Posts Tagged ‘Mike and Doug Starn

15
Nov
14

Exhibition: ‘Transformational Imagemaking: Handmade Photography Since 1960’ at CEPA Gallery, Buffalo, NY

Exhibition dates: 19th September – 13rd December 2014

Artists: Thomas Barrow, Wayne Belger, Stephen Berkman, Matthew Brandt, Dan Burkholder, Darryl Curran, Binh Danh, Rick Dingus, Dan Estabrook, Robert Fichter, Robert Flynt, Judith Golden, Betty Hahn, Robert Heinecken, Robert Hirsch, Catherine Jansen, Harold Jones, Tantana Kellner, Les Krims, William Larson, Dinh Q. Lê, David Lebe, Martha Madigan, Curtis Mann, Stephen Marc, Scott McCarney, Chris McCaw, John Metoyer, Duane Michals, Vik Muniz, Joyce Neimanas, Bea Nettles, Ted Orland, Douglas Prince, Holly Roberts, Clarissa Sligh, Keith Smith, Jerry Spagnoli, Mike & Doug Starn, Brian Taylor, Maggie Taylor, Jerry Uelsmann, Todd Walker, Joel-Peter Witkin, John Wood.

Curator: Robert Hirsch

 

 

“The resurgence of handmade photography in the 1960s had several sources and influences. It looked back to the “anti-tradition” of nineteenth-century romanticism, which accentuated the importance of making a highly personal response to experience and a critical response to society. It drew on contemporary popular culture. Many of the artists engaged in this movement were baby-boomers brought up on television and film, media that often portrayed photography as hip and sexy – eg. the film Blow-Up (1966) – and which drove home the significance of constructed photographic images. In addition, the widespread atmosphere of rebellion against social norms propelled the move toward handwork. The rejection of artistic standards in photography was consistent with the much broader exploration of sexual mores and gender roles that took place in the sixties. It was also consistent with the exploration of consciousness. The latter was encouraged by such counter-culture figures as Ken Kesey who, with his band of Merry Pranksters, boarded a Day-Glo bus called “Further” and took an LSD-fueled trip across the country that echoed Dr. Timothy Leary’s decree “to tune in, turn on, and drop out.” On a broader level, the society-at-large was exposed to psychedelic exploration through Stanley Kubrick’s film 2001: A Space Odyssey (1968), which youthful audiences saw as a mysterious consciousness-expanding trip into humanity’s future. Finally, handmade photography was supported by the general growth of photographic education in the university. The ubiquity and importance of the medium in the culture at large, as well as pressure from those who championed photography from within art institutions gave credence in the post-war decades to the idea that people could study photography seriously. As new photography programs mushroomed in the universities, they produced graduates who took teaching positions in even newer programs. Many of these young teachers, who had grown up to the adage of “do your own thing,” were responsive to unconventional ways of seeing and working, and they encouraged these attitudes in their students, many of whom turned to handmade photography.

Despite the attractions of handmade photography there were in the sixties, and still are to some degree, emphatic objections to the open engagement of the hand in photographic art. One common objection is that such art constitutes a dishonest method to cover up aesthetic and technical inadequacies. Another comes from those who believe strongly in the Western tradition of positivism. These people tend to reject handmade photography on the grounds that it is unnecessarily ambiguous or irrational in its meanings. Nevertheless, more artists than ever are currently using the flexible, experiential methods of handwork. In addition to opening up an avenue to inner experience, artists find handwork attractive because it promotes inventiveness, allows for the free play of intuition beyond the control of the intellect, extends the time of interaction with an image (on the part of both the maker and the viewer), and allows for the inclusion of a wide range of materials and processes within the boundaries of photography…

[Curator] Peter C. Bunnell’s innovative exhibitions [MoMA: Photography as Printmaking (1968) and Photography Into Sculpture (1970)] demonstrated that in essence photography is nothing more than light sensitive material on a surface. The exhibitions also recognized that the way a photograph is perceived and interpreted is established by artistic and societal preconceptions about how a photographic subject is supposed to look and what is accepted as truthful. The work in the Bunnell exhibitions was indicative of a larger zeitgeist of the late 1960s that involved leaving the safety net of custom, exploring how to be more aware of and physically connected to the world, and critically examining expectations with regard to lifestyles…

In spite of post-modernism’s assault on the myth of authorship and its sardonic outlook regarding the human spirit, artists who produce handmade photography continue to believe that individuals can make a difference, that originality matters, and that we learn and understand by doing. They think that a flexible image is a human image, an imperfect and physically crafted one that possesses its own idiosyncratic sense of essence, time, and wonder. Their work can be aesthetically difficult, as it may not provide the audience-friendly narratives and well-mannered compositions some people expect. But sometimes this is necessary to get us to set aside the ordained answers to the question: “What is a photograph?” and allow us to recognize photography’s remarkable diversity in form, structure, representational content, and meaning. This acknowledgment grants artists the freedom and respect to explore the full photographic terrain, to engage the medium’s broad power of inquiry, and to present the wide-ranging complexity of our experiences, beliefs, and feelings for others to see and contemplate.

Extract from Flexible Images: Handmade American Photography, 1969 – 2002 by Robert Hirsch (2003) on the Light Research website [Online] Cited 14/11/2014. First published in The Society for Photographic Education’s exposure, Volume 36: 1, 2003, cover and pages 23 – 42. © Robert Hirsch 2003

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

 

 

Vik Muniz. 'Picture of Dust' 2000

 

Vik Muniz
Picture of Dust (Barry Le Va, Continuous and Related Activities; Discontinued by the Act of Dropping, 1967, Installed at the Whitney Museum in New Sculpture 1965-75: Between Geometry and Gesture, February 20-June 3, 1990)
2000
From the series The Things Themselves: Picture of Dust
Framed, overall: 51 x 130 1/2 inches
Two silver dye bleach prints (Ilfochrome)
Whitney Museum of American Art, New York;/Licensed by VAGA, New York, NY

 

Thomas Barrow. 'Dart, Albuquerque' 1974

 

Thomas Barrow
Dart, Albuquerque
1974
Fuji Crystal Archive Print

 

Thomas Barrow. 'f/t/s Cancellations (Brown) - Field Star' 1975

 

Thomas Barrow
f/t/s Cancellations (Brown) – Field Star
1975
Gift from the Collection of Joel Deal and Betsy Ruppa
© Thomas Barrow. Museum of Art Rhode Island School of Design, Providence

 

Barrow scratched through his landscape negatives, calling attention to the materiality of the medium itself and the fact that regardless of how much information is given, reality remains an accumulation of belief, knowledge, and one’s own experience.

 

 

Les Krims. 'The Static Electric Effect of Minnie Mouse on Mickey Mouse Balloons' 1968

 

Les Krims
The Static Electric Effect of Minnie Mouse on Mickey Mouse Balloons
1968
Kodalith Print

 

“Kodak Kodalith paper was a thin, matt, orthochromatic graphic arts paper that was not intended for pictorial purposes. However, when it was used for pictorial expression its responsiveness to time and temperature controls during development enabled one to produce a wide range of grainy, high-contrast, and sepia tonal effects. Its unusual handling characteristics also meant that photographers had to pull the print at precisely the “right” moment from the developer and quickly get it into the stop bath, making each print unique.”

 

Din Q Le. 'Ezekial’s Whisper' 2014

 

Din Q Le
Ezekial’s Whisper
2014
C-print, linen tape

 

Ted Orland. 'Meteor!' 1998

 

Ted Orland
Meteor!
1998
Hand colored gelatin silver print

 

Brian Taylor. 'Our Thoughts Wander' 2005

 

Brian Taylor
Our Thoughts Wander
2005
From the series Open Books
Hand bound book

 

Open Books

I create photographically illustrated books springing from my fascination with the book format and a love of texture in art. My imagery is inspired by the surreal and poetic moments of living in our fast-paced, modern world. I’m fascinated by how daily life in the 21st Century presents us with incredible experiences in such regularity that we no longer differentiate between what is natural and what is colored with implausibility, humor, and irony.

These hard cover books are hand bound with marbleized paper and displayed fully opened to a photographically illustrated two-page folio spread. Each book is framed in a wooden shadowbox and presented as a wall piece. I like the idea of making art that contains some imagery which can be sensed but not seen. The underlying pages contain my photographs, snapshots, and work prints that “gave their lives” for the imagery visible in the open spread. These images lie beneath the open pages like history.1

 

David Lebe. 'Angelo On The Roof' 1979

 

David Lebe
Angelo On The Roof
1979

 

Jerry Uelsmann (American, born 1934) 'Small Woods where I met Myself (Final Version)' 1967

 

Jerry Uelsmann (American, born 1934)
Small Woods where I met Myself (Final Version)
1967
Gelatin silver print
25.4 x 32.3 cm (10 x 12 11/16 in.)
© 1967 Jerry Uelsmann

 

Robert Heincken. 'Are You Rea #15' 1968

 

Robert Heincken
Are You Rea #15
1968
Offset lithography

 

David Levinthal and Garry Trudeau. 'Untitled', from the series 'Hitler Moves East' 1977

 

David Levinthal and Garry Trudeau
Untitled, from the series Hitler Moves East
1977
8 x 10 inches
Gelatin silver (Kodalith) print
Courtesy Paul Morris Gallery, New York City

 

My favorite story comes from the early days of Levinthal’s career, when he was a college student working on Hitler Moves Eastwith Garry Trudeau. They worked with childlike enthusiasm, purchasing smoke bombs from a local theater supply shop and growing grass inside David’s apartment to achieve maximum realism. This culminated in a huge explosion of smoke, and the photograph above. Forever making jokes, Levinthal had this to say about the situation: “I’m not even sure we had 911 those days, so that was probably helpful.” He sometimes describes incidents in which things went wrong, but thankfully this wasn’t one of those situations. Instead he successfully produced this photo and began a transition from the early works, which show toys rearranged on his linoleum floor, to photographs that are sophisticated and deceptively real looking.3

 

Joel-Peter Witkin. 'Poussin in Hell' 1999

 

Joel-Peter Witkin
Poussin in Hell
1999
Toned gelatin silver print

 

Douglas Prince. 'Untitled' 1969

 

Douglas Prince
Untitled
1969
Film and Plexiglas
5 x 5 x 2.5 inches

 

Mike and Doug Starn. 'Double Rembrandt with Steps' 1987-88

 

Mike and Doug Starn
Double Rembrandt with Steps
1987-88
Toned gelatin silver print, toned ortho film, wood, Plexiglas, and glue.
108 x 108 inches
Collection of the Museum of Modern Art, New York, NY

 

 

“CEPA Gallery is pleased to announce Transformational Imagemaking: Handmade Photography Since 1960, a companion exhibition to Robert Hirsch’s recently published book of the same title (Focal Press). This extraordinary exhibition features work by some of the most innovative photographers and imagemakers of the mid- 20th century through today; artists who redefined the notion of photography as a medium and left an indelible mark on contemporary photographic practices.

This extensive survey will include more than 140 works by over 40 artists spanning nearly 50 years of artistic practice unified by a curatorial arc rooted in notions that deviate from the purview of traditional photographic practice. Citing Robert Heinecken’s practice as the genesis of conceptual handmade photography, this exhibition charts an intricate universe of artists whose practice dispenses with the self-prescribed limitations of conventional photography in order to mine the boundless potential of the photographic medium as a conceptual conveyance.

Transformational Imagemaking is the culmination of Hirsch’s lifelong exploration into handmade photography and the artists whose practices were formed on the principle of unearthing new possibilities. Hirsch sites the catalyst for the project as an article he published in exposure in 2003 entitled “Flexible Images: Handmade American Photography, 1969 – 2002”. It has since expanded into a comprehensive publication that includes personal conversations with each artist conducted over a six-month period during 2013. CEPA will now elaborate further by mounting an exhibition that features a selection of each artist’s work.

In addition to Transformational Imagemaking, CEPA will also show the complete folio of Robert Heinecken’s seminal series Are You Rea (1966). Considered to be the grandfather of post-modern photographic practices and a major figure of 20th century art, Heinecken was a key figure in promoting new sentiments about photography as an art form, influencing artists such Richard Prince, Barbara Kruger, Sherrie Levine, and others. Heinecken’s rebellious spirit challenged conventions about the ways photographs represent the tangible world: “We constantly tend to misuse or misunderstand the term reality in relation to photographs. The photograph itself is the only thing that is real.”

Are You Rea (1966), created by contact printing magazine tear-outs onto photographic paper, are ghostly compositions that layer sexually suggestive images of women with fractured text. This provocative body of work, sexually charged and evocatively ambiguous, reflects an awareness of desire as a commercial commodity that begs us to question the very root of our own desires.”

Press release from CEPA Gallery

 

Keith Smith. 'Untitled' 1972

 

Keith Smith
Untitled
1972

 

Binh Danh. 'The Botany of Tuol Sleng Genocide Museum #2' 2008

 

Binh Danh
The Botany of Tuol Sleng Genocide Museum #2
2008
From the Immortality: The Remnants of the Vietnam and American War series
Chlorophyll print and resin

 

The chlorophyll process is an organic alternative photography process akin to the anthotype process. However, instead of printing on the crushed extract of fruit or plant matter, the prints are bleached by sunlight directly onto the surface of leaves using a positive. The resulting images are stunningly delicate and beautiful, ranging from haunting silhouettes to crisp definition. Despite the simplicity of the finished product, the process itself can be tedious with plenty of trial and error.

Drawing on the anthotype process, Danh refined a method for securing a positive directly to a live leaf and allowing sunlight to bleach the image onto its surface naturally. He has also addressed a fundamental challenge with natural photography processes; that of fixing the image to prevent further bleaching and deterioration over time. To save his work, Dah casts his finished pieces in a layer of resin allowing them to be enjoyed for years to come.2

 

Dinh Q. Lê  Vietnamese, born 1968 'Untitled' 1998

 

Dinh Q. Lê  (Vietnamese, born 1968)
Untitled, from the series Cambodia: Splendor and Darkness
1998
C-print and linen tape

 

Dan Estabrook. 'Fever' 2004

 

Dan Estabrook
Fever
2004
Salt print with ink and watercolor

 

Robert Fichter. 'Roast Beast 3' 1968

 

Robert Fichter
Roast Beast 3
1968
Verifax transfer with rundowns, stamping, and crayon

 

Robert Heineken. 'Are You Rea #1' 1966

 

Robert Heineken
Are You Rea #1
1966
Offset lithography

 

Chris McCaw. 'Sunburned GSP #676 (San Francisco Bay)' 2013

 

Chris McCaw
Sunburned GSP #676 (San Francisco Bay)
2013
Gelatin Silver paper negative

 

Curtis Mann. 'Photographer, Scratch' 2009

 

Curtis Mann
Photographer, Scratch
2009
Bleached c-print with synthetic polymer varnish

 

Vik Muniz. 'Atlas (Carlao)' 2008

 

Vik Muniz
Atlas (Carlao)
2008
Digital C-print

 

 

CEPA Gallery
617 Main Street
Buffalo, NY 14203
T: (716) 856-2717

Opening hours:
Monday – Friday: 9.00 am – 5.00 pm
Saturday: 12.00 pm – 4.00 pm

CEPA Gallery website

LIKE ART BLART ON FACEBOOK

Back to top

02
Jan
13

Melbourne’s magnificent eleven 2012

.

Here’s my pick of the eleven best artists/exhibitions which featured on the Art Blart blog in 2012. Enjoy!

Marcus

.

1/ Review: The work of Robyn Hosking, AT_SALON at Anita Traverso Gallery, Richmond

6th March – 24th March 2012

.

.

Robyn Hosking
The Wing Walker
2011
Mixed media

.

.

Robyn Hosking
The Wing Walker (detail)
2011
Mixed media

.

… My favourite has to be The Wing Walker (2011) as an irate Julia Gillard tries to get rid of Kevin Rudd once and for all, even poking him with a stick to push him off the edge of the biplane. Balanced on a slowly revolving turntable with the world at its centre, this political merry-go round is panacea for the soul for people sick of politicians. This is brilliant political satire. The planes are all ends up and even when Julia thinks she has got rid of Kevin there he is, hanging on for dear life from the undercarriage of one of the planes…

Reminding me of the fantasy creatures of Tom Moore, these whimsical manifestations deal with serious, life changing and challenging issues with purpose, feeling and a wicked sense of humour. I really enjoyed this art (and joy is the correct word) because it takes real world issues, melds fantasy and pointed observation and reflects it back, as the artist observes, in a funfair’s distorted mirror. Magic!

.

2/ Review: Martin Parr: In Focus at Niagara Galleries, Richmond, Melbourne

Exhibition dates: 6th March – 31st March 2012

.

This is a fine exhibition of the work of celebrated English photographer Martin Parr at Niagara Galleries, Richmond, albeit with one proviso. The mainly large colour prints are handsomely displayed in plain white frames within the gallery space and are taken from his well known series: Last Resort, Luxury, New British and British Food. Parr’s work is at its best when he concentrates on the volume of space within the image plane and the details that emerge from such a concentrated visualisation – whether it be the tension points within the image, assemblage of colour, incongruity of dress, messiness of childhood or philistine nature of luxury.

And so it goes. The dirt under the fingernails of the child eating a doughnut, the lurid colours of the popsicle and jacket of the kid with dribble on his face, all fantastic… They are joyous paeans to the quirky, incongruous worlds in which we live and circulate. They evidence life itself in all its orthogonal absurdity.

.

.

Martin Parr
England. New Brighton.
From the series Last Resort
1983 – 1985
Pigment print
Edition of 5
102 x 127 cm
Image courtesy of the artist and Niagara Galleries, Melbourne

.

.

Martin Parr
England. New Brighton.
From the series Last Resort
1983 – 1985
Pigment print
Edition of 5
102 x 127 cm
Image courtesy of the artist and Niagara Galleries, Melbourne

.

3/ Review: Tourist #5: Disappearing Project 1 – 41 by Nicola Loder at Helen Gory Galerie, Prahran, Melbourne

Exhibition dates: 14th March – 7th April 2012

.

I have always loved the work of Nicola Loder ever since I saw her solo exhibition Child 1-175: A Nostalgia for the Present at Stop 22 Gallery in St Kilda in 1996. This exhibition is no exception. Loder is the consummate professional, her work is as imaginative and intriguing as ever and there has been a consistent thematic development of ideas within her work over a long period of time. These ideas relate to the nature of seeing and being seen, the mapping of identity and the process of its (dis)appearance…

Loder’s exquisitely sensuous description of disappearance allows us to see the phenomenal word afresh. I look forward with a sense of anticipation to the next voyage of discovery the artist will take me on.

.

.

Tourist #5: Disappearing Project 1 – 41 by Nicola Loder, installation photograph at Helen Gorie Galerie

.

.

Nicola Loder
Tourist #5: Disappearing Project 1-41 (no 11)
2012
Polyester thread, muslin
86 x 69cm

.

4/ Review: Jane Brown / Australian Gothic at Edmund Pearce Gallery, Melbourne

Exhibition dates: 25th April – 12th May 2012

.

.

Jane Brown
Big Trout, New South Wales
2010
Museo silver rag print
59 x 46 cm

.

.

Jane Brown
Adelong, New South Wales
2011
Fibre based, silver gelatin print
16.5 x 20.5 cm

.

This is a good exhibition of small, darkly hewn, traditionally printed silver gelatin photographs, beautifully hung in the small gallery at Edmund Pearce and lit in the requisite, ambient manner. There are some outstanding photographs in the exhibition. The strongest works are the surrealist tinged, film noir-ish mise-en-scènes, the ones that emphasise the metaphorical darkness of the elements gathered upon the stage. Photographs such as Big TroutThe Female Factory, Adelong, New South Wales and Captain’s Flat Hotel, New South Wales really invoke a feeling of unhomely (or unheimlich), where nature is out of kilter. These images unsettle our idea of Oztraliana, our perceived sense of Self and our place in the world. They disrupt normal transmission; they transmutate the seen environment, transforming appearance, nature and form.

.

5/ Review: Jacqui Stockdale: The Quiet Wild at Helen Gory Galerie, Melbourne

Exhibition dates: 18th April – 19th May 2012

.

.

Jacqui Stockdale
Rama-Jaara the Royal Shepherdess
2012
Type C Print
100 x 78cm

.

.

Jacqui Stockdale
Lagunta Man, Leeawuleena
2012
Type C Print
100 x 78cm

.

These are incredibly humorous, magical and symbolic photographs. A thought came into my mind when I was in the gallery surrounded by the work: for me they represented a vision of the Major Arcana of the Tarot (for example Jaguar Hombre could be seen as an inverted version of the Hanged Man with his foot in a figure four, the Hanged Man symbolising the need to just be in the world, yielding his mind and body to the Universal flow). The Major Arcana deal with the human condition, each card representing the joys and sorrows every man and woman can experience in a lifetime. In a way Stockdale offers us her own set of subversive Major Arcana, images that transgress the boundaries of the colonial vernacular, offering the viewer a chance to explore the heart of the quiet wild.

.

6/ Review: Littoral by Kristian Laemmle-Ruff at Colour Factory Gallery, Fitzroy

Exhibition dates: 4th May – 26th May 2012

.

It was such a joy then to walk around the corner from the CCP to the Colour Factory Gallery and view the exhibition Littoral by emerging artist Kristian Laemmle-Ruff. This is one of the best, if not the best, “photography” exhibition I have seen so far this year. As soon as you walk into the simple, elegant gallery you are surrounded by fourteen large scale horizontal photographs that are suffused with colour variations bouncing across the gallery – here a blue, there a green, now a lush orange palette. The effect is much like Monet’s waterlilies at the Musée de l’Orangerie in Paris; seated in the middle of the four curved paintings you are surrounded by large daubs of paint of various hues that have an elemental effect – resonances of earth, air, water, fire – on the viewer. The same affection of colour and space can be found in Laemmle-Ruff’s photographs.

.

.

Kristian Laemmle-Ruff
Olympic Stadium
2012
Type C print
100cm x 67cm

.

.

Kristian Laemmle-Ruff
Truck in Safi
2010
Type C print
100cm x 67cm

.

7/ Review: Lost & Found: Family Photos Swept away by the 3.11 East Japan Tsunami at the Centre for Contemporary Photography (CCP), Fitzroy, Melbourne

Exhibition dates: 1st June – 15th July 2012

.

What we are left with in these images are vestiges of presence, remnants or traces of people that have passed on. In a kind of divine intervention, these photographs ask the viewer questions about the one fact that we cannot avoid in our lives, our own mortality, and what remains after we pass on. We can never know these people and places, just as we can never know the place and time of our death – when our “time” is up – but these photographs awaken in us a subconscious remembering: that we may be found (in life), then lost (through death), then found again in the gaze of the viewer looking at the photographs in the future present. We are (dis)continuous beings.

There is no one single reading of these photographs for “there are only competing narratives and interpretations of a world that cannot be wholly, accurately described.” These indescribable photographs impinge on our consciousness calling on us to remember even as the speed of contemporary life asks us to forget. This ethical act of looking, of mourning and remembering, of paying homage to presence acknowledges that we choose not to let pass into the dark night of the soul these traces of our forebears, for each emanation is deeply embedded within individual and cultural memory.

These photographs are a contemporary form of Western ‘dreaming’ in which we feel a link to the collective human experience. In this reification, we bear witness to the (re)assemblance of life, the abstract made (subconsciously) concrete, as material thing. These images of absent presence certainly reached out and touched my soul. Vividly, I choose to remember rather than to forget.

.

.

.

8/ Review: Berlinde De Bruyckere: We are all Flesh at the Australian Centre for Contemporary Art (ACCA), Melbourne

Exhibition dates: 2nd June – 29th July 2012

.

The main work We Are All Flesh (2012) reminded me of a version of the game The Hanged Man (you know, the one where you have to guess the letters of a word and if you don’t get the letter, the scaffold and the hanged man are drawn). The larger of the two hanging pieces featured two horse skins of different colours intertwined like a ying yang paux de deux. Psychologically the energy was very heavy. The use of straps to suspend the horses was inspired. Memories of Rembrandt’s The Anatomy Lesson of Dr. Nicolaes Tulp and The Godfather rose to the surface. My favourite piece was 019 (2007). Elegant in its simplicity this beautiful display case from a museum was dismantled and shipped over to Australia in parts and then reassembled here. The figurative pieces of wood, made of wax, seemed like bodies drained of blood displayed as specimens. The blankets underneath added an element of comfort. The whole piece was restrained and beautifully balanced. Joseph Beuys would have been very proud.

The “visceral gothic” contained in the exhibition was very evident. I liked the artist’s trembling and shuddering. Her narratives aroused a frisson, a moment of intense danger and excitement, the sudden terror of the risen animal

.

.

Berlinde De Bruyckere
We Are All Flesh
2012
Treated horse skin, epoxy, iron armature
280 x 160 x 100 cm
Courtesy the artist, Hauser & Wirth and Galleria Continua

.

.

Berlinde De Bruyckere
019
2007
Wax, epoxy, metal, glass, wood, blankets
293.5 x 517 x 77.5 cm
Private Collection, Paris

.

9/ Review: Light Works at NGV International, Melbourne

Exhibition dates: 23rd March – 16th September 2012

.

This is an intimate and stimulating photographic exhibition at the NGV International featuring the work of artists Mike and Doug Starn, David Stephenson, Hiroshi Sugimoto, Bill Henson, Adam Fuss, Simone Douglas, Park Hong-Chun, Eugenia Raskopoulos, Sam Shmith, Christoph Dahlhausen and Patrick Bailly-Maitre-Grand. It is fantastic to see an exhibition of solely contemporary photographs at the National Gallery of Victoria taken from their collection (with nary a vintage silver gelatin photograph in sight!), one which examines the orchestration of light from which all photography emanates – used by different photographers in the creation, and there is the key word, of their work. Collectively, the works seem to ooze a mysterious inner light, a facing towards the transcendent divine – both comforting, astonishing and terrifying in part measure.

.

.

Hiroshi Sugimoto
Japanese 1948-, worked in United States 1972-
Winnetka Drive-In, Paramount
1993
Gelatin silver photograph
42.3 x 54.1 cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by the Bowness Family Fund for Contemporary Photography, 2009
© Hiroshi Sugimoto, courtesy The Pace Gallery, New York

.

.

Mike Starn
American 1961-
Doug Starn
American 1961-
Sol Invictus
1992
Orthographic film, silicon, pipe clamps, steel and adhesive tape
175.0 x 200.0 x 35.0 cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by the National Gallery Women’s Association, 1994
© Doug Starn, Mike Starn/ARS, New York. Licensed by VISCOPY, Sydney

.

10/ Review: Gregory Crewdson: In A Lonely Place at the Centre for Contemporary Photography (CCP), Fitzroy, Melbourne

Exhibition dates: 28th September – 11th November 2012

.

In his visual mosaics Crewdson engages our relationship with time and space to challenge the trace of experience. His tableaux act as a kind of threshold or hinge of experience – between interior and exterior, viewer and photograph. His photographs are a form of monism in which two forces (interior / exterior) try to absorb each other but ultimately lead to a state of equilibrium. It is through this “play” that the context of the photographs and their relationship to each other and the viewer are “framed.” This device emphasises the aesthetic as much as information and encourages the viewer to think about the relationship between the body, the world of which it is part and the dream-reason of time. This intertextual (n)framing (n meaning unspecified number in mathematics) encourages the viewer to explore the inbetween spaces in the non-narrative / meta-narrative,”and by leaps (intuitive leaps, poetic leaps, leaps of faith)” encourage escapism in the imagination of the viewer. It is up to us as viewers to seek the multiple, disparate significances of what is concealed in each photograph as “felt knowledge” (Walter Benjamin), recalling to mind the sensory data placed before our eyes, something that can be experienced but cannot be explained by man: “the single moment of the present amidst the transience of life and searching for some kind of eternal truth.”

.

.

Installation photograph of the series Beneath the Roses from the exhibition Gregory Crewdson: In a Lonely Place at the Centre for Contemporary Photography (CCP), Melbourne

.

.

© Gregory Crewdson. Courtesy Gagosian Gallery

.

11/ Exhibition: Janina Green: Ikea at Edmund Pearce Gallery, Melbourne

Exhibition dates: 28th November 28 – 15th December 2012

.

Installation photograph of 'Ikea' by Janina Green at Edmund Pearce Gallery, Melbourne

.

Installation photograph of Ikea by Janina Green at Edmund Pearce Gallery, Melbourne

.

Janina Green. 'Orange vase' 1990 reprinted 2012

.

Janina Green
Orange vase
1990 reprinted 2012
Silver gelatin print on fibre based paper, handtinted with orange photo dye
85 x 70 cm

.

Fable = invent (an incident, person, or story)

Simulacrum = pretends to be a faithful copy, but it is a copy with no original

Performativity = power of discourse, politicization of abjection, ritual of being

Body / identity / desire = imperfection, fluidity, domesticity, transgression, transcendence

.
Intimate, conceptually robust and aesthetically sensitive.
The association of the images was emotionally overwhelming.
An absolute gem. One of the highlights of the year.

.

.

LIKE ART BLART ON FACEBOOK

Back to top

09
Sep
12

Review: ‘Light Works’ at NGV International, Melbourne

Exhibition dates: 23rd March – 16th September 2012

.

“Light is a scientific fact, a metaphorical construct and even a spiritual force. It is considered an agent of truth, authenticity and revelation just as the absence of light signals mystery, danger and disorder. Light is also fundamental in the creation of photographs.”

.
Dr Isobel Crombie, Senior Curator, Photography NGV, 2012

.

“Light is a metaphor: where you have a dark place, and where that place becomes illuminated; where darkness becomes visible and one can see. The darkness is me, is my being. Why am I here? What am I here for? What is this experience I’m having? This is darkness. Light produces understanding.”

.
Adam Fuss 1990

.

.

This is an intimate and stimulating photographic exhibition at the NGV International featuring the work of artists Mike and Doug Starn, David Stephenson, Hiroshi Sugimoto, Bill Henson, Adam Fuss, Simone Douglas, Park Hong-Chun, Eugenia Raskopoulos, Sam Shmith, Christoph Dahlhausen and Patrick Bailly-Maitre-Grand. It is fantastic to see an exhibition of solely contemporary photographs at the National Gallery of Victoria taken from their collection (with nary a vintage silver gelatin photograph in sight!), one which examines the orchestration of light from which all photography emanates – used by different photographers in the creation, and there is the key word, of their work. Collectively, the works seem to ooze a mysterious inner light, a facing towards the transcendent divine – both comforting, astonishing and terrifying in part measure.

Works included range from photograms (camera-less images), large scale installations and photographs produced using digital light-based technologies. Every one of the fifteen works on display is worthy of inclusion, worthy of study at significant length so that the viewer may obtain insight into this element and its capture (by the camera, or not) on photographic paper, orthographic film and by the retina of the eye. What afterimage does this light leave, in the mind’s eye, in our subconscious thought?

The two Bill Henson photographs are evocative of the Romantic ideals of the nineteenth century where twilight possesses a luminescence that reveals shifting forms and meaning only through contemplation. As with all Henson the “mood” of the photographs is constructed as much by the artist as the thing being photographed. It is his understanding of the reflection of light from that object and the meaning of that reflection that creates the narrative “reality,” that allows the viewer the space for contemplation. In Sam Shmith’s photograph Untitled (In spates 2) (2011, below), Shimth turns day into night, creating his own reality by digitally compositing “30-40 photographs per pictorial narrative” taken during the day and then digitally darkened to form one single photographic instance. As a spectral ‘body’ the photograph works to create a new form of hallucination, one that haunts and perturbs the mind, like a disturbing psychological thriller. The viewer is (not really) flying, (not really) floating above the clouds contemplating the narrative, creating a visual memory of things. Spectral luminescences, not-quite-right perspectives, the photograph as temporal/temporary hallucination. The image takes me to other spaces and memories, opening up new vistas in my imagination (see more of my thoughts on Shmith’s work and the digital punctum).

Beginning in 1988, Adam Fuss began to explore studies of abstracted light and color which “involved placing the paper in a tray of water and recording the concentric circles caused by disturbing the water or dripping droplets of water into the trays. These pieces, done between 1988-1990, have an eerie, spatial quality. Infused with bright, vibrant colors and blinding white light, they resemble some hitherto unknown solar system. [Here] Fuss is concerned with the metaphorical qualities of light.

In an interview with Ross Bleckner conducted in 1992, Fuss explained the role of light in his imagery: “Light is a physical sensation. If you look at it with purely scientific eyes, its a particle that behaves like a wave or a wave that behaves like a particle. No one knows exactly what it is. It travels very fast. It has something to do with our perception of time… When one works with the idea of light, one’s working with a metaphor that’s endless and huge and unspecific. because you’re talking about something that’s almost just an idea, we can think about it but we can never grasp it. The light of the sun represents life on Earth. Light represents the fuel that is behind our existence… It’s a mystery.”1

Another beautiful photograph is Eugenia Raskopoulos’ elegiac requiem to the dis/appearance of language and the body, Diglossia #8 (2009, below). Diglossic is defined as a situation in which two languages (or two varieties of the same language) are used under different conditions within a community, often by the same speakers, with one variety of speech being more prestigious or formal and the other more suited to informal conversation or taken as a mark of lower social status or less education. As Victoria Lynn states of the series, “Each of these images carries within it a letter from the Greek alphabet. There is a word in there somewhere, but the order has been disrupted. This word, or name, has been cut, and its pieces are now before us as fragments that refuse to re-collect themselves into meaning. As such, the relationship between the letters also becomes temporal, fluid, and heterogeneous opening up the question of translation between one language to another, and one culture to another.

The images have been created using the gesture of a hand writing on a steamed up mirror. The photograph is taken very quickly, before the image, the letter and the mark of the artist disappears. We have to ask, what is disappearing here? Is it the language, the name, the aura of the photograph (in the Benjaminian sense) or indeed the body? For behind each letter we can detect a human presence – the artists’ naked body as she makes the photograph. The apparatus of photography is revealed, undressed and made naked.”2

Sol Invictus (1992, below) by the Starn Twins overwhelms in the brute force of the installation, something that cannot really be captured in the two-dimensional representation posted here (go and see the real thing!). The layering and curving of orthographic film relates to the curvature of the sun, the film held in place by screw clamps as though the artist’s were trying to contain, to fix, to regulate the radiation of the sun. Sol Invictus (here is the paradox, it means “unconquered sun” even as the Starn Twins seek to tie it down) explores the metaphorical, scientific and religious properties that gives life to this Earth. A very powerful installation that had me transfixed. Hiroshi Sugimoto’s famous series Theaters is represented in the exhibition by the work Winnetka Drive-In, Paramount (1993, below) where  Sugimoto “photographs auditoriums of American movie theaters, and drive-in movies, during showings. The exposure time used for the photograph corresponds with the projection time of the film. This allows him to save the duration of the entire film in a single shot. What remains visible of the film’s time-compressed, individual images is the bright screen of the movie theater, which illuminates the architecture of the space. That its content retreats into the background makes the actual film a piece of information, manifesting itself in the (movie theater) space. As a result, instead of a content-related event, film presents itself here as the relationship between time and spatial perception.”3

If we think of the camera lens as being fully open, like an eye without blinking, for the duration of the length of the film then the shutter of the lens has to be set on “B” for Bulb which allows for long exposure times under the direct control of the photographer. “The term bulb is a reference to old-style pneumatically actuated shutters; squeezing an air bulb would open the shutter and releasing the bulb would close it… It appears that when instantaneous shutters were introduced, they included a B setting so that the familiar bulb behavior could be duplicated with a cable release.”4 In other words light waves, reflecting from the surface of objects, are controlled by the photographer over an indefinite period (not the short “snap” of the freeze frame / the decisive moment), accumulating light from thousands of years in the past through the lens of the camera onto the focal plane, coalescing into a single image, controlled and constructed by the photographer.

My favourite works in the exhibition are David Stephenson’s two Star Drawings (1996, below) which use the same Bulb technique to capture star trails travelling across the night sky. Stephenson says that drawing the stars at night by long time exposures, “are a contemporary expression of the sublime – a transcendental experience of awe with the vast space and time of existence” (DS, 1998). The photographs map our position and help us understand our space in the world, that we are all made of stars, every last one of us. As far as being expressions of the sublime, these almost Abstract Expressionist, geometric light drawings are only achieved through the tilting of the camera at certain points doing the exposure and the opening and closing of the shutter, to make the intricate patterns. Man and stars combine to create a spiritual force that emanates from everything and everyone. Stephenson tilts the axis of meaning. When we look at these photographs the light that has emanated from these stars may no longer exist. It had travelled thousands of light years from the past to the present to be embedded in the film at the time of exposure and is then projected into the future so that the viewer may acknowledge it a hundred years from now.

Emanation > recognition > existence . . . . . . . . . . ∞
. . . . . . . . . . . . . . . . . . . . .  . .. .  . . . . .  . .. . . . . . . . . . death

.
How Light Works

In a truly inspired piece of writing, artist and author Pablo Helguera muses on the nature of light falling on a landscape in his piece How to Understand the light on a Landscape (2005). In the text he examines qualities of light such as experiential light, home light, ghost light, the light of the deathbed (think Emmet Gowin’s photograph of Rennie Booher in her casket, “dead now and committed to mystery,” as Gowin puts it), rain light, protective light, artificial light, the light of the truly blind, the light of adolescence, sunday light, hotel light, used light, narrated light, transparent light, the light of the last day and after light.

“The conjunction of a random site, the accumulated data in the body’s memory that is linked to emotion, and the general behavior of light form experience. Experience is triggered by light, but not exclusively by the visible light of the electromagnetic spectrum. What the human eye is incapable to perceive is absorbed by other sensory parts of the body, which contribute to the perception that light causes an effect that goes beyond the merely visual.”5

This is the crux of the “matter.” As much as photography is a dialogue between the natural and the unnatural, it is also an invocation to the gods (inside each of us and all around us). It is the breaking down of subjective and objective truths so that the myth of origin becomes fluid in this light. It is the light of creation that goes beyond the merely visual, that is an expression of an individualism that rises above the threshold of visibility – to stimulate sensory experience; to prick the imagination and memory; to make us aware and recognise the WAVELENGTH of creation. It is the LIGHT OF EXPERIENCE.

Helguera concludes, “The intersection of our body with the light and the landscape and the coded form of language that we have to construct by ourselves and explain to ourselves is our daily ordeal, and we are free to choose to ignore and live without it, because there is nothing we can do with this language other than talking to ourselves. There is no point in trying to explain it to others because it is not designed to be this way, other than remaining a remote, if equivalent, language.

Some for that reason prefer to construct empty spaces with nondescript imagery, and thus be free of the seductive and nostalgic undecipherability of the landscape and the light. Or we may choose to openly embrace the darkness of light, and thus let ourselves through the great gates of placehood, where we can finally accept the unexplainable concreteness of our moments for what they are.”6

.
I believe this is the role of artists, to embrace the darkness of light and the trace of experience and to show it to people that may not recognise it or have turned away from the light of experience. So many people walk through life as if in a dream, neither recognising their energy nor the good or bad that emanates from that light. As Helguera notes it causes us to create our own coded form of language to explain the LIGHT OF LIFE to ourselves. We can choose to ignore it (at out peril!) but we can also embrace light in an act of recognition, awareness, forgiveness. We can banish the empty spaces and nondescript imagery in our own lives and make connection to others so that they make gain insight into their own existence and being.

Dr Marcus Bunyan for the Art Blart blog

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

.

.

.

David Stephenson
Star Drawing 1996/402
1996
40 x 40″
Cibachrome Print
National Gallery of Victoria, Melbourne
Purchased, 1997
© Courtesy of the artist

.

.

Hiroshi Sugimoto
Japanese 1948-, worked in United States 1972-
Winnetka Drive-In, Paramount
1993
Gelatin silver photograph
42.3 x 54.1 cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by the Bowness Family Fund for Contemporary Photography, 2009
© Hiroshi Sugimoto, courtesy The Pace Gallery, New York

.

.

Simone Douglas
Surrender (Collision) III (detail)
1998
Type C photograph
45.9 x 64.0 cm
National Gallery of Victoria, Melbourne
© Simone Douglas

.

.

Sam Shmith
Australian 1980-
Untitled (In spates 2)
2011
from the In spates series 2011
Inkjet print
75.0 x 124.8 cm
National Gallery of Victoria, Melbourne
Purchased, Victorian Foundation for Living Australian Artists, 2011
© Sam Shmith, courtesy Arc One Gallery, Melbourne

.

.

“On March 23, the National Gallery of Victoria will open Light Works, a contemporary photography exhibition that explores various artists’ approaches to light – a fundamental element in the creation of photography. Drawn from the NGV’s Collection, the fifteen works on display show how photographers have exploited the creative potentials of natural and artificial light in their artworks.

Dr Isobel Crombie, Senior Curator, Photography NGV said: “Light is a scientific fact, a metaphorical construct and even a spiritual force. It is considered an agent of truth, authenticity and revelation just as the absence of light signals mystery, danger and disorder. Through a careful selection of works by international and Australian artists the emotive potential and scientific capacities of light are explored.”

Dr Gerard Vaughan, Director, NGV said: “‘Light Works’ is an exhibition that has broad appeal as it will intrigue those who are artistically, spiritually, technologically or scientifically minded. The works on display demonstrate the diverse and limitless depiction of this vital element. This exhibition also provides visitors with an opportunity to see works by some of the most important contemporary global and local photography artists – a must-see exhibition for 2012.”

Works included range from photograms (camera-less images), large scale installations and photographs produced using digital light-based technologies highlighting the depth of the NGV’s remarkable photography collection. On display are works by Mike and Doug Starn, David Stephenson, Hiroshi Sugimoto, Bill Henson, Adam Fuss, Simone Douglas, Park Hong-Chun, Eugenia Raskopoulos, Sam Shmith, Christoph Dahlhausen and Patrick Bailly-Maitre-Grand.”

Text from the NGV website

.

.

Eugenia Raskopoulos
Diglossia #8
2009
from the Diglossia series 2009
Inkjet print
139.5 x 93.3 cm
National Gallery of Victoria, Melbourne
Purchased, Victorian Foundation for Living Australian Artists, 2009
© Eugenia Raskopoulos

.
This photograph shows a letter from the Greek alphabet which has been marked by hand onto a foggy mirror.

.

.

Mike Starn
American 1961-
Doug Starn
American 1961-
Sol Invictus
1992
Orthographic film, silicon, pipe clamps, steel and adhesive tape
175.0 x 200.0 x 35.0 cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by the National Gallery Women’s Association, 1994
© Doug Starn, Mike Starn/ARS, New York. Licensed by VISCOPY, Sydney

.

.

Adam Fuss
English 1961-, worked in Australia 1962-82, United States 1982-
Untitled
1991
Cibachrome photograph
164.3 x 125.0 cm
National Gallery of Victoria, Melbourne
Purchased through The Art Foundation of Victoria with the assistance of the Rudy Komon Fund, Governor, 1992
© Adam Fuss. Courtesy Cheim & Read, New York

.

.

1. Halpert, Peter. “Adam Fuss: Light and Darkness,” in Art Press International, July/August 1993 on the Peter Hay Halpert Fine Art website. Nd. [Online] Cited 08/09/2012.

2. Lynn, Victoria. “Writing Towards Disappearance,” on the Eugenia Raskopoulos website. Nd. [Online] Cited 08/09/2012.

3. Kellein, Thomas Sugimoto, Hiroshi. Time Exposed. Thames & Hudson, First edition, 1995, p. 91, quoted on the Media Art Net website. [Online] Cited 08/09/2012.

4. Anon. “Bulb (photography),” on the Wikipedia website. Nd. [Online] Cited 08/09/2012.

5. Helguera, Pablo. How to Understand the Light on a Landscape (video, 15 min., 2005) is a work that simulates a scientific documentary about light to discuss the experiential aspects of light as triggered by memory. The images and text, taken from the video, are part of the book by Patt,Lise (ed.). Searching for Sebald: Photography After W.G. Sebald. Institute of Cultural Inquiry, 2007, pp.110-119.

6. Ibid.,

.

.

NGV International
180 St Kilda Road

Opening hours
10am – 5pm. Closed Tuesdays.

LIKE ART BLART ON FACEBOOK

Back to top




Marcus Bunyan black and white archive: ‘Études’ 1994

Join 2,160 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.

August 2017
M T W T F S S
« Jul    
 123456
78910111213
14151617181920
21222324252627
28293031  

Archives

Categories