Click HERE to find out more.
Monday, February 27, 2012
Todd Hido @ Stephen Wirtz in San Francisco
From the Stephen Wirtz website:
"Stephen Wirtz Gallery is pleased to present Excerpts from Silver Meadows, an exhibition of new photographs by Todd Hido. Sequenced to form an almost cinematic narrative, atmospheric landscapes of in-between, and isolated places in America provide the setting, and portraits of female subjects, broken starlets in suburban dress, stand in as the main characters. While the subject matter is mined from Hido’s own experience growing up in Kent, Ohio, what results is a collectively familiar, yet entirely imaginary and dreamlike melodrama untethered from a specific time and place, a visual pulp novel of Midwest mythology."
Todd Hido
Untitled #6349
2008
chromogenic print
"Stephen Wirtz Gallery is pleased to present Excerpts from Silver Meadows, an exhibition of new photographs by Todd Hido. Sequenced to form an almost cinematic narrative, atmospheric landscapes of in-between, and isolated places in America provide the setting, and portraits of female subjects, broken starlets in suburban dress, stand in as the main characters. While the subject matter is mined from Hido’s own experience growing up in Kent, Ohio, what results is a collectively familiar, yet entirely imaginary and dreamlike melodrama untethered from a specific time and place, a visual pulp novel of Midwest mythology."
Untitled #6349
2008
chromogenic print
Friday, February 24, 2012
Continuing Our Conversation on Photography and the Body...
...check out Skye's post about the work of Cynthia Grieg. You can link to her blog post HERE.
Image Credit: Cynthia Greig
Great interview with Paul Shambroom
Relates nicely to our recent conversations about using found/sourced images from on-line sites such as Flickr. Penelope Umrbrico's projects are referenced, and earlier work by Jason Salavon as well.
It's a good read. Click HERE to access the full article.
Select images from the series Broken Sets / eBay by
Penelope Umbrico. From left to right, top to bottom: "After3,"
"ScreenProblem," "washed-lcd-image-1," "left-side-works,"
"F4LCYZXFE3IPZ3J.MEDIUM," "IMG_1709," "IMG_1705," "brokenlcd,"
"2586018616_F6254FE95D." 30" x 40" C-Prints on Kodak metallic paper. Images Courtesy the artist and LMAKprojects, NY.
It's a good read. Click HERE to access the full article.
NYT Review of Cindy Sherman @ MOMA
Click HERE to read the review.
Installation view of Cindy Sherman’s photo-mural Untitled, 2010, at the Museum of Modern Art
Monday, February 20, 2012
Paul Graham: The Present
Sunday, February 19, 2012
The In Between: Knowledge Shattered
A curatorial effort of Vincent Honoré at the Kunsthalle Mulhouse.
Ah, France....
An excerpt from the press release nicely sums up the exhibition's concerns. I've pasted a bit below:
And, if your French is good, you can visit the website by clicking HERE.
Image credit:
Courtesy the artist, Motive Gallery, Amsterdam and Marcelle Alix, Paris.
Ah, France....
An excerpt from the press release nicely sums up the exhibition's concerns. I've pasted a bit below:
The In Between: Knowledge Shattered
An exhibition where artworks and non-conclusive processes interweave, where we experience thoughts to come, interconnected, where the intention and interpretation of the art works are no longer predetermined. Four studies, four approaches that lean towards fiction and aim to recast museums as guardians of a fluctuating, mobile, uncertain memory. The exhibition is made up of free associations and collaborations, and the artworks are pauses between solidly documented knowledge and research, and autonomous, accomplished formal objects.
An exhibition where artworks and non-conclusive processes interweave, where we experience thoughts to come, interconnected, where the intention and interpretation of the art works are no longer predetermined. Four studies, four approaches that lean towards fiction and aim to recast museums as guardians of a fluctuating, mobile, uncertain memory. The exhibition is made up of free associations and collaborations, and the artworks are pauses between solidly documented knowledge and research, and autonomous, accomplished formal objects.
And, if your French is good, you can visit the website by clicking HERE.
Courtesy the artist, Motive Gallery, Amsterdam and Marcelle Alix, Paris.
Lost in Publication
Found this pretty nice Tumblr site today. Their aim is to "bring structure to the immense amount of photo publications. Each page presents another photographer and his [or her] work".
Would be a good feed to subscribe to. The pages are really comprehensive and offer great insight into the work of each photographer, featuring interview excerpts, criticism, video segments and more. Today's page features Rineke Dijkstra. Click HERE for the link.
Self Portrait, Marnixbad, Amsterdam June 19, 1991 @ Rineke Dijkstra
Would be a good feed to subscribe to. The pages are really comprehensive and offer great insight into the work of each photographer, featuring interview excerpts, criticism, video segments and more. Today's page features Rineke Dijkstra. Click HERE for the link.
Friday, February 17, 2012
Thursday, February 16, 2012
Olivo Barbieri's Dolomites Project @ Yancey Richardson
I haven't been all that excited about Barbieri's work in the recent past, but this looks really intriguing to me. Looking forward to getting a chance to see it in person. A blurb for the press release states, "According to
Barbieri, "seascapes, great waterfalls, mountains, and old
city centers have become fragile theme parks. Entertainment
has virtually replaced the sublime. The veduta genre of
megalopolises may, by dimension and consideration, compete
with nature for importance in the collective imagination. The
Dolomites are symbolic forms in movement whose history began
two hundred and fifty million years ago. Their component
material came from oceanic abysses and recalls the latter ' s
design, almost an upsidedown history of the
earth."
Read more about the exhibition on the Yancey Richardson website by clicking HERE.
The Dolomites Project (#13), 2010. 65 x 85 inch archival pigment print. Edition of 6.
Read more about the exhibition on the Yancey Richardson website by clicking HERE.
Wednesday, February 15, 2012
Conversation About Alec Soth's New Work @ Sean Kelly
This is a great read. A thoughtful conversation about the many particulars of Alec Soth's new work - from the subject matter, his relationship to his subjects, the manner the work is hung, the scale of the prints, and other installation matters that impact the viewing experience. Much of what is said within relates nicely to the Photo II discussion around contemporary/historic documentary traditions. Click HERE to read the full text.
Image Credit: Alec Soth, Installation View @ Sean Kelly (from DLK Collection Blog)
Tuesday, February 14, 2012
Moving Image - Contemporary Video Art Fair
This year's artists have been announced. Click HERE to see links to still from the projects.
Very excited to be able to attend this year.
I'm sure it will be absolute mayhem, but I'll do my best.
Very excited to be able to attend this year.
I'm sure it will be absolute mayhem, but I'll do my best.
Jesse Fleming, "The Snail and the Razor," 2012. Courtesy the artist and The Company, Los Angeles, CA
Sunday, February 12, 2012
Michael Snow - Solo Snow
Somebody fly me to Istanbul, please.
Click HERE to read a brief blurb about the exhibition in e-flux.
Michael Snow, “Condensation. A Cove Story,” 2009.
Blue-ray disc video projection, colour, silent, 10 min. 28 sec., looped.
Click HERE to read a brief blurb about the exhibition in e-flux.
Blue-ray disc video projection, colour, silent, 10 min. 28 sec., looped.
Thursday, February 9, 2012
Notes from a Quiet Life - Robert Benjamin
Laura Plageman
This work has been making the rounds for a while now - it's pretty intriguing stuff. Wonderful exploration of our response to landscape as influenced by pictorial representation. You can read her project statement HERE, and you can see more by going to the artist's website HERE.
Image Credit: Laura Plagement (Response to Print of Kudzu, Texas, 2010. Archival pigment print)
Thilde Jensen
Here are a few links on the artist that Skye had us look at/discuss during the Chapter 2 discussion yesterday. Please have a look, I think you'll find the work pretty fascinating.
Click HERE for the artist's website
Click HERE for a link to her exhibition at LightWork
Click HERE for a brief interview with the artist
Image Credit: Thilde Jensen
Click HERE for the artist's website
Click HERE for a link to her exhibition at LightWork
Click HERE for a brief interview with the artist
Monday, February 6, 2012
Atget @ MOMA
Don't mind if I do! Very excited that I'll be visiting New York while this show is up. Content below is from MOMA's website, click HERE for more information.
"The sign outside Atget’s studio read, “Documents pour artistes,”—declaring his modest ambition to create images for other artists to use as source material. This humility belied the visual sophistication and distinctive vision that characterized much of Atget’s own work. Whether exploring the urban texture of Paris’ fifth arrondissement throughout the first quarter of the 20th century, or the abandoned grandeur of the parks at Sceaux during a remarkable creative outburst in the spring of 1925, Atget captured the essence of his chosen subject through the camera’s lens with increasing sensitivity throughout his career."
Eugène Atget. Coin, Boulevard de la Chapelle et Rue Fleury 76, 18E.
June 1921. Matte albumen silver print, 6 13/16 x 9" (17.3 x 22.9 cm).
The Museum of Modern Art, New York. Abbott-Levy Collection. Partial gift
of Shirley C. Burden
"The sign outside Atget’s studio read, “Documents pour artistes,”—declaring his modest ambition to create images for other artists to use as source material. This humility belied the visual sophistication and distinctive vision that characterized much of Atget’s own work. Whether exploring the urban texture of Paris’ fifth arrondissement throughout the first quarter of the 20th century, or the abandoned grandeur of the parks at Sceaux during a remarkable creative outburst in the spring of 1925, Atget captured the essence of his chosen subject through the camera’s lens with increasing sensitivity throughout his career."
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