Monday, September 5, 2016

Barbara Kasten at Hannah Hoffman

Collector Daily recently posted a number of very nice installation views of this recently closed Barbara Kasten exhibition at Hannah Hoffman in Los Angeles, including three separate bodies of work. The exhibition press release is at the bottom of the page in the link below - well worth a read.

Barbara Kasten @ Hannah Hoffman (Image credit: Collector Daily)

Sunday, August 28, 2016

Lauren Henkin | Second Nature @ Center for Maine Contemporary Art

Lauren Henkin's ambitious new exhibition is covered on Bloun Artinfo this week. There is an insightful interview included. A highly recommended read. You can view more detailed images of this work on Henkin's website.

Lauren Henkin's "Second Nature" (installation view at CMCA) 
Courtesy of Lauren Henkin (re-posted from Bloun Artinfo)

Monday, August 31, 2015

New Paul Graham Publication from Mack Books

The Whiteness of the Whale brings together Paul Graham’s three bodies of American photographs: American Nighta shimmer of possibility and The Present, made from 1998 to 2011. These 3 remarkable photographic series reflect upon the social fabric of contemporary America, whilst trying to find something closer to the experience of being and seeing in the world today.

Paul Graham, from the series American Night. Click HERE for more images.

Tuesday, August 25, 2015

Trevor Paglen's NSA Photographs

While looking over the List of Artists for the ART230 library research project, I was inspired to have a glance back at Trevor Paglen's work in relation to our discussion in ART230 today around the un-representable.  You may find interest in this particular project, commissioned by Creative Time (all images have been made available to the public as high-res files for any use whatsoever).  Click HERE to read the article and view the images.

About this work, Paglen states:
A surveillance apparatus doesn’t really “look” like anything. A satellite built by the National Reconnaissance Office (NRO) reveals nothing of its function except to the best-trained eyes. The NSA’s pervasive domestic effort to collect telephone metadata also lacks easy visual representation; in the Snowden archive, it appears as a four-page classified order from the Foreign Intelligence Surveillance Court.

Digital Camouflage

In light of our discussion in ART230 today, I thought some of you might find interest in this article from Gizmodo, The History of Invisibility and the Future of Camouflage.  You can link to the article HERE.

The so-called "boundary luminance" in Cramer and ADS Inc.'s US4CES (from Gizmodo)

Thursday, August 20, 2015

Welcome Back, Students!!!

Wow, it's been a minute since I've posted here. I've been on research leave for the past academic year, and had a very productive time. I hope to bring many of the experiences I had over the last year into the classroom to share with you all during the upcoming year.

To start things off, head straight over to the Cornell Fine Arts Museum to view the Jess T. Dugan exhibition, Every Breath We Drew.  I had the pleasure of meeting Jess at a photography event in San Diego last fall called Medium.  And YOU will all have the pleasure of meeting Jess this semester, during two campus visits as well as a scheduled visit to both sections of Photo I.

A bit of info on the exhibition from the CFAM website is below:

Jess T. Dugan, Devotion, 2012, Pigment print, Courtesy of the artist and Gallery Kayafas

Jess T. Dugan: Every breath we drew

For nearly a decade, artist Jess T. Dugan has been making photographic portraits that explore issues of gender, sexuality, identity, and community from a highly individual and humanistic point of view. Every breath we drew, Dugan’s most recent project, explores the power of identity, desire, and connection through portraits of herself and others. Working within the framework of queer experience and from her actively constructed sense of masculinity, Dugan’s portraits examine the intersection between private, individual identity and the search for intimate connection with others. She photographs people in their homes, often in their bedrooms, using medium and large format cameras to create a deep, sustained engagement, resulting in intimate and detailed portraits.
Dugan combines formal portraits, images of couples, self-portraits, and photographs of her own romantic relationship to investigate broader themes of identity and connection while also speaking to private, individual experience. The photographs of men and masculine individuals act as a kind of mirror; they depict the type of gentle masculinity Dugan is attracted to, yet also the kind she wants to embody. Similarly, the photographs of relationships speak to a drive to be seen, understood, and desired through the eyes of another person; a reflection of the self as the ultimate intimate connection. Through beautifully intimate and honest portraits, Every breath we drew engages larger questions about how identity is formed, desire is expressed, and intimate connection is sought. This exhibition will be accompanied by a fully illustrated book with an essay by the curator and an interview with the artist conducted by internationally-renowned photographer Dawoud Bey.

Monday, April 21, 2014

Trevor Paglen's The Last Pictures

In light of our discussion around digital imaging and the archive in the Photo II class today, below is the link I promised detailing Trevor Paglen's project that was referred to.

Commissioned by public art organization Creative Time, The Last Pictures marks a distant satellite with a record from the historical moment from whence it came. Artist Trevor Paglen collaborated with materials scientists at the Massachusetts Institute of Technology to develop a micro-etched disc with one hundred photographs, encased in a gold-plated shell, designed to withstand the rigors of space and to last for billions of years. Inspired by years of conversations and interviews with scientists, artists, anthropologists, and philosophers, the images chosen for The Last Pictures tell an impressionistic story of uncertainty, paradox, and anxiety about the future.

Read more about the project HERE.

Thursday, April 3, 2014

Recent Exhibitions Featuring the Work of Aitor Orti and Chris Engman

There were two pretty fantastic sounding exhibitions featured on the newsletter for Photography, Film and Video this week (this is a great mailing list to be on, by the way, as they also send out artist opportunities for grants, exhibitions, residencies, education opportunities, etc.).  In light of our conversation regarding the complex relationship around art and photography and the various modes of practice that have become prevalent, the work of Orti and Engman seem particularly apt.

The press release for Ortiz describes his "unrelenting drive to tackle head-on the dilemma between representation and interpretation (perception). In doing so, he forges connections between the content of his images, the physical qualities of the supports he chooses for his works, and the position they occupy in the exhibition space. In consonance, Aitor Ortiz stakes out a broad scope for his work and the relations between the places he photographs, and the conscious and unconscious devices operating in the process of manipulating the image: the eye (interpretation, frame, decontextualisation,…), the photographic camera (focus/out-of-focus, optical distortion, transmission of movement…) and the brain (the limitations of an imperfect device in reading information and its empirical powers: association of concepts...). These relations come together in the exhibition space, where the physical experience once again transcends the actual content of the photographs and becomes part of a process of continuous interaction between representation and the perception of the beholder."

Aitor Ortiz, “NOƚMENOS 003”, 2013 
perforated aluminium plate on lightbox / Aluminum Lochblech auf Lichtbox 
40,9 x 40,9 inches / 104 x 104 cm, Edtion 1/2 (Sourced from press release)
Read more about the work of Ortiz HERE.

Chris Engman, Double Skew, 2014
Digital pigment print
55 x 52.25 x 47 x 37.5 in (Image sourced from

The press release for Engman's exhibition, Ink on Paper, describes it as representing "a temporary shift in [his] artistic practice from photographic documentation of environmental installation phenomena—records of process and the passage of time—to a consideration of photographs themselves as an inherently false, mediated and distancing way to experience the world. By focusing not on outer constructions but on the photograph itself as a constructed challenge to perception, this new body of work continues Engman’s inquiry into the illusive and unknowable nature of reality.

Read more about the work of Engman HERE.

Saturday, March 29, 2014

Carrie Mae Weems at the Guggenheim

Carrie Mae Weems, Josephine BakerLena Horne, and Katherine Dunham (from “Slow Fade to Black”), 2010–11. Inkjet prints, 49 1/4 x 37 inches (124.5 x 94 cm) each. Collection of the artist. Courtesy Jack Shainman Gallery, New York. © Carrie Mae Weems. (Image Sourced from:  E-flux Press Release)

Carrie Mae Weems LIVE: Past Tense/Future Perfect

Friday, April 25–Sunday, April 27, 2014
Solomon R. Guggenheim Museum
5th Ave at 89th St
New York City

Saturday, March 22, 2014

Photosynthesis - New Feature on Urbanautica's Photoschools

Just received a note from Steve Bisson today, announcing this new feature on Photoschools.  Seems like it could be pretty fun, as anyone can contribute. Here's how he describes it:

"Every 3 weeks we will add a new and different chapter. Each chapter is an open page [where the] contributions of our followers [will be archived]. Thanks to them in less than 24 hours we have created the Dogs page that will keep growing in the future.

This is project is meant to become a tool for students, photographers, educators, and fans of photography.  Proposals for starting new chapters are welcome as well!"

Click HERE to peruse the entire Photoschools site.

Saturday, March 15, 2014

Robert Heinecken @ MOMA

Robert Heinecken (American, 1931–2006). Are You Rea #1. 1964–68. Lithograph, 10 13/16 x 7 7/8" (27.4 x 20cm). Mr. and Mrs. Clark Winter Fund. © 2013 The Robert Heinecken Trust (Image Sourced from MoMA)
Opening today in New York, the press release for Robert Heinecken:  Object Matter describes it as "the first retrospective of the groundbreaking work of Robert Heinecken since his death in 2006. [Heinecken] came of age artistically in 1960s Los Angeles, where the burgeoning art scene and proximity to Hollywood provided fertile ground for experimentation. In this environment Heinecken—alongside peers making Pop art and Conceptual art—pushed the boundaries between mediums and between high and popular culture.  Drawing on the countless pictures in magazines, books, pornography, television, and even consumer items such as TV dinners, Heinecken used found images to explore the manufacture of daily life by mass media and the relationship between the original and the copy, both in art and in our culture at large. Thriving on contradictions, friction, and disparity, his examination of American attitudes toward gender, sex, and violence was often humorous and always provocative."

Click HERE to view additional images and read more about the exhibition.

Wednesday, March 12, 2014

Pantone Portraits

Image Credit:  Angelica Dass (Sourced from feature shoot)
I thought this work on feature shoot yesterday was pretty in keeping with our recent discussions around photography and the body.  It's definitely worth a look.  View more of the images and read about the photographs of Angelica Dass HERE.

Speaking about the work in the interview, Dass states, “If what I wanted was to destroy the concepts of colors associated with race, such as red, yellow, white and black, it would not be logical to use a color scale that works with percentages of these colors. That’s why I chose not to use CMYK or RGB. Pantone works on a neutral scale, where a color has no more importance than another. It’s a very identifiable scale for those in the world of design, but also easily understood by anyone. It provides a way to look objectively at the ‘human object.'"

Wednesday, March 5, 2014

2014 Whitney Biennial - First Reviews Are Coming In...

Nicely descriptive post on Hyperallergic today detailing curator Michelle Grabner's "floor" at the Whitney. Keep your eyes out for more reviews, as there will likely be a very mixed bag of responses. Click HERE to read the Hyperallergic review and click HERE to peruse the Whitney's website for the Biennial.

Detail of Dawoud Bey’s “Maxine Adams and Amelia Maxwell (from the Birmingham Project)” (2012), two pigmented inkjet prints mounted on Dibond, ed. no. 1/6 (Sourced from Hyperallergic)

Monday, March 3, 2014

Trevor Paglen in Response to, "Is Photography Over?"

It looks like Trevor Paglen is the guest blogger on Still Searching for the coming weeks.  He's provided an overview of his approach to tackling the question(s) posed a couple of years back during a symposium at SFMOMA.  I'm excited to hear what he has to say.  He's setting the conversation up pretty nicely.  In his closing he states that,

"Over the next few weeks, I want begin thinking about how to begin thinking through the 21st Century’s emerging photographic landscape, and the ways both photographic practices and photographs themselves are changing...

I’ll start by introducing the idea of photography as “seeing machines” and explore questions such as: How do we see the world with machines? What happens if we think about photography in terms of imaging systems instead of images?  How can we think about images made-by-machines-for-other-machines? What are the implications of a world in which photography is both ubiquitous and, curiously, largely invisible?"

I recommend reading the entire blog post HERE and following Still Searching so that you are alerted to follow-up posts.

Sunday, March 2, 2014

The Benefits of Work-in-Progress Feedback

In college studio art courses, students often struggle with longer term projects as the expectations and outcomes generally differ from standard assignments. Rather than working toward completing a particular task with clearly defined parameters, self-directed projects allow students to define their own content and determine their own goals, and offer time for the work to develop over the course of weeks, months or even years.  

In 2012, Tom Griggs of fototazo solicited artists and arts professionals to help his students with this process through a mentoring program that he began publishing semi-regularly on the blog.  I think students will find the feedback useful as they think about how their own work might be interpreted by those not immediately familiar with their practice and process.  

Click the link below to view a set of images by Colombian student photographer Natalia Lopera, along with her mentors responses:

© Natalia Lopera, untitled #8 (Image sourced from fototazo)