Posts Tagged ‘gallery website

12
Jul
09

Review: ‘Double Infinitives’ by Marco Fusinato at Anna Schwartz Gallery, Melbourne

Exhibition dates: 25th June – 25th July, 2009

.

Marco Fusinato. 'Double Infinitive 3' 2009

.

Marco Fusinato
‘Double Infinitive 3’
2009

.

Marco Fusinato. 'Double infinitive I' 2009

.

Marco Fusinato
‘Double infinitive 1’
2009

.

.

‘Double Infinitives’ by Marco Fusinato at Anna Schwartz Gallery, Melbourne is an excellent exhibition of large UV ink on aluminium images sourced by Fusinato from the print media.

The images are made up of a dot pattern familiar to those who have examined photographs in the print media closely. Larger and smaller clusters of dots form the light and shade of the image. As you move closer to the works they dissolve into blocks of dots and become and optical illusion like Op Art from the 1960s. Fusinato contrasts this dot structure with the inclusion of flat panels of black ink to the left and right hand side of the images. The section lines that run through the images (for they are not one single image but made up of panels) also adds to the optical nature of the work as the lines cut the conflagrations, literally stitching the seams/scenes together.

Each image contains an individual holding a rock enclosed in the milieu and detritus of a riot; the figures are grounded in the earth and surrounded by fire but in their obscurity, in the veiling of their eyes, the figures seem present but absent at one and the same time. They become ghosts of the fire.

Fire consumes the bodies. The almost cut out presence of the figures, their hands clutching, throwing, saluting become mute. Here the experience of the sound, colour and movement of an actual riot is silenced in the flatness and smoothness of the images. The images possess the intensity of a newspaper reality ‘blown up’ to a huge scale by Fusinato (see the installation photograph below to get an idea of the effect). The punctum of the riot, that prick of consciousness that Barthes so liked, is translated into a silenced studium of the aluminium surface; an aural history (the sound)/oral history (the telling of the story) trapped in the structure of silence.

There is a double jeopardy – the dissolution of the image into dots and the disintegration of the body into fire. In one of the images the upraised arm and hand of one of the rioters holds a rock with what appears to be a figure on it, surrounded by fire. To me the arm turned into one of the burning Twin Towers with smoke and fire pouring from it (see the first photograph in the installation photograph below).

My only concern about the images were the black panels, perhaps too obvious a tool for the purpose the artist intended. Maybe the needed some small texture, like a moire pattern to reference the contours of a map and continue the topographical and optical theme. Perhaps they just needed to be smaller or occasionally placed as thin strips down the actual image itself but these are small quibbles. Overall this is an fantastic exhibition that I enjoyed immensely. The images are literally ripped from the matrix of time and space and become the dot dot dot of the addendum. What Fusinato does so excellently is to make us pause and stare, to recognize the flatness of these figures and the quietness of violence that surrounds us.

Marcus Bunyan for the Art Blart blog

.

Music – Noise  – Silence

Flatness – Advertising – Earth – Fire

Rock – Space – Memory

.

Marco Fusinato. 'Double Infinitive 4' 2009

.

Marco Fusinato
‘Double Infinitive 4’
2009

.

Installation of Marco Fusinato 'Double Infinitives' exhibition at Anna Schwartz Gallery, Melbourne

.

Installation of Marco Fusinato ‘Double Infinitives’ exhibition at Anna Schwartz Gallery, Melbourne

.

.

“DOUBLE INFINITIVES

“Unheard music is better than heard” (Greek proverb of late antiquity).

“That music be heard is not essential – what it sounds like may not be what it is” (Charles Ives, Essays Before a Sonata).

“The proposition of Jacques Attali’s Noise is different. He says that while noise is a deadly weapon, silence is death.”

David Rattray, How I Became One of the Invisible. Semiotext(e), 1992.

.

The explosive communal act of rioting is most commonly delivered to an audience suspended in the stillness and silence of a photographic image. Noise is not removed in this process, it is almost amplified: the sound and action that deliver this singularly captured moment into existence are infinite, as all things remain while they are imagined, before they are anchored down by express articulation.

Photographic representation can easily be accused of subverting the truth of events, not because what is seen in the image has not transpired, but because static images leave so much space around them for multiple narratives to be constructed. The still image is totally contingent on the consciousness that confronts it. By contrast, the near-totality of videos can give too much away …

Sourced by Fusinato from print media published in the last few years, these images of rioting all contain an individual clutching a rock, bathed in the refractory glow of a nearby fire. The image has become prototypical, so much so that it lacks the sensation of spontaneity requisite to produce a riot. (Apropos to this predictability, Fusinato would check global newspapers after every forum or conference of global financial authorities, often finding the image he was looking for).

Double Infinitives is a succinct allegory for the reluctance to compromise comfort overpowering radical impulses. Conversations suggest this is a conflict frequently experienced by artists. Deprived of a volatile political reality, we experience radicalism through images that act as small ruptures, reminders that the world we live in might be more severely charged than our individual experiences allow. Fusinato’s works flatten these images of volatility onto a smooth slate: they are similar and radiate with the vexed beauty of sameness. A riot is a mad and brutal spectacle, a theatre that is often documented as if it were a play. Hugely expanded in scale and rendered in the suffused gloss of advertising, the real possibility of violence that these works infer deepens the layers of the fiction rather than comprising an indicator of human concern. Those things with which we come into such gentle contact that their thorns barely prick …”

Liv Barrett
June 2009

Text from the Anna Schwartz Gallery website

.

Marco Fusinato. 'Double Iinfinitive 2' 2009

.

Marco Fusinato
‘Double Iinfinitive 2’
2009

.

Marco Fusinato. 'Double Iinfinitive 2' (detail) 2009

.

Marco Fusinato
‘Double Iinfinitive 2’ (detail)
2009

.

.

Anna Schwartz Gallery
185 Flinders Lane
Melbourne, Victoria 3000

Opening hours: Tuesday – Friday 12 – 6pm, Saturday 1 – 5pm

Anna Schwartz Gallery website

Bookmark and Share

23
Jun
09

Exhibition: ‘Fourteen Places to Eat: A Narrative Photographing Rural Culture in the Midwest’ by photographer Kay Westhues at the Snite Museum of Art, Notre Dame, Indiana

Exhibition dates: 31st May – 19th July, 2009

.

There are some really good photographs on the Kay Westhues ‘Fourteen Places to Eat’ website (under the Archives heading) split into categories such as Commerce, Domestic, Landscape, Patriotism, People, Places to Eat and Structures. It’s well worth your time looking through these excellent photographs!

There is an interview with Kay Westhues on the Daily Yonder website.

All photographs © Kay Westhues used under Creative Commons 2.5 License with proper attribution.

.

Kay Westheus. 'CSX railroad building, Walkerton' 2005

.

Kay Westhues
‘CSX railroad building, Walkerton’
2005

.

Kay Westheus. 'Man with patriotic cast, Original Famous Fish of Stroh' 2005

.

Kay Westhues
‘Man with patriotic cast, Original Famous Fish of Stroh’
2005

.

Kay Westhues. 'Knox laundromat' 2005

.

Kay Westhues
‘Knox laundromat’
2005

.

.

The Snite Museum of Art announces the opening of the exhibition: ‘Fourteen Places to Eat: a Narrative: Photographing Rural Culture in the Midwest’, opening on Sunday, May 31,2009.

Kay Westhues is a photographer who is interested in documenting the ways in which rural tradition and history are interpreted and transformed in the present day. Kay shares her intention for this series of work:

“For the past five years I have been working on a series of photographs depicting rural culture in Indiana and the Midwest. This project was inspired by my memories of growing up on a farm in Walkerton, Indiana, and observing first hand the shifting cultural identity that has occurred over time and through changing economic development. I moved back to Walkerton in order to help care for my aging parents in 2001.

These photos mirror my personal history, but I am also capturing a people’s history grounded in a sense of place. My intention is to celebrate rural life, without idealizing it.

The overall theme since the project’s inception is the effect of the demise of local economies that have historically sustained rural communities. Many of my images contain the remains of an earlier time, when locally owned stores and family farms were the norm. Today chain stores and agribusiness are prevalent in rural communities. These communities are struggling to thrive in the global economy, and my images reflect that reality …

.

Kay Westheus. 'Chicken bingo, Francesville Fall Festival' 2005

.

Kay Westhues
‘Chicken bingo, Francesville Fall Festival’
2005

.

Kay Westheus. 'Patriotic hammers ($3.00)' 2005

.

Kay Westhues
‘Patriotic hammers ($3.00)’
2005

.

Kay Westheus. 'Parked trailer, Ligonier' 2006

.

Kay Westhues
‘Parked trailer, Ligonier’
2006

.

Kay Westheus. Lunch at the Crockpot, Walkerton (The Young and the Restless) 2007

.

Kay Westhues
‘Lunch at the Crockpot, Walkerton (The Young and the Restless)’
2007

.

.

“Most recently I have focused on the complex relationship between farmers and domesticated animals. I make many of my images at Animal Swap Meets and sale barns, places where animals are bought and sold. Family farms are quickly being replaced by large-scale food production, and these events still draw smaller farmers and the local people who support them.”

Why fourteen places to eat?

“One of my biggest complaints after moving to Walkerton was that there were not enough places to eat out. Or, rather, practically no places to eat out. So I was happy when news arrived that a new restaurant was opening there. Imagine my surprise when I read a letter to the editor in the local paper against the new restaurant. The letter stated we already had enough places to eat in this town. The writer counted a total of fourteen places to eat, which included four restaurants, three gas stations, four bars, a truck stop, a convenience mart, and a bowling alley.”

Text from the Artdaily.org website

.

Kay Wesheus. 'Momence Speed Wash, Momence IL' 2007

.

Kay Weshues
‘Momence Speed Wash, Momence IL’
2007

.

Kay Westheus. 'Mary Ann Rubio, Family Cafe, Knox' 2007

.

Kay Westhues
‘Mary Ann Rubio, Family Cafe, Knox’
2007

.

.

The Snite Museum of Art
at University of Notre Dame, Notre Dame, Indiana

Opening hours:
Tues – Wed 10 – 4pm, Thurs – Sat 10 – 5pm, Sunday 1 – 5pm

The Snite Museum of Art website

Kay Westhues ‘Fourteen Places to Eat’ website

Bookmark and Share

18
Jun
09

Opening 2: ‘In-Sight’ by Lisa Roet at Karen Woodbury Gallery, Melbourne

Opening: 17th June, 2009

Exhibition dates: 17th June – 11th July, 2009

.

Another excellent opening this time of the work of the delightful Lisa Roet. If you visit the gallery don’t forget the upstairs exhibition space with further work by the artist including a marvelous large bronze Orangutan Foot. Review to follow.

.

'In-Sight' by Lisa Roet opening at Karen Woodbury Gallery, Melbourne

.

'In-Sight' by Lisa Roet opening at Karen Woodbury Gallery, Melbourne

.

Opening night crowd in front of the works ‘Target’ (2009) by Lisa Roet at Karen Woodbury Gallery, Melbourne

.

'In-Sight' by Lisa Roet opening at Karen Woodbury Gallery, Melbourne

.

roet-c

.

'In-Sight' by Lisa Roet opening at Karen Woodbury Gallery, Melbourne

.

'In-Sight' by Lisa Roet opening at Karen Woodbury Gallery, Melbourne

.

The artist Lisa Roet in front of one of her works ‘Cross Bones’ (2009)

.

'In-Sight' by Lisa Roet opening at Karen Woodbury Gallery, Melbourne

.

'Orangutan Foot' (2007/08) by Lisa Roet at the opening of 'In-Sight' exhibition at Karen Woodbury Gallery, Melbourne

.

‘Orangutan Foot’ (2007/08) by Lisa Roet at the opening of ‘In-Sight’ exhibition at Karen Woodbury Gallery, Melbourne

.

roet-i

.

.

Karen Woodbury Gallery

4, Albert Street, Richmond, Vic 3121
Opening hours: Wed – Sat 11-5pm

Karen Woodbury Gallery website

Bookmark and Share

17
Jun
09

Opening 1: Gareth Sansom at John Buckley Gallery, Melbourne

Opening: 17th June 2009

Exhibition dates: 17th June – 4th July, 2009

.

A very busy opening at John Buckley Gallery in Richmond for the paintings of Gareth Sansom. Nice to meet the artist and catch up with artist Gavin Brown and manager of Abbotsford Convent Brenton Geyer. A big thank you to Daniel for allowing me to take the photographs!

.

Gareth Sansom opening at John Buckley Gallery, Melbourne

.

Gareth Sansom opening at John Buckley Gallery, Melbourne

.

Opening night crowd with the artist Gareth Sansom third from right

.

Opening night crowd in front of Gareth Sansom's painting 'Alchemy' 2008/09

.

Opening night crowd in front of Gareth Sansom’s painting ‘Alchemy’ 2008/09

.

From left to right Brenton Geyer, the artist of the night Gareth Sansom, artist Gavin Brown and Jenny Rees

.

From left to right Brenton Geyer, the artist of the night Gareth Sansom, artist Gavin Brown and Jenny Rees

.

Gareth Sansom opening at John Buckley Gallery, Melbourne

.

Gareth Sansom opening at John Buckley Gallery, Melbourne

.

.

John Buckley Gallery

8 Albert St, Richmond VIC 3121 Australia
Gallery hours: 11 – 5 pm, Wednesday – Saturday

John Buckley Gallery website

LIKE ART BLART ON FACEBOOK

01
May
09

Review: ‘triestement (more-is u thrill-o)’ exhibition by Domenico De Clario at John Buckley Gallery, Melbourne

Exhibition dates: 22nd April – 9th May 2009

 

 

Domenico de Clario
u (renoir’s garden)
2008/09
Oil on canvas

 

 

Based on the music of melancholy that inhabits the shadows of the paintings of Montmarte by the French artist Maurice Utrillo, Domenico de Clario’s exhibition of paintings at John Buckley Gallery in Melbourne is a major achievement. This is a superlative exhibition of focused, resonant work beautifully and serenely installed in the gallery space.

The exhibition features seven small and seven large oil and acrylic on canvas paintings that envelop the viewer in a velvety quietness, an intense stillness accompanied by ambient music composed by de Clario himself. All fourteen paintings are reinterpretations of works by Utrillo picked at random by de Clario that strip away surface matter to reveal the shadow substance that lays at the anxious heart of Utrillo’s meta/physical body of work (Utrillo was an alcoholic at fourteen and spent numerous periods in sanatoriums). When de Clario was fifteen he was fascinated by a small book on Utrillo and found that his paintings reminded him of his childhood, growing up in the town of Trieste. Recently he noticed that the word ‘triestement’ was used to mean, essentially, an investigation of sadness, of melancholy and started an investigation into the life and work of Utrillo. From this dialogue the paintings for the exhibition have emerged as de Clario found the ‘more is’ of Utrillo, the anima of his presence within the work.

The small abstract paintings (such as renoir’s garden, above) are dark and miasmic, vaporous emanations of atmosphere that contain traces of Utrillo’s lifelong battle with the black dog but it is the seven large paintings facing each other in the main gallery space that are at the heart of de Clario’s project. They are magnificent.

Painted in a limited colour palette of ochres, greys and blacks the works vibrate with energy. Cezanne-like spatial representations are abstracted and the paint bleeds across the canvas forming a maze of buildings. Walls and hedges loom darkly over roadways, emanations of heads and figures float in the picture plane and the highlight white of snow hovers like a spectral figure above buildings. These are elemental paintings where the shadow has become light and the light is shadow, meanderings of the soul in space. In the painting i (the house of hector berlioz – night) below, the single dark line of the house rises from the plain; the shadowy haze of recognition sits in the subconscious like the trace of our own mortality. My mind made an association with the modernist photograph by Paul Strand of the church at Taos with the looming bulk of the ramparts: it’s funny how things just click into place.

“The watergaw, the faint rainbow glimmering in chittering light, provides a sort of epiphany, and MacDiarmid connects the shimmer and weakness and possible revelation in the light behind the drizzle with the indecipherable look he received from his father on his deathbed … Each expression, each cadence, each rhyme is as surely and reliably in place as a stone on a hillside.” ~ Seamus Heaney1

.
To paint these works de Clario was open and receptive to the idea of the letting go. In the wonderfully erudite catalogue essay he says he felt like he was standing under a waterfall experiencing the joyful bliss of substance, material, surface, shadow, blandness, light, plenitude and triestement while acknowledging that he could never capture them and that their value could only be fully understood once he abandoned any thought of possessing them. Like Seamus Heaney in the quotation above, de Clario experienced the glimmering in chittering light, the possible revelation in the light behind the drizzle (of the shadow) and he then paints the trace of Utrillo’s subconscious anima, the indecipherable look of his triestement. de Clario feels the fluid relationship between substance and appearance; he understands that Utrillo is embedded in the position of each building and stone, in the cadences and rhymes of the paintings of Montmarte. de Clario interprets this knowledge in a Zen like rendition of shadow substance in his paintings. Everything has it’s place without possession of here and there, dark and light.

For my part it was my soul responding to the canvases. I was absorbed into their fabric. As in the dark night of the soul my outer shell gave way to an inner spirituality stripped of the distance between viewer and painting. I felt communion with this man, Utrillo, with this art, de Clario, that brought a sense of revelation in the immersion, like a baptism in the waters of dark light. For art this is a fantastic achievement. Highly recommended.

Dr Marcus Bunyan for Art Blart

.
Please click on the artwork for a larger version of the image.

 

  1. Heaney, Seamus. The Redress of Poetry. London: Faber and Faber, 1995, pp. 107-108.

 

 

Domenico de Clario. 'l (le lapin agile - snow coming)' 2008/09

 

Domenico de Clario
l (le lapin agile – snow coming)
2008/09
Oil on canvas

 

Maurice Utrillo. 'Renoir's Garden' 1909-10

 

Maurice Utrillo (1883-1955)
Renoir’s Garden
1909-10
Oil on canvas

 

Installation view of 'triestement (more-is u thrill-o)' by Domenico De Clario at John Buckley Gallery

Installation view of 'triestement (more-is u thrill-o)' by Domenico De Clario at John Buckley Gallery

 

Installation views of triestement (more-is u thrill-o) by Domenico De Clario at John Buckley Gallery

 

Maurice Utrillo. 'Paris Street' 1914

 

Maurice Utrillo (1883-1955)
Paris Street
1914
Oil on canvas

 

Domenico de Clario. 'r (rue ravignan - le bateau lavoir)' 2008/09

 

Domenico de Clario
r (rue ravignan – le bateau lavoir)
2008/09
Oil on canvas

 

Domenico de Clario. 'l (le lapin agile and rue du mont cenis - snow receding)' 2008/09

 

Domenico de Clario
l (le lapin agile and rue du mont cenis – snow receding)
2008/09
Oil on canvas

 

Domenico de Clario. 'o (la grande maison blanche – snow clouds massing)' 2008/09

 

Domenico de Clario
o (la grande maison blanche – snow clouds massing)
2008/09
Oil on canvas

 

 

“Is there any limit, I thought, to the kinds of shadows that might be transmuted into light? And is this because the key component of the nature of shadow is its deep longing for a transmutation to light?

As a consequence of these thoughts I arrived at the question that animates the core of this current project; what, I asked myself, might the original shadow-substance Utrillo experienced and subsequently transmutes into the paintings we known, have looked like? What shadow images did Utrillo first see, or even imagine, before he transmuted them into colour? …

Utrillo must have believed that the outer world of coloured light belonged exclusively to others, for he never succeeded in releasing himself from the dark inner shadows that engulfed him. Though he struggled much to reach the light he accepted shadow as constituting his world and worked ceaselessly to offer us images that reflected this side’s plenitude.

Perhaps the luminous surfaces of his paintings functioned as the thin membrane that separates the outer world of cacophonously coloured light from the velvety grey inner world of the monotic anxiety he inhabited. Upon that thought the momentousness of his gift became apparent to me …

For the purposes of this present project I believe that the shadow substance laying beneath the architecture of Utrillo’s streetscapes existed within the artist long before his paintings came into being. This non-substance generated the appearance of matter on the paintings’ surfaces and more significantly it gradually came to contain the spirit of his Montmarte-body.

The process of removing matter results in an obvious absence of substance but paradoxically this leads me to feel that here, under all this discarded visible matter, an invisible substance that has always contained more than matter awaits to be revealed. This leads to the provisional conclusion that the primal trace of normally unseen shadow is far richer than any material constituting appearance, containing as it does infinitely more substance than appearance.

Astonishing paradox; infinite substance can only be discovered once all matter is removed.”

Text from the catalogue essay by Domenico de Clario [Online] Cited 26/04/2009 no longer available online

 

Maurice Utrillo. 'Berlioz House' 1910

 

Maurice Utrillo (1883-1955)
Berlioz House
1910
Oil on canvas

 

Postcard of Hector Berlioz House nd

 

Anonymous
Postcard of Hector Berlioz House
Nd

 

Domenico de Clario. 'i (the house of hector berlioz - night)' 2008/09

 

Domenico de Clario
i (the house of hector berlioz – night)
2008/09
Oil on canvas

 

Paul Strand. Inverted colour burn of his photograph 'Church, Ranchos de Taos' New Mexico 1932

 

Paul Strand
Inverted colour burn of his photograph Church, Ranchos de Taos New Mexico 1932

 

 

John Buckley Gallery

This gallery has now closed.

LIKE ART BLART ON FACEBOOK

Back to top

26
Apr
09

Exhibition: ‘Charting the Canyon: Photographs by Mark Klett and Byron Wolfe’ at Phoenix Art Museum

Exhibition dates: 21st March – 12th July, 2009

 

An interesting concept but I’m not entirely sure that the images are successful. Some work better than others. Perhaps it is not necessary for there to be an absolute registration across time and space, the continuation of a horizon line for example. The famous photographic collages by David Hockney are a case in point.

It doesn’t matter when the images were made, whether there is a second, or a century, between compositions. The camera and the artist are always selective, the camera always privileging one view over another view: all images are therefore constructions. Hockney pushes the boundaries of these constructions whereas I don’t think these images do to anywhere near the same extent.

There were some vaguely interesting videos on the Phoenix Art Museum website about the starting point, discovery, process and collaboration for the work which are no longer available. There is one video available on the Klett and Wolfe website.

Marcus

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

 

Mark Klett and Byron Wolfe. 'Rock formations on the Road to Lee's Ferry, Arizona' 2008

 

Mark Klett and Byron Wolfe.
Rock formations on the Road to Lee’s Ferry, Arizona
2008
Digital inkjet print
36″ h x 76″ w

Left inset: William Bell. Plateau North of the Colorado River near the Paris 1872 (courtesy National Archives)
Right inset: William Bell. Headlands North of the Colorado River 1872 (courtesy National Archives)

 

William H. Bell (1830 - January 28, 1910) 'Headlands North of the Colorado River' 1872

 

William H. Bell (1830 – January 28, 1910)
Headlands North of the Colorado River
1872
Still Picture Records Section, Special Media Archives Services Division
Courtesy National Archives

 

 

Arizona’s Grand Canyon – natural wonder, national park, tourist attraction, sacred land – is perhaps the world’s best “photo op.” The collaborative photographic team of Mark Klett and Byron Wolfe have set out to explore this celebrated place of dramatic beauty, and Phoenix Art Museum is proud to be the first to show a comprehensive look at their powerful, thoughtful, and playful approach to the Grand Canyon.

Drawn from two seasons of fieldwork, Charting the Canyon will include about 30 photographs ranging from a modest 20 by 20-inch print to a panorama nearly 10 feet wide. Mark Klett, a Regents Professor at Arizona State University, and Byron Wolfe, a former student of Klett’s who is now a Lantis’ University Professor teaches at California State University at Chico, have been interested in rephotographing historic images since their collaboration began in 1997.

Now the pair combines their own colour photographs with imagery by 19th-century photographer J. K. Hillers and artist William Holmes and by Ansel Adams and Edward Weston, who worked at the Canyon in the early 20th century. Klett and Wolfe respond to the historic images and the Canyon itself, yielding artworks that reconsider an icon, challenge how we perceive the land, and bring a new perspective to its portrayals.

Charting the Canyon offers visual delights: the humorous layering of a 19th-century drawing with contemporary photographic details, the extension of an Ansel Adams view into a serene panorama, and the illusion of three-dimensions with a stereopticon viewer built for the twenty-first century, among others to be discovered in this unique exhibition.”

Text from the Phoenix Art Museum website [Online] Cited 20/04/2009 no longer available online

 

Mark Klett and Byron Wolfe. 'Sixty-six years after Edward Weston's "Storm, Arizona" From the Marble Canyon Trading Post' 2007

 

Mark Klett and Byron Wolfe
Sixty-six years after Edward Weston’s “Storm, Arizona” From the Marble Canyon Trading Post
2007
Digital inkjet print
16″ h x 38.75″ w

 

Left: Edward Weston. Storm, Arizona 1941 (courtesy of the Center for Creative Photography, Tucson).

 

Mark Klett and Byron Wolfe. 'Desert View: from the window of the Watchtower gift shop' 2008

 

Mark Klett and Byron Wolfe
Desert View: from the window of the Watchtower gift shop
2008

 

 

The Grand Canyon – natural wonder, sacred ground, national park, international tourist attraction – is perhaps the world’s best “photo op.” Vivid colours, breathtaking vistas and jaw dropping canyon depths have lured photographers to Northern Arizona for years. A new exhibition, Charting the Canyon: Photographs by Mark Klett and Byron Wolfe on view at Phoenix Art Museum through July 12, 2009, explores this celebrated place of dramatic beauty with large-scale sweeping panoramas that marry 21st century colour photographs with historic drawings and images.

In 2007, Mark Klett, a Regents Professor at Arizona State University, and Byron Wolfe, a former student of Klett’s and now a Lantis’ University Professor at California State University at Chico, headed to the Grand Canyon to re-envision the many images made at the site over the last 150 years. During two summers of field work, they identified the exact locations portrayed in early photographs and drawings. From those geographic points they created new photographs that incorporate the original view. Digital versions of the historic images are inserted within the contemporary photograph, creating combined images that convey the big picture surrounding earlier artists’ depicted view.

Working collaboratively, Klett and Wolfe challenge one another to invent new ways to integrate the historic images they discover. Charting the Canyon reveals their combined invention, offering provocative ways to think about the land, its history and our role in seeing it.

“Many of the things we’re trying to do seemed impossible at first – like merging several views of a scene from different times into a continuous space, or extending one photo’s frame to include spaces from multiple vantage points,” commented Klett. “We’re intentionally using playfulness as a way to stretch ideas, a kind of free form exploration that puts a premium on creative solutions to complex space and time problems.”

“The pleasure the artists experienced in the creative process comes through in their work. Charting the Canyon is a joyful exploration allowing Museum visitors to discover the Grand Canyon in a new and thought-provoking way,” commented Rebecca Senf, Norton Family Assistant Curator of photography, Phoenix Art Museum. “Phoenix Art Museum is proud to be the first to show a comprehensive look at Klett and Wolfe’s powerful, thoughtful and playful images.”

Charting the Canyon includes 26 photographs ranging from a modest 20 by 20-inch print to a panorama 10 feet wide. Exhibition highlights include:
The humorous layering of a 19th-century drawing with contemporary photographic details.
The extension of an Ansel Adams view into a serene panorama.
The pairing of a black-and-white Edward Weston view with a colour image made 66 years later.
The illusion of three-dimensions with a stereopticon viewer built for the 21st century.

Text from Artdaily.org website

 

Mark Klett and Byron Wolfe. 'Point Imperial on the Grand Canyon' 2008

 

Mark Klett and Byron Wolfe
Point Imperial on the Grand Canyon, 50% Ansel Adams, 50% Red Wall Limestone
2008

Left: Ansel Adams. Grand Canyon National Park, Arizona 1941

 

Ansel Adams (1902-1984) 'Grand Canyon National Park, Arizona' 1941

 

Ansel Adams (1902-1984)
Grand Canyon National Park, Arizona
1941
Gelatin silver print

 

Mark Klett and Byron Wolfe. 'Panorama from Hopi Point on the Grand Canyon, made over two days extending the view of Ansel Adams' 2007 

 

Mark Klett and Byron Wolfe
Panorama from Hopi Point on the Grand Canyon, made over two days extending the view of Ansel Adams
2007

Right: Ansel Adams. Grand Canyon National Park, Arizona 1941 (Courtesy of the Center for Creative Photography, Tucson, AZ)

 

Ansel Adams (1902-1984) 'Grand Canyon National Park, Arizona' 1941

 

Ansel Adams (1902-1984)
Grand Canyon National Park, Arizona
1941
Gelatin silver print
Courtesy of the Center for Creative Photography, Tucson, AZ

 

 

“We’re intentionally using playfulness as a way to extend ideas, a kind of free-form exploration that puts a premium on creative solutions to complex space and time problems. Many of the things we’re trying to do seemed impossible at first – like merging several views of a scene from different times into a continuous space, or extending one photo’s frame to include spaces from multiple vantage points.”

Klett and Wolfes process of inserting historic views within contemporary photographs, or linking a number of different historic views, emphasises the possibilities of multiple interpretations of a single landscape. If we look at a photograph of the Grand Canyon, we bring to it our own cultural notions, myths, and memories, and read it based on our personal point of view. By bringing together images made throughout time, Klett and Wolfe remind us that any terrain is not only what we see and think about it in this present moment, but it is part of a long evolution of thought and use that includes the past and future, as well. The team’s photographs present time as overlapping layers, much like the stratigraphic rock of the Canyon. This unconventional presentation encourages viewers to see time as a flexible construction.”

Text by Rebecca Senf, Assistant Curator of photography, Phoenix Art Museum from the exhibition brochure [Online] Cited 20/04/2009 no longer available online

 

Mark Klett and Byron Wolfe. 'Details from the view at Point Sublime on the north rim of the Grand Canyon, based on the panoramic drawing by William Holmes (1882)' 2007

 

Mark Klett and Byron Wolfe
Details from the view at Point Sublime on the north rim of the Grand Canyon, based on the panoramic drawing by William Holmes (1882)
2007

Lithograph by William Henry Holmes, 1882. From Clarence Dutton, Atlas to Accompany the Monograph on the Tertiary History of the Grand Cañon District. (Courtesy of the Library of Congress).

 

David Hockney. 'Pearblossom Highway., 11 - 18th April 1986 #2' 1986

 

David Hockney
Pearblossom Highway., 11-18th April 1986 #2
1986

 

 

Phoenix Art Museum
McDowell Road & Central Avenue
1625 N. Central Avenue
Phoenix, AZ 85004

Opening hours:
Closed Mondays and major holidays
Tuesday, 10am-9pm
Wednesday-Sunday, 10am-5pm
First Friday Evenings, 6-10pm

Phoenix Museum of Art website

Byron Wolfe website

LIKE ART BLART ON FACEBOOK

Back to top

08
Apr
09

Exhibition: ‘William Kentridge: Five Themes’ at San Francisco Museum of Modern Art (SFMOMA)

Exhibition dates: 14th March – 31st May 2009

Curator: Curator of Media Arts Rudolf Frieling and Mark Rosenthal, adjunct curator of contemporary art at the Norton Museum of Art

 

 

One of my favourite artists in the world. His technique – the palimpsestic nature of his practice where the history, memories and spaces of previous drawings are overwritten again and again on a single piece of paper without their ever being lost (unlike traditional animation techniques) – is amazing. His use of drawing, animation and the camera to record narratives of connection always has personal and archetypal themes – love, loss, bigotry, big business, persecution, reconciliation and social conflict in the stories of his homeland South Africa. His perspective on the world, his knowledge of books and philosophy, his understanding that stories exist as faint, legible remains completes the perception that he is an artist drawn to the line of the world. His work is moving and compassionate as all great art should be.

Marcus

.
Many thankx to the San Francisco Museum of Modern Art for allowing me to publish the art work in the posting.

 

 

William Kentridge. Drawing for the film Stereoscope [Felix Crying]' 1998–99

 

William Kentridge
Drawing for the film Stereoscope [Felix Crying]
1998-99

 

 

“Combining the political with the poetic, William Kentridge’s work has made an indelible mark on the contemporary art scene. Dealing with subjects as sobering as apartheid and colonialism, Kentridge often imbues his art with dreamy, lyrical undertones or comedic bits of self-deprecation, making his powerful messages both alluring and ambivalent. Perhaps best known for his stop-motion films of charcoal drawings, the internationally renowned South African artist also works in etching, collage, sculpture, and the performing arts, opera in particular. This exhibition explores five primary themes that have engaged Kentridge over the last three decades through a comprehensive selection of his work from the 1980s to the present. Concentrating on his most recent production and including many pieces that have not been seen in the United States, the exhibition reveals as never before the full arc of his distinguished career.”

Text from the SFMOMA website [Online] Cited 01/04/2009 (no longer available online)

 

 

William Kentridge
“Invisible Mending” from 7 Fragments for Georges Méliès
2003
35-mm and 16-mm animation film

 

 

William Kentridge: Five Themes, a comprehensive survey of the contemporary South African artist’s work, will premiere at the San Francisco Museum of Modern Art (SFMOMA) on March 14, 2009. Featuring more than 75 works in a range of media – including animated films, drawings, prints, theater models, sculptures, and books – the exhibition is co-organised by SFMOMA and the Norton Museum of Art in West Palm Beach, Florida. The San Francisco presentation, overseen by SFMOMA Curator of Media Arts Rudolf Frieling, will be on view through May 31, 2009.

Curated by Mark Rosenthal, adjunct curator of contemporary art at the Norton Museum of Art, in close collaboration with the artist, the exhibition explores five primary themes that have engaged Kentridge over the past three decades. Although the exhibition highlights projects completed since 2000 (many of which have not been seen in the United States), it will also present, for the first time, Kentridge’s most recent work alongside his earlier projects from the 1980s and 1990s – revealing as never before the full arc of his distinguished career.

Following its debut at SFMOMA, the survey will travel to the Modern Art Museum of Fort Worth, the Norton Museum of Art, and The Museum of Modern Art in New York. Plans for the European tour – which will tentatively include Galerie nationale du Jeu de Paume in Paris, the Stedelijk Museum in Amsterdam, the Albertina Museum in Vienna, and the Israel Museum in Jerusalem – are being finalized. Accompanying the exhibition is a richly illustrated catalogue, complete with a DVD produced by the artist for this special occasion. The San Francisco presentation of William Kentridge: Five Themes is made possible by the generous support of the Koret Foundation and Doris and Donald Fisher.

William Kentridge is one of today’s most influential artists, and with this exhibition, SFMOMA continues its commitment to bringing such groundbreaking artists as Olafur Eliasson, Richard Tuttle, and Jeff Wall to local and international audiences,” says SFMOMA Director Neal Benezra, who co-curated the last major retrospective of the artist’s work in the United States in 2001. “Although Kentridge is primarily recognised for his animated films, he has devoted most of his time to making works on paper. The drawn line is completely inseparable from his work in other media, informing everything he creates. His transformation of drawing into animated film reflects his deep interest in how content evolves from process, how meaning accrues through making.”

Exhibition curator Rosenthal adds, “Even as Kentridge has established his reputation as a master draftsman, printmaker, and one of the preeminent artist–filmmakers of our time, he has also expanded the traditional notion of political art, evolving the genre from a conventional depiction of horrors to a more nuanced portrayal of the psychological effects of political events upon those who observe them, whether they be perpetrators, victims, or onlookers.”

Born in 1955 in Johannesburg, where he continues to live and work, Kentridge has earned international acclaim for his interdisciplinary practice, which often fuses drawing, film, and theater. Known for engaging with the social landscape and political background of his native South Africa, he has produced a searing body of work that explores themes of colonial oppression and social conflict, loss and reconciliation, and the ephemeral nature of both personal and cultural memory.

Kentridge first gained recognition in 1997, when his work was included in Documenta X in Kassel, Germany, and in the Johannesburg and Havana Biennials, which were followed by prominent solo exhibitions internationally. His art was widely introduced to American audiences in 2001 through a traveling retrospective – co-curated by Neal Benezra when he served as deputy director of the Art Institute of Chicago – which primarily included works made before 2000. William Kentridge: Five Themes brings viewers up to date on the artist’s work over the past decade, exploring how his subject matter has evolved from the specific context of South Africa to more universal stories. In recent years, Kentridge has dramatically expanded both the scope of his projects (such as recent full-scale opera productions) and their thematic concerns, which now include his own studio practice, colonialism in Namibia and Ethiopia, and the cultural history of post-revolutionary Russia. His newer work is based on an intensive exploration of themes connected to his own life experience, as well as the political and social issues that most concern him.

Although his hand-drawn animations are often described as films, Kentridge himself prefers to call them “drawings for projection.” He makes them using a distinctive technique in which he painstakingly creates, erases, and reworks charcoal drawings that are photographed and projected as moving image. Movement is generated within the image, by the artist’s hand; the camera serves merely to record its progression. As such, the animations explore a tension between material object and time-based performance, uniquely capturing the artist’s working process while telling poignant and politically urgent stories.

Concerning the artist’s innovative film installations of the past ten years, Rudolf Frieling adds: “Kentridge has been considered primarily as an artist who draws for projections. Yet his recent installation-based films explore an expanded cinema space and question the very foundation of what it means to produce and perceive a moving image.”

In light of SFMOMA’s history with Kentridge – in 2004 the museum acquired the artist’s landmark film Tide Table (2003) and a set of related drawings – and the rich holdings of his work in private Bay Area collections, the occasion to present the first major exhibition of his work in San Francisco has particular resonance and reflects the museum’s ongoing commitment to his art. In conjunction with the exhibition, SFMOMA will bring the artist’s multimedia opera The Return of Ulysses to San Francisco for performances at Project Artaud Theater from March 25 through 29, 2009. Kentridge will also present his lecture-format solo performance I am not me, the horse is not mine at SFMOMA on March 14, 2009.

 

The Five Themes

“Parcours d’Atelier: Artist in the Studio” 

The first section of the exhibition examines a crucial turning point in Kentridge’s work, one in which his own art practice became a subject. According to the artist, many of these projects are meant to reflect the “invisible work that must be done” before beginning a drawing, film, or sculpture. This theme is epitomised by the large-scale multiscreen projection 7 Fragments for Georges Méliès (2003), an homage to the early French film director, who, like Kentridge, often combined performance with drawing. The suite of seven films – each depicting Kentridge at work in his studio or interacting with his creations – has only been shown once before in the United States and will be accompanied by a rarely seen group of related drawings, forming an intimate portrayal of the artist’s process.

 

“Thick Time: Soho and Felix” 

A second section of the exhibition is dedicated to Kentridge’s best-known fictional characters, Soho Eckstein, a domineering industrialist and real estate developer whose troubled conscience reflects certain miens of contemporary South Africa, and his sensitive alter ego, Felix Teitlebaum, who pines for Soho’s wife and often functions as a surrogate for the artist himself. The centrepiece of this section, an ongoing work entitled 9 Drawings for Projection, comprises nine short animated films: Johannesburg, 2nd Greatest City after Paris (1989), Monument (1990), Sobriety, Obesity & Growing Old (1991), Mine (1991), Felix in Exile (1994), History of the Main Complaint (1996), WEIGHING . . . and WANTING (1998), Stereoscope (1999), and Tide Table (2003). These projections, along with a key selection of related drawings, follow the lives of Soho and Felix as they struggle to navigate the political and social climate of Johannesburg during the final decade of apartheid. According to Kentridge, the Soho and Felix films were made without a script or storyboards and are largely about his own process of discovery.

 

“Occasional and Residual Hope: Ubu and the Procession” 

In 1975 Kentridge acted in Ubu Rex (an adaptation of Ubu Roi, Alfred Jarry’s satire about a corrupt and cowardly despot), and he subsequently devoted a large body of work to the play. He began with a series of eight etchings, collectively entitled Ubu Tells the Truth (1996), and in 1997 made an animated film of the same name, as well as a number of related drawings. These works also deal with the South African experience, specifically addressing the Truth and Reconciliation Commission hearings set up by the nation’s government in 1995 to investigate human rights abuses during apartheid. Other highlights in this grouping include the film Shadow Procession (1999), in which Kentridge first utilises techniques of shadow theatre and jointed-paper figures; the multi-panel collage Portage (2000); a large charcoal-and-pastel-on-paper work entitled Arc Procession (Smoke, Ashes, Fable) (1990); and some of the artist’s rough-hewn bronze sculptures.

 

William Kentridge. 'Act IV Scene I from Ubu Tells the Truth' 1996-97

 

William Kentridge
Act IV Scene I from Ubu Tells the Truth
1996-97

 

 

“Sarastro and the Master’s Voice: The Magic Flute” 

A selection of Kentridge’s drawings, films, and theatre models inspired by his 2005 production of the Mozart opera The Magic Flute for La Monnaie, the leading opera house in Belgium, will be a highlight of the exhibition. The artist’s video projection Learning the Flute (2003), which started the Flute project, shifts between images of black charcoal drawings on white paper and white chalk drawings projected onto a blackboard, forming a meditation on darkness and light. Preparing the Flute (2005) was created as a large-scale maquette within which to test projections central to the production of the opera. Another theatre model, Black Box/Chambre Noire (2006), which has never been seen in the United States, addresses the opera’s themes, specifically through an examination of the colonial war of 1904 in German South-West Africa, and of the genocide of the Herero people. What Will Come (has already come) (2007), a consideration of colonialism in Ethiopia, presents an anamorphic film installation in which intentionally distorted images projected onto a tabletop right themselves only when reflected in a cylindrical mirror. This work was recently acquired, under the guidance of Rosenthal, by the Norton Museum of Art.

 

“Learning from the Absurd: The Nose” 

The fifth section comprises a multichannel projection made in preparation for Kentridge’s forthcoming staging of The Nose, a Metropolitan Opera production that will premiere in New York in March 2010. The Nose – a 1930 Dmitri Shostakovich opera based on Nikolai Gogol’s absurdist short story of 1836 – concerns a Russian official whose nose disappears from his face, only to turn up, in uniform, as a higher-ranking official moving in more respected circles. Kentridge’s related work, I am not me, the horse is not mine (2008), on view in the United States for the first time, is a room-size installation of projected films that use Gogol’s story as the basis for examining Russian modernism and the suppression of the Russian avant-garde in the 1920s and 1930s.

 

Related Performances 

Acknowledging the profound importance of theatrical work in Kentridge’s oeuvre, SFMOMA will bring the artist’s opera The Return of Ulysses to San Francisco in conjunction with the exhibition. First performed in Brussels in 1998, Kentridge’s acclaimed reinterpretation of Claudio Monteverdi’s classic 1640 opera (based on Homer’s epic poem) is transposed to a mid-20th-century Johannesburg setting. This limited-engagement performance features live actors and musicians, as well as 13 life-size, artisan-crafted wooden puppets and projections of Kentridge’s animated charcoal drawings. The Return of Ulysses will run at Project Artaud Theater from Tuesday, March 24, through Saturday, March 28 (preview March 24, opening March 25), and is a production of Pacific Operaworks, in Seattle, incorporating puppeteers from Kentridge’s longtime collaborator, the Handspring Puppet Company of Cape Town, in South Africa.

In a special opening-night event on March 14, Kentridge will present a lecture-format solo performance of I am not me, the horse is not mine, which premiered at the 16th Biennale of Sydney in June 2008 (and shares the same title of the related multichannel projection making its U.S. debut with the exhibition). This live performance focuses on the development process of Kentridge’s upcoming opera production, The Nose.

 

Definitive Publication with Companion DVD

To coincide with the exhibition, SFMOMA and the Norton Museum of Art, in association with Yale University Press, will publish a richly illustrated catalogue (hardcover, $50). In the catalogue’s principal essay, exhibition curator Mark Rosenthal presents a portrait of the artist, showing the interrelationship between aspects of Kentridge’s character and the protagonists that populate his work. Carolyn Christov-Bakargiev, chief curator at the Castello di Rivoli Museum of Contemporary Art, examines the artist’s themes and iconography in closer detail, addressing Kentridge’s working methods as he moves freely between disciplines. Rudolf Frieling demonstrates that although Kentridge is not typically discussed as an installation artist, there are compelling reasons to consider him as such. Cornelia H. Butler, Judith B. Hecker, and Klaus Biesenbach, curators at the Museum of Modern Art, New York, explore the subject of performance in Kentridge’s work. Finally, a conversation between Kentridge and Michael Auping, chief curator at the Modern Art Museum of Fort Worth, focuses on the artist’s drawing practice. In addition, the artist has written texts to introduce each of the book’s five plate sections.

For the first time, Kentridge will produce a DVD for distribution with the publication, making the catalogue unique among existing literature on the artist. Combining intimate studio footage of the artist at work with fragments from significant film projects, the DVD offers a fascinating look at how Kentridge’s ideas evolve from raw concept to finished work.

Press release from the San Francisco Museum of Modern Art

 

 

William Kentdridge
Johannesburg
1989

 

William Kentridge. 'Felix in Exile' 1994

 

William Kentdridge
Drawing for the projection Felix in Exile
1994

 

 

William Kentdridge
Felix in Exile
1994

 

More videos of William Kentridge’s work are available on You Tube

 

 

San Francisco Museum of Modern Art
151 Third Street
San Francisco CA 94103
Phone: 415.357.4000

Opening hours:

SFMOMA website

William Kentridge on Wikipedia

LIKE ART BLART ON FACEBOOK

Back to top




Marcus Bunyan black and white archive: ‘Études’ 1994

Join 2,443 other followers

Follow Art_Blart on Twitter
Art Blart on Pinterest

Lastest tweets

Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

February 2019
M T W T F S S
« Jan    
 123
45678910
11121314151617
18192021222324
25262728  

Archives

Categories