the first time, showcasing 70 individual pictures and affording visitors the opportunity to intensively explore this new phase from the oeuvre of Gilbert & George.

In their “London Pictures” Gilbert & George have collated the newspaper posters, which, not only in London, but across England, garnish the sales stands of the newspaper dealers. Their explicit allusions to the most titillating, violent and bizarre stories of the day are designed to entice potential customers to buy the newspapers. These simple statements of facts promise tales of love and sex, violence and death, wealth and power -themes, which have fascinated humanity since time immemorial, and which expose our endless appetite for sensation, disaster and excess. Gilbert & George have taken 3712 images of these advertising posters, processed the material, arranged it according to themes and fashioned it into 292 carefully-created pictures. Not only are the artists documenting a commonly-used device within the marketing strategies of the Western press, they are also exploring its impact on both the individual and society as a whole, and applying artistic means to articulate their own response to, and perception of, this social phenomenon. “The “London Pictures” should not in the first instance be read as a critique of the media, but perhaps as a critique of ourselves”, explains MKM Director Walter Smerling, adding that: “Gilbert & George borrow the language of the media, place it in a different context and in so doing transform these newspapers posters into a new entity vested with an entirely new content. The careful collation and arrangement of hundreds of headlines (…) forges a platform for reflection which casts the spotlight on to our own complicity, intrigues and problems of existence.”

“The artists of course feature in their pictures: in the background as a pair of quizzical, piercing eyes or as a ubiquitous, immaculately besuited presence, appearing” (…) “as though the artists were psychic manifestations of the city itself, its sense of place and history. The “London Pictures” comprise both a directory of quotidian urban human behavior – revealing and shocking and violent, in all its sluggish or volatile momentum – and as such the city’s moral portrait: an unflinching audit of modern western society’s relationship to itself, stripped of rhetoric or intellectual disguise.” (Michael Bracewell, author of the catalogue). Yet beyond focussing on the city of London itself, Gilbert & George also cast themselves directly as integral constituents of our society’s media landscape and its psychic condition. Their unrelenting gaze interrogates not only the message of the posters, but is trained at the observer who also becomes an essential part of each and every picture.

Gilbert & George are seeking to portray the “grandeur, mystery and drama” of our Western world. From competitions to find the cutest child to gruesome tales of murder and mayhem -the whole gamut of human experience is represented here and exercises an equally ineluctable fascination on readers in Germany: For as the artists themselves remark, the “London Pictures” and “London Problems” could just as easily be “Duisburg Pictures” and “Duisburg Problems”.

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Biography

Gilbert (born in 1943 in St. Martin in Thurn, Italy) studied at the Wolkenstein School of Art in South Tyrol, the Hallein School of Art in Austria, and the Munich Academy of Fine Arts, before attending St. Martin’s School of Art in London. There, in 1967, he met George (born in 1942 in Plymouth, UK), who had previously been a student at Dartington Hall College of Art and Oxford Art School. During the 1960s, Gilbert & George expanded the concept of sculpture by making themselves the materials for their art, as Living Sculptures. They declared everyday activities to be art, and provoked opposition by using faeces, urine and sperm as principal motifs in their picture series. They were awarded the 1986 Turner Prize, exhibited in the British Pavilion at the 2005 Venice Biennale, and has held exhibitions in venues ranging from the Stedelijk Museum in Amsterdam (1971 and 1996) to Guggenheim Museum, New York (1985), Musee d’Art Moderne de la Ville, Paris (1997) and London’s Tate Modern (2007). Other major public exhibitions have been mounted in Russia (1990) and China (1993).”

Press release from the MKM Museum Küppersmühle für Moderne Kunst website

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Gilbert & George. 'Kills' 2011

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Gilbert & George
Kills
2011
© Gilbert & George

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Gilbert & George. 'Woman' 2011

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Gilbert & George
Woman
2011
© Gilbert & George

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Gilbert & George. 'Cute Kids' 2011

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Gilbert & George
Cute Kids
2011
© Gilbert & George

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Gilbert & George. 'Stabbings' 2011

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Gilbert & George
Stabbings
2011
© Gilbert & George

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Gilbert & George. 'Sex Pest' 2011

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Gilbert & George
Sex Pest
2011
151 x 127 cm
© Gilbert & George / Courtesy Galerie Thaddaeus Ropac Salzburg, Paris

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The British artists George Passmore (L) and Gilbert Prousch (R) pass in front of one of their art work 'London Pictures'

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The British artists George Passmore (L) and Gilbert Prousch (R) pass in front of one of their art work ‘London Pictures’ as they arrive for a press conference at the museum Kueppersmuehle in Duisburg, western Germany, on March 14, 2013. AFP PHOTO / CAROLINE SEIDEL

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MKM Museum Küppersmühle für Moderne Kunst
Philosophenweg 55, 47051 Duisburg
Germany
T: +49 (0)203 30 19 48 -10/-11

Opening Hours:
Wed 2.00 pm – 6.00 pm
Thu – Sun 11.00 am – 6.00 pm
Bank Holidays 11.00 am – 6.00 pm

MKM Museum Küppersmühle für Moderne Kunst website

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23
Jun
13

Exhibition: ‘Joan Ross: Touching Other People’s Shopping’ at Bett Gallery, Hobart

Exhibition dates: 7th June – 28th June 2013

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The claiming of things
The touching of things
The digging of land
The tagging of place
The taking over of the world

Tag and capture.
Tag and capture.
Shop, dig, spray, destroy.

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An ironic critique of the pastoral, neo/colonial world, tagged and captured in the 21st century.
Excellent work. The construction, sensibility and humour of the videos is outstanding. I also responded to the two works Tag and capture and Shopping for butterfly (both 2013, below).

Marcus

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Many thankx to Bett Gallery for allowing me to publish the photographs and videos in the posting. Please click on the photographs for a larger version of the image.

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Joan Ross
The claiming of things
2012
digital animation
7 min 20 sec
edition of 10

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Joan Ross
Touching other people’s butterflies
2013
digital animation
2 min 45 sec
edition of 6

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Joan Ross. 'Mine' 2013

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Joan Ross
Mine
2013
hand painted pigment print on cotton rag paper
40 x 60 cm (image size)
edition of 3

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Joan Ross. 'I dig your land' 2013

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Joan Ross
I dig your land
2013
hand painted pigment print on cotton rag paper
31 x 50 cm (image size)
edition of 3

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Joan Ross. 'Lassie come home' 2013

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Joan Ross
Lassie come home
2013
hand painted pigment print on cotton rag paper
32 x 50 cm (image size)
edition of 3

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Joan Ross. 'Tagging' 2013

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Joan Ross
Tagging
2013
hand painted pigment print on cotton rag paper
33.5 x 60 cm (image size)
edition of 3

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Joan Ross. 'Shopping for butterfly' 2013

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Joan Ross
Shopping for butterfly
2013
hand painted pigment print on cotton rag paper
51.5 x 50 cm (image size)
edition of 3

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Joan Ross. 'Tag and capture' 2013

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Joan Ross
Tag and capture
2013
hand painted pigment print on cotton rag paper
50 x 47 cm (image size)
edition of 3

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Joan Ross. 'The naming of things' 2013

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Joan Ross
The naming of things
2013
hand painted pigment print on cotton rag paper
40 x 70 cm (image size)
edition of 3

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Joan Ross. 'Together we can take over the world' 2012

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Joan Ross
Together we can take over the world
2012
found ceramic and fluorescent reflector tape
50 x 24 x 20 cm (overall size)
$2,200

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Bett Galllery
369 Elizabeth Street
North Hobart Tasmania 7000
Australia
T: +61 (0) 3 6231 6511

Opening hours:
10am – 6pm Monday – Saturday
12noon – 6pm Sunday

Bett Gallery website

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20
Jun
13

Marcus Bunyan black and white archive: South Yarra and surrounds, 1994

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I am scanning my negatives made during the years 1991 – 1997 to preserve them in the form of an online archive as a process of active memory, so that the images are not lost forever. These photographs were images of my life and imagination at the time of their making, the ideas I was thinking about and the people and things that surrounded me.

All images © Marcus Bunyan but can be used freely anywhere with the proper acknowledgement. Please click the photographs for a larger version of the image; remember these are just straight scans of the negatives !

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*PLEASE NOTE THIS POSTING CONTAINS ART PHOTOGRAPHS OF MALE NUDITY – IF YOU DO NOT LIKE PLEASE DO NOT LOOK, FAIR WARNING HAS BEEN GIVEN*

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Marcus Bunyan. 'Stained glass, cracked' 1994

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Marcus Bunyan
Stained glass, cracked
1994
Silver gelatin photograph

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Marcus Bunyan. 'White door 1' 1994

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Marcus Bunyan
White door 1
1994
Silver gelatin photograph

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Marcus Bunyan. 'Damien, 1994' 1994

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Marcus Bunyan
Damien, 1994
1994
Silver gelatin photograph

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Marcus Bunyan. 'Night repair' 1994

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Marcus Bunyan
Night repair
1994
Silver gelatin photograph

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Marcus Bunyan. 'Jerry holding a brush, South Yarra' 1994

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Marcus Bunyan
Jerry holding a brush, South Yarra
1994
Silver gelatin photograph

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Marcus Bunyan. 'Jerry behind safety screen, Punt Road, South Yarra' 1994

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Marcus Bunyan
Jerry behind safety screen, Punt Road, South Yarra
1994
Silver gelatin photograph

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Marcus Bunyan. 'Presence' 1994

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Marcus Bunyan
Presence
1994
Silver gelatin photograph

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Marcus Bunyan. 'Nautilus shell in cup' 1994

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Marcus Bunyan
Nautilus shell in cup
1994
Silver gelatin photograph

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Marcus Bunyan. 'Jerry with shaved head' 1994

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Marcus Bunyan
Jerry with shaved head
1994
Silver gelatin photograph

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Marcus Bunyan. 'Undergrowth' 1994

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Marcus Bunyan
Undergrowth
1994
Silver gelatin photograph

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Marcus Bunyan. 'White door 2' 1994

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Marcus Bunyan
White door 2
1994
Silver gelatin photograph

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Marcus Bunyan. 'Damien sitting outside his flat, South Yarra, 1994' 1994

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Marcus Bunyan
Damien sitting outside his flat, South Yarra, 1994
1994
Silver gelatin photograph
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Marcus Bunyan. 'Trees, capstone, shadows' 1994

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Marcus Bunyan
Trees, capstone, shadows
1994
Silver gelatin photograph

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Marcus Bunyan. 'Damien with snake' 1994

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Marcus Bunyan
Damien with snake
1994
Silver gelatin photograph

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Marcus Bunyan. 'Glass bird, Punt Road, South Yarra' 1994

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Marcus Bunyan
Glass bird, Punt Road, South Yarra
1994
Silver gelatin photograph

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Marcus Bunyan. 'Easter Sunday' 1994

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Marcus Bunyan
Easter Sunday
1994
Silver gelatin photograph

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Marcus Bunyan. 'Capstone, night, Windsor train station' 1994

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Marcus Bunyan
Capstone, night, Windsor train station
1994
Silver gelatin photograph

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Marcus Bunyan. 'Paul, cock on anvil' 1994

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Marcus Bunyan
Paul, cock on anvil
1994
Silver gelatin photograph

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Marcus Bunyan black and white archive page

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17
Jun
13

Review: ‘Johsel Namkung: A Retrospective’ published by Cosgrove Editions, 2013

Published by Cosgrove Editions, Johsel Namkung • A Retrospective is a collection of one hundred exquisite images selected from a remarkable career in photography spanning six decades.

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“I like to give my viewers questions, not answers. Let them find beauty in the most mundane things, like roadside wildflowers and tumbled weeds.”

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Johsel Namkung

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“When we can find the abstract in nature we find the deepest art.”

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Mark Tobey

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“Photographs give us information; it seems that they give us information that is very packaged and they give us the information that we are already prepared to recognize obviously. It’s as if the words don’t have the weight they should have, so that one of the statements being made by any photograph is: “This really exists.” The photograph is a kind of job for the imagination to do something that we should have been able to do if we were not so disturbed by so many different kinds of information that are not really absorbed. Photographs have this authority of being testimony, but almost as if you have some direct contact with the thing, or as if the photograph is a piece of the thing; even though it’s an image, it really is the thing.”

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Susan Sontag. Excerpt from a speech, Wellesley College photographic symposium, April 21, 1975

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This is a superlative book by Cosgrove Editions that celebrates the sixty-year life in photography of the now 94-year-old Johsel Namkung. Rather than a retrospective I see this book as testimony to Johsel Namkung’s vision as an artist and the photographs, as Susan Sontag observes above, as testaments that allow the viewer to have some direct contact with the things that Johsel photographed, to see and feel with him the places that he visited and the things that he saw.

Some of the photographs in this book take your breath away. Taken with a large format camera Johsel’s compositions are heavily influenced by music and are almost fugue-like in their structure. They vibrate and sing like few other landscape photographs that I have ever seen. There is the absence of a horizon, so that his photographs seem to agree with the picture-plane rather than with the world at large.1 Rather, Johsel lets his images flow and in that flow he creates patterning that distinctly creates layers of landscape. The juxtaposing of lines on the landscape is reinforced in the sequencing of the book, where binary opposites are paired on facing pages: feminine / masculine, yang / ying, macro / micro. For example Rainy Pass, Washington July, 1989 is printed opposite Picture Lake, Mount Baker, Washington July 1979 (feminine / masculine); Steptoe Butte, Washington January, 1989 is printed opposite Oak Creek, Washington March, 1991 (yang / ying); and the vast Denali National Park, Alaska September, 1987 is printed opposite the almost Japanese-like delicacy of Arrigetch, Alaska September, 1980 (macro / micro). Although there are links to Abstract Expressionist painters such as Jackson Pollock and Mark Toby and photographers Ansel Adams, Minor White and Eliot Porter this work is wholly Johsel’s in its compositional structure – the position that the photographer puts himself in, both physically and mentally, to obtain these most beautiful of images.

Johsel has a love of small triangular shapes within the pictorial frame. They act like small punctum or pizzicato in musical terms and these given details are intended as such by the photographer. The little punctum in Johsel’s individual works become an accumulation of small punctum that resonate throughout the whole testimony of his work – through the placement of rocks and twigs, the use of triangles and layers whose presence Johsel so loves within the photograph. In this sense (that the photograph is written by the photographer), these are photographs of the mind as much as they are of the landscape. Working in the manner of Minor White (photographing in meditation, creating a pathway from the self to the object, from the object through the camera and back to the self, forming a circle), harmonising all elements (visual, physical, elemental, spiritual), Johsel exposes himself as much as the landscape he is photographing. This is his spirit in relation to the land, to the cosmos, even. Like Monet’s paintings of water lilies these photographs are a “small dreaming” of his spirit with a section of the land not necessarily, as in Aboriginal art, a dreaming and connection to the whole land.

As Minor White observes of the “recognition” of such dreaming when working with the view camera,

“First, there is a store of images, experience, ego problems, ideals, fears, which the man brings to his seeing at the start. Second, during the activity of seeing they are matched against the images in the visual world, like matching colors. This is done with some conscious effort and a great deal of unconscious participation. At the moment of matching or “recognition” there is a feeling of important at least, and sometimes a merciless impact. This in turn is secured by exposure – like a sudden gust of wind drops a ripe apple. So we can say “recognition” is the trigger of exposure. In view camera work the lapse between recognition and exposure may be relatively long. There is time for analysis and criticism of image and idea, and exposure sums up the entire experience.”2

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Like the sudden gust of wind drops the ripe apple.

Oh the joy Johsel must have found when he recognised such invocations, by being aware of his surroundings and his relationship to the earth. I know from my own experience that when you find such a place and recognise it for what it is, it is then an entirely different matter to capture it on film for the camera imparts its own perspective. It is almost as if Johsel and the camera are one, and that the camera itself has disappeared into the landscape (I like the way that you can nearly see his camera but it is actually hidden in the photograph at the bottom of the posting). I get the feeling that Johsel is quite consciously working within an adopted aesthetic – sort of like a tea ceremony – and just making things purposefully and having faith that it is some sort “of way” of doing things. At no point is there any sense of difficulty here – it has all been removed. Yet there was so much physical effort: climbing, walking, waiting, patience, no trace of it. What a heroic act this is!

Johsel approaches a metaphysics of the Real, creating authentic visualisations of the world – an idealised, abstracted Real tending towards a (mental) s(t)imulation. In other words, he photographs the world not to reveal a specific place but a particular state of mind. Is the link to indexicality broken? No, but there is no ultimate truth or origin here, for his is an art of transformation (theatricality) through structure (modernism) which is the essence of aesthetic arts.

“This strategy rejects the search for an origin or ultimate Truth and instead interprets reality as composed, contingent and intersubjective; reality is, therefore, theatrical… Theatricality is made of this endless play and of these continuous displacements of the position of desire, in other words, of the position of the subject in process with an imaginary constructive space.”3

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In Johsel’s photographs desire is displaced, ego is removed and his photographs become images of the mind as much as they are of the landscape. This is Johsel at play recognising, becoming these imaginary, constructive spaces. He is in the zone, he becomes the zone, even. Finally we can say: his photographs and his life are transformational; his imagination is the representation of possibility; his work is testimony to that representation.

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Dr Marcus Bunyan for the Art Blart blog

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Many thankx to Johsel Namkung, Dick Busher and Cosgrove Editions for allowing me to publish the text and photographs in the posting. Dick Busher allowed me to pick the photographs that I wanted to illustrate this posting and for that I am most grateful. Please click on the photographs for a larger version of the image.

The book has recently taken top honors in two different award competitions among independent publishers for photography books: The Independent Book Publishers Association’s Benny Awards, and the Independent Publishers IPPY Awards.

PS. I think that photographer is very aware of: “Let the subject generate its own composition” (MW) – coming from Weston’s “Composition is the strongest way of seeing.”

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 Johsel Namkung. 'Big Meadow, Washington Pass, Washington September, 2000' 2000

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Johsel Namkung
Big Meadow, Washington Pass, Washington September, 2000
2000

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 Johsel Namkung. 'Cougar Lake, Oregon June 1991' 1991

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Johsel Namkung
Cougar Lake, Oregon June 1991
1991

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Johsel Namkung. 'Rainy Pass, Washington July, 1989' 1989

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Johsel Namkung
Rainy Pass, Washington July, 1989
1989

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Johsel Namkung. 'Picture Lake, Mount Baker, Washington July 1979' 1979

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Johsel Namkung
Picture Lake, Mount Baker, Washington July 1979
1979

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“In his photography Johsel brings attention and importance to elements of nature that most people pass by on their way to the grand vistas. One of my favorite locations in Washington is the Palouse as seen from Steptoe Butte; Johsel’s interpretations of the undulating wheat fields just greening with new growth are sensuous and impressionistic. One feels the slope of the earth, the texture of the tilled fields rather than seeing it. The sophisticated simplicity of his vision is highlighted in a simple composition of a dark pond surface, afloat with delicate grasses; the fine lines flowing this way and that give a sense of constant movement, yet it is a still photograph. In a twig reaching out of the snow, the subtle reflection on a pond in late afternoon light, delicate frozen ripples of ice clinging to river rock, the geometric chaos of tree branches covered in snow, the rich patina of weather-beaten stone, Johsel celebrates the minute in a grand way; it becomes the symbol for the greater whole. Textures, rhythm of line and movement become the foremost elements in his work. Some of Johsel’s images are quiet and abstract, singing a single note, while others are full-out symphonies in a celebration of the rhythms. In particular I find his Korean landscapes extraordinary. In winter the alpine hillsides bare their architecture; ridge after ridge, speckled with leafless birch and pyramidal conifers, they overlap in a crescendo of natural beauty.”

Art Wolfe, Introduction to Johsel Namkung • A Retrospective

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Johsel Namkung. 'Steptoe Butte, Washington January, 1989' 1989

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Johsel Namkung
Steptoe Butte, Washington January, 1989
1989

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Johsel Namkung. 'Oak Creek, Washington March, 1991' 1991

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Johsel Namkung
Oak Creek, Washington March, 1991
1991

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Johsel Namkung. 'Steptoe Butte, Washington October, 1977' 1977

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Johsel Namkung
Steptoe Butte, Washington October, 1977
1977

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Johsel Namkung. 'Steptoe Butte, Washington October, 1983' 1983

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Johsel Namkung
Steptoe Butte, Washington October, 1983
1983

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Johsel Namkung. 'Denali National Park, Alaska  September, 1987' 1987

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Johsel Namkung
Denali National Park, Alaska September, 1987
1987

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Johsel Namkung. 'Arrigetch, Alaska September, 1980' 1980

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Johsel Namkung
Arrigetch, Alaska September, 1980
1980

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“Photography as a medium is still relatively young. Introduced publicly in 1839, its definition has remained complicated in discourse and practice, oscillating between practical application – whether scientific illustration, family record, or aid to commerce – and aesthetic or expressive concerns. Debates that arose shortly after its invention, contesting whether photography could be an artistic medium, remained heated a century later and beyond, resolving only after Photoshop and other types of photographic manipulation became commonplace. Questions about the role of the photographer, the relative merits of color versus black-and-white, truth to the original shot versus darkroom manipulation, investigations about canon, hierarchy, and genre have continued to multiply, as have the social organizations – art schools, technical assistance and supplies, professional and amateur societies, regular shows and publications – that foster photographic work. Becoming a photographer in the middle of the twentieth century, Johsel Namkung emerged at the intersection of all these social and conceptual shifts. Taking advantage of this opening, he made several unconventional choices: deciding to work in color although it was black and white that signified art photography until the 1970s or later; working abstractly, but hewing to the dictates of straight photography: available light, no darkroom manipulation, print the full negative.

From the acquisition of his first camera, Namkung developed high standards for his photographic practice, recalling to interviewer Alan Lau, “I always had a confidence in myself… I had a sort of a vision toward my photographic future. I knew I was going to be something.”1 Trained first as a musician, from the beginning Namkung defined photography in abstract terms, approaching his motifs in terms of rhythms, tonal relationships, pattern, and texture. Individual works reveal specific affinities. The calligraphic grasses in Lizzard Lake, Stampede Pass, WA, August 1976 suggests Harry Callahan’s images of reeds, which are associated with Abstract Expressionist photography. The lichen-covered stone in Blue Mountain, Olympic National Park, WA, September 1976 resembles Jackson Pollock or the famed White Paintings of Namkung’s friend Mark Tobey. The screen of regular tree trunks in Sherman Pass, WA, August 1993, recalls the hatched lines representing driving rain in modern Japanese printmaking. Like limpid watercolor strokes, the rolling hills of the Palouse – distinct in each version of Steptoe Butte, of 1976, 1977, and 1983 – allude to Morris Louis’s color field paintings.

Namkung’s preface here recounts how successive unusual jobs supplied him with professional training as a photographer. Seattle in the postwar boom years also provided a rich and supportive context for his art. Skilled artists from the ranks of first- and second-generation immigrants, from Japan, China, Korea, and the Philippines, gathered in the International District but worked and showed farther afield. Art photography had a popular following and many innovative practitioners; Pictorialism – promoted by annual exhibitions like those organized by the Seattle Camera Club – encouraged aesthetic and technical exploration with cameras. The so-called Northwest Mystics represented only one of several artistic communities exploring abstraction, some emphasizing its expressive potential, others seeking formal invention. Creativity was equally celebrated beyond fine art. Rarefied technical challenges were tackled and mastered at The Boeing Company as well as the scientific laboratories of the University of Washington. The richness of this cultural ecology fostered the unique development of Namkung’s career. In return, his thoughtful production has nourished local and international audiences for over four decades.”

Elizabeth Brown, Former Chief Curator, Henry Art Gallery, Introduction to Johsel Namkung • A Retrospective

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1 Alan Chong Lau interview of Johsel Namkung conducted in Seattle, Washington, on October 5, 1989, for the Archives of American Art Northwest Asian American Project.

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Johsel Namkung. 'Shi Shi Beach Buoy, Olympic National Park, Washington August, 1981' 1981

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Johsel Namkung
Shi Shi Beach Buoy, Olympic National Park, Washington August, 1981
1981

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Johsel Namkung. 'Bissell, Washington December, 1981' 1981

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Johsel Namkung
Bissell, Washington December, 1981
1981

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Johsel Namkung. 'Alaska Lichens, Date Unknown' Nd

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Johsel Namkung
Alaska Lichens, Date Unknown
Nd

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Johsel Namkung. 'Blue Mountain, Olympic National Park, Washington September, 1976' 1976

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Johsel Namkung
Blue Mountain, Olympic National Park, Washington September, 1976
1976

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Johsel Namkung. 'Weston Beach, Point Lobos, California May, 1988' 1988

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Johsel Namkung
Weston Beach, Point Lobos, California May, 1988
1988

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Johsel Namkung. 'Frenchman Coulee, Washington May, 2002' 2002

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Johsel Namkung
Frenchman Coulee, Washington May, 2002
2002

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Johsel Namkung. 'Kalaloch Beach, Olympic National Park, Washington October, 1984' 1984

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Johsel Namkung
Kalaloch Beach, Olympic National Park, Washington October, 1984
1984

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joshel-camera

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Joshel Namkung on Hurricane Ridge, photographed by his friend Ken Levine

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1. Adapted from Robert Nelson commenting on the painting of Monet. “Impressionist’s ode to beauty trips into light fantastic,” The Age newspaper, Wednesday May 22nd 2013, p.42.

2. White, Minor. “Exploratory Camera,” 1949 in Bunnell, Peter C. (ed.,). Aperture Magazine Anthology – The Minor White Years 1952-1976. Aperture, 2013, p.64.

3. Féral, Josette. “Performance and Theatricality: The Subject Demystified,” in Modern Drama 25 (March) 1982, p.177.

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Johsel Namkung • A Retrospective website

Cosgrove Editions website

Cosgrove Editions is an independent publisher of books on photography. We also provide production and printing assistance for artists who self publish their work. Many of our projects have won some of the highest international awards for printing quality.

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Mask’ 1994

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