One of the images included at Western Bridge is shown below.
Alas, this entry is a little convoluted, but I wanted to share all of this great stuff with you guys. So, what you’ll see below is a blurb about the current exhibition at Western Bridge as well as links to sites where you can find more information about the artists within.
Again, not all of the work is photographic or even necessarily lens based, but still very concerned with light, perception, etc. – as are WE!
Now, if only we could take a field trip to Seattle….
Roni Horn, Untitled (A Brink of Infinity), 1997
Photolithograph, 42 by 58 inches
Untitled (A Brink of Infinity)
Untitled (A Brink of Infinity)
Western Bridge announces the addition of new work to our ongoing,
continually rehung, periodically retitled exhibition Untitled (A Brink of
Infinity). Photographs by Olafur Eliasson, Roni Horn, Tania Kitchell, and
Sarah Lucas, and a book by Ed Ruscha, join the current exhibition,
featuring work by Tauba Auerbach, Dawn Clements, Claire Cowie,
Anthony McCall, and Mary Temple.
First titled Yes or No and/or Yes and No after a print by Auerbach, the
exhibition now takes its title from a newly installed Horn photolithograph.
Building from the work in our fall show Light, Seeking Light, in particular
Mary Temple's large painted light installation Raise, 2008, the winter
show develops and changes over the course of its run. Formal or
conceptual links between works are teased out through additions and
subtractions from the exhibition. In place of a single theme, a series of
associations build in various directions at once. Work seen in previous
exhibitions reappears in new contexts (such as Anthony McCall's video
installation Doubling Back, 2003, and Sarah Lucas's photograph
Summer, 1998), alongside new work entering the collection.
The photographs by Eliasson, Horn, Kitchell, and Lucas playfully address
the McCall installation, in which a beam of light projected through a haze-
filled gallery produces a continuously changing three-dimensional form. In
the photos, steam rises from the ground (Eliasson), mist crowns the roiling
ocean (Horn), wintry breaths float through snowflakes (Kitchell), and a
well-shaken can of beer erupts in the artist's face (Lucas). In each, a
photograph fixes a momentary form out of an almost immaterial substance.
Ed Ruscha's 1966 book Every Building on the Sunset Strip also makes a
permanent document of a moment withint a perpetual flux. Its subject is
the tatty length of LA's notorious Sunset Strip, the sides of which were
shot by the artist in a continual strip of photographs. Lined with buildings
in a variety of fashionable styles from mid-century modern to faux Tudor,
the Strip is a cacophonous mix of the newly constructed alongside (and
sometime identical to) the about to be knocked-down. The Strip exists in
a continuous tug-of-war between of-the-moment and out-of-date. Ruscha's
document shares with Dawn Clement's continuous drawing of an
apartment interior, Middlebury, a fixation on completeness that uses
rational means to make an irrational record.
Above content from Western Bridge
Links to several of the artists mentioned above are provided below:
http://www.artdvision.com/ (Solange Fabiao)
One final bit for you all – after looking at the work of Mary Temple (great, great, great stuff – might in fact be useful for those of you in Color Digital who are working on your first assignment) I became aware of an upcoming exhibition at MASS MoCA in Boston that she will be a part of. I highly recommend having a look, the link is right here for you: Badlands – New Horizons in Landscape