Thursday, February 26, 2009
Monday, February 23, 2009
As you'll see if you click on the link to Jen's blog - she's asking for some input from you guys. I encourage you all to take this approach anytime you're hoping for feedback.
Still not sure if I want to include pictures of man made things...
Thursday, February 19, 2009
48 Hours in Miami
February 14 – March 11
48 Hours in Miami: The Lost Kinetic World, Volumes 1–24 (2005–2008) and Sketchbooks (1995-2008)
Two parallel time lines: 48 hours of video captured with a point-and-shoot digital camera and stored on an iPod; 8 vinyl banners, printed at Kinkos, composed of 640 scanned sketchbook pages.
In both his video and banner works, Gordon employs consumer grade media tools and formats to archive immediate gestures—be they doodles or 15-second video clips—and coalesce them into sites of aggregation and experimentation.
48 Hours in Miami: The Lost Kinetic World, Volumes 1–24 (2005–2008) consists of thousands of video clips: art moments from the recent past edited into a kaleidoscopic, encyclopedic, temporal collage. An earlier 24 -hour version of this work, which is titled according to the city in which it is shown, has been exhibited in New York, London, and Berlin. The fluidity and specificity of its title reinforce the reflexive nature of the piece, a form of portraiture that takes the production and exhibition of artworks, as well as Gordonʼs own experience of art, as shifting subjects. The critic Colin Perry has described The Lost Kinetic World as “a vast archive of art
events, openings, performances and street life—a hyperactive dematerialization of the self: the I-am-you-and- you-are-we of culture.” In its latest incarnation, the work takes on a new urgency and historical dimension as the period of expansion, abundance, and exuberance it depicts is viewed in the context of a changed economic and political climate. Sketchbooks (1995-2008) comprises eight 5 x 12 foot vinyl banners, each printed with a grid of 80 facsimile sketchbook pages. These 640 pages, selected from over 2000 scanned to date, are arranged chronologically, their final size defined by the printer used to produce the banners. Gordon transfers the
intimate contents of a sketchbook to the public medium of a commercial display banner, offering the viewer a window onto his ongoing practice as it unfolds through time. As with his videos, however, this linear presentation belies the circuitous means by which Gordon develops and explores ideas.
The everyday paper trail of an artistʼs life, gathered into three-ring binders, becomes a concatenation of drawing, ephemera, photography, symbols, and text that inform and contextualize Gordonʼs production, while his peregrinations in the art world become the raw material for an epic movie. These are the things an artist does, from making visual notes for future pieces to engaging with the art around him. What Gordon has intuitively done is to make these very practices and experiences the work itself.
Text content from Kevin Bruk Gallery
Image from Ratio 3
Wednesday, February 11, 2009
A solo exhibition by Leigh-Ann Pahapill at DOVA temporary, Chicago, IL
Opening: Jan. 30, 2009. 6 – 9pm.
Exhibit Runs from Jan. 30 to Feb. 21, 2009.
Gallery Hours: Wed. to Sat. 12 – 5pm.
5228 S. Harper Ave. Chicago, IL 60615
About the Exhibit:
Leigh-Ann Pahapill returns to Chicago for a solo exhibition at DOVA temporary, the new storefront gallery at the University of Chicago. Pahapill creates works that range from deconstructed familiar objects to site interventions, and time-based and two dimensional works concerned with the minutia of knowing and meaning making that informs universalizing epistemologies. Pahapill seeks to dilate the representational moment by studying place, process, objects and experience, dissecting and examining the material, metaphorical, and conceptual components that drive the tendency to move from particular experiences to generalized ideas. Aligning the clichéd object or image and its representational system, her work deconstructs the processes that enable meaning making practices.
Above content from DOVA temporary
Tuesday, February 3, 2009
The History of Photography in Pen and Ink.
Illustrations by Charles Woodard.
A-Jump Books, 2009. 88 pp., 43 illustrations, 6x4".
In a set of forty-three pen & ink line drawings, Charles Woodard levels the history of photography through his own unique brand of stylistic primitivism. Originally produced as study aids for a 19th and 20th century history of photography survey course, these comical (and sometimes tragic) ball-pen ink drawings seamlessly bring together photographers as stylistically disparate as Robert Capa and Ed Ruscha. By shifting these crude renderings into the context of the book format, Woodard asks us to consider not only the humorous aspect of these flash cards, but also the reductive nature of image recall and how that relates to our more profound engagement with the world through memory.
Above content from Photo-Eye Bookstore