http://www.npr.org/templates/story/story.php?storyId=112389032&ft=1&f=1001
Image Credit: Robert Frank/Courtesy of the National Gallery of ArtSunday, August 30, 2009
Robert Frank's Elevator Girl Sees Herself Years Later
Pretty great little story - the link is below:
http://www.npr.org/templates/story/story.php?storyId=112389032&ft=1&f=1001
Image Credit: Robert Frank/Courtesy of the National Gallery of Art
http://www.npr.org/templates/story/story.php?storyId=112389032&ft=1&f=1001
Image Credit: Robert Frank/Courtesy of the National Gallery of Art
Monday, August 24, 2009
Pat Boas @ Marylhurst's Art Gym in Oregon
I know not many of you will be able to make it out to Portland for this exhibition, but Boas' work is worth having a close look at, especially for those of you in the new Introduction to Digital Media course. You can find out more about her work by reading the press release from Marylhurst and also from the artist's own website - www.patboas.com
Pat Boas — Record Record.
Preview Reception
Sunday, Sept. 13, 3 to 5 PM
Exhibition continues through October 28.
http://www.marylhurst.edu/aboutmarylhurst/pressrelease20090805.php
Gallery Talk
Thursday, Oct. 8 at Noon
Pat Boas is an artist who has intrigued me for a number of years. The artist makes work
that explores and examines language in context— letter by letter, word by word, image
by image. I have long been drawn to the elegance of her ideas and their expression.
The Art Gym exhibition Pat Boas — Record Record includes four series that comment in
very quiet ways on the text and images in The New York Times and a new series of digital
works What Our Homes Can Tell Us that captures language found in the artist’s home and
places of importance to her extended family.
From the series NYT Little People
June 22, 2008 Inside the Interrogation Of a 9/11 Mastermind, 2009 (detail)
Gouache on paper
From the series What Our Homes Can Tell Us, 2008-09, digital prints and projected video
Above content provided by Terri Hopkins, Director and Curator of The Art Gym
Pat Boas — Record Record.
Preview Reception
Sunday, Sept. 13, 3 to 5 PM
Exhibition continues through October 28.
http://www.marylhurst.edu/
Gallery Talk
Thursday, Oct. 8 at Noon
Pat Boas is an artist who has intrigued me for a number of years. The artist makes work
that explores and examines language in context— letter by letter, word by word, image
by image. I have long been drawn to the elegance of her ideas and their expression.
The Art Gym exhibition Pat Boas — Record Record includes four series that comment in
very quiet ways on the text and images in The New York Times and a new series of digital
works What Our Homes Can Tell Us that captures language found in the artist’s home and
places of importance to her extended family.
From the series NYT Little People
June 22, 2008 Inside the Interrogation Of a 9/11 Mastermind, 2009 (detail)
Gouache on paper
From the series What Our Homes Can Tell Us, 2008-09, digital prints and projected video
Above content provided by Terri Hopkins, Director and Curator of The Art Gym
Monday, April 20, 2009
Artist Presentations - Discussion Follow Up
In case any of you are interested in continuing the discussion or posing questions about any of the artists who were presented on today, please feel free to use this blog as a forum. You may post pictures and/or add links in your comments, or you may forward an image on to me if you would like me to post.
Here is a list of the artists who were discussed today and their presenters:
Holt on Axel Hutte
Carly on Bernd and Hilla Becher
Richard on Chan Chao
Lindsey R. on Joan Fontcuberta
Robert on Hiromix
Lindsey S. on Jeff Wall
Sam on Joel Sternfeld
Corinna on John Riddy
Eric on Tatsumi Orimoto, or, Breadman
Walt on James Welling
Stephanie on Fazal Sheikh
Here is a list of the artists who were discussed today and their presenters:
Holt on Axel Hutte
Carly on Bernd and Hilla Becher
Richard on Chan Chao
Lindsey R. on Joan Fontcuberta
Robert on Hiromix
Lindsey S. on Jeff Wall
Sam on Joel Sternfeld
Corinna on John Riddy
Eric on Tatsumi Orimoto, or, Breadman
Walt on James Welling
Stephanie on Fazal Sheikh
Thursday, March 26, 2009
Interesting New Photography Publication to Check Out....
Lay Flat 01. Remain in Light.
Edited by Shane Lavalette. Photographs by various photographers, text by Tim Davis, Darius Himes, Cara Phillips, Shane Lavalette, and others.
Lay Flat, 2009. 40 pp., 20 color illustrations, 5½x7½".
Publisher's Description
Lay Flat is a new print publication devoted to promoting the best in contemporary fine art photography and writing on the medium. Each issue is assembled by Shane Lavalette in close collaboration with a co-curator.
Included in Lay Flat 01: Remain in Light are essays by Tim Davis, Darius Himes, Cara Phillips and Eric William Carroll, an interview with Mike Mandel by Shane Lavalette and a poem by Jason Fulford, all accompanied by 20 unbound photographs from a selection of international photographers: Andreas Weinand, Anne Lass, Coley Brown, Debora Mittelstaedt, Ed Panar, Estelle Hanania, Gustav Almestål, Hiroyo Kaneko, Kamden Vencill, Mark McKnight, Michel Campeau, Nicolai Howalt & Trine Søndergaard, Nicola Kast, Nicholas Haggard, Shawn Records, Raimond Wouda, Richard Barnes, Thobias Fäldt, Whitney Hubbs and Yann Orhan.
You can order this publication for only $25! The link is here: http://www.layflat.org/
Above content from Photo-Eye Newsletter
Saturday, March 21, 2009
Upcoming Conference at The University of Plymouth...
...called Framing Time and Place - Repeats and Returns in Photography. I'll be speaking about my series, ...from time to time. The provisional program just came out - looks to be a pretty interesting three days!
(Click on the images below for a larger version to read the text and such)
(Click on the images below for a larger version to read the text and such)
Thursday, March 19, 2009
Mark Klett and Byron Wolfe - New Work at Phoenix Art Museum
Norton Photography Gallery
March 21, 2009 – July 12, 2009
Arizona's Grand Canyon—natural wonder, national park, tourist attraction, sacred land—is perhaps the world's best “photo op.” The collaborative photographic team of Mark Klett and Byron Wolfe have set out to explore this celebrated place of dramatic beauty, and Phoenix Art Museum is proud to be the first to show a comprehensive look at their powerful, thoughtful, and playful approach to the Grand Canyon.
Drawn from two seasons of fieldwork, Charting the Canyon will include about 30 photographs ranging from a modest 20 by 20–inch print to a panorama nearly 10 feet wide. Mark Klett, a Regents Professor at Arizona State University, and Byron Wolfe, a former student of Klett’s who is now a Lantis’ University Professor teaches at California State University at Chico, have been interested in rephotographing historic images since their collaboration began in 1997.
Now the pair combines their own color photographs with imagery by 19th-century photographer J. K. Hillers and artist William Holmes and by Ansel Adams and Edward Weston, who worked at the Canyon in the early 20th century. Klett and Wolfe respond to the historic images and the Canyon itself, yielding artworks that reconsider an icon, challenge how we perceive the land, and bring a new perspective to its portrayals.
Charting the Canyon offers visual delights: the humorous layering of a 19th-century drawing with contemporary photographic details, the extension of an Ansel Adams view into a serene panorama, and the illusion of three-dimensions with a stereopticon viewer built for the twenty-first century, among others to be discovered in this unique exhibition.
Above content from Phoenix Art Museum
Invisible Dragon - Revised and Expanded
...a great book to check out, new version - whoop!
The Invisible Dragon.
Essays on Beauty, Revised and Expanded.
By Dave Hickey.
University Of Chicago Press, Chicago, 2009. 152 pp., 6x7¼".
Publisher's Description
The Invisible Dragon made a lot of noise for a little book When it was originally published in 1993 it was championed by artists for its forceful call for a reconsideration of beauty—and savaged by more theoretically oriented critics who dismissed the very concept of beauty as naive, igniting a debate that has shown no sign of flagging.
With this revised and expanded edition, Hickey is back to fan the flames. More manifesto than polite discussion, more call to action than criticism, The Invisible Dragon aims squarely at the hyper-institutionalism that, in Hickey’s view, denies the real pleasures that draw us to art in the first place. Deploying the artworks of Warhol, Raphael, Caravaggio, and Mapplethorpe and the writings of Ruskin, Shakespeare, Deleuze, and Foucault, Hickey takes on museum culture, arid academicism, sclerotic politics, and more—all in the service of making readers rethink the nature of art. A new introduction provides a context for earlier essays—what Hickey calls his “intellectual temper tantrums.” A new essay, “American Beauty,” concludes the volume with a historical argument that is a rousing paean to the inherently democratic nature of attention to beauty.
Written with a verve that is all too rare in serious criticism, this expanded and refurbished edition of The Invisible Dragon will be sure to captivate a new generation of readers, provoking the passionate reactions that are the hallmark of great criticism.
Above content from Photo-eye Newsletter
The Invisible Dragon.
Essays on Beauty, Revised and Expanded.
By Dave Hickey.
University Of Chicago Press, Chicago, 2009. 152 pp., 6x7¼".
Publisher's Description
The Invisible Dragon made a lot of noise for a little book When it was originally published in 1993 it was championed by artists for its forceful call for a reconsideration of beauty—and savaged by more theoretically oriented critics who dismissed the very concept of beauty as naive, igniting a debate that has shown no sign of flagging.
With this revised and expanded edition, Hickey is back to fan the flames. More manifesto than polite discussion, more call to action than criticism, The Invisible Dragon aims squarely at the hyper-institutionalism that, in Hickey’s view, denies the real pleasures that draw us to art in the first place. Deploying the artworks of Warhol, Raphael, Caravaggio, and Mapplethorpe and the writings of Ruskin, Shakespeare, Deleuze, and Foucault, Hickey takes on museum culture, arid academicism, sclerotic politics, and more—all in the service of making readers rethink the nature of art. A new introduction provides a context for earlier essays—what Hickey calls his “intellectual temper tantrums.” A new essay, “American Beauty,” concludes the volume with a historical argument that is a rousing paean to the inherently democratic nature of attention to beauty.
Written with a verve that is all too rare in serious criticism, this expanded and refurbished edition of The Invisible Dragon will be sure to captivate a new generation of readers, provoking the passionate reactions that are the hallmark of great criticism.
Above content from Photo-eye Newsletter
Sunday, March 15, 2009
Photographer's Showcase Series @ Photo-Eye
This is a great new(ish) series to keep your eyes on - lots of new and interesting work to see. Photo-eye Magazine, Bookstore and Gallery are all GREAT resources. Use them!
Above content from Photo-Eye Newsletter
 photo-eye Gallery Opening | ||
 ©Carlos Tarrats, Jeffris | ||
| photo-eye Gallery, 376 Garcia Street, Santa Fe, New Mexico, is pleased to announce THE PHOTOGRAPHER'S SHOWCASE SERIES KICKOFF, an exhibition of work by photographer's represented by The Photographer's Showcase at photoeye.com. Nearly ten years ago, photo-eye conceived of an online gallery to show the work of talented emerging photographers. Over that time, photo-eye's juried online exhibition space has inspired imitators, but none can boast such a well-rounded and ever-expanding collection of fine art photography. Growing to include outstanding work from photographers across the globe, the Photographer's Showcase has established itself as a resource for curators and galleries, collectors, critics and photography enthusiasts, allowing our audience to discover and purchase exceptional photography. While photo-eye Gallery has at times included work from Showcase artists in exhibitions, the Photographer's Showcase Series marks a new and exciting collaboration between the Photographer's Showcase and photo-eye Gallery. Over the coming year, photo-eye Gallery and the Photographer's Showcase are pleased to announce an on-going series of exhibitions featuring work from the Photographer's Showcase. THE PHOTOGRAPER'S SHOWCASE SERIES KICK OFF will feature work by seven Photographer's Showcase Artists, Erik Boker Jessica Bruah Jeffris Elliott Mihai Mangiulea Hiroyasu Matsui Eric Percher Carlos Tarrats | ||
Above content from Photo-Eye Newsletter
New Website for 35th Anniversary of SF Camerawork
SF Camerawork has a wonderful new website - I highly suggest you add it to your bookmarks and check in with them often (and obviously visit the gallery if you find yourself in San Francisco). They also put out a twice yearly journal, Camerawork - highly recommended, worth the subscription. Info on their 2008 issues is below:
2008 
2008
Fall/Winter 2008, Vol. 35 No. 2
Past is an image we form in the present
Spring/Summer 2008, Vol. 35 No. 1
There is always a machine between us
Tuesday, March 3, 2009
Local, Winter Park Gallery - You Should All Visit!
Bold Hype is a new(ish) store/gallery space right next to Stardust Coffee and Video in Winter Park. It is absolutely worth running up there every now and again to see what they've got on the walls that month (not to mention the wonderful hand-made items for sale)...Give it a visit!
Bold Hype: Mythology Mural Show
Bold Hype has a new showing called "Mythology Mural Show" running March 7-31. Ten contemporary artists take on ancient mythology. The opening night party is March 7, 8pm-12am at Bold Hype. 1844 East Winter Park Road, Orlando, Florida. More info: 407-629-2965. Artists: Charles Marklin, Andrew Spear, Dres13, Dustin Orlando, Decoy, Morgan Steele, Dolla, Robin Van Arsdal, Feff Riggan, David Hoskins.(Above post reprinted from The Daily City Orlando)
Thursday, February 26, 2009
Visit and Make Art in Scotland with Professor Hargrove!
(Click on image to see larger version, with full detail)
Monday, February 23, 2009
Jen has some questions for you guys - let the commenting begin!!!
OK! Now that (almost) everyone has their blog up - start making a habit of checking in with your classmates and leaving comments now and then. Let's keep this conversation going outside of the classroom.
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.
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.
Here's an excerpt from http://jenniferjanehirsch.blogspot.com/
Still not sure if I want to include pictures of man made things...
Still not sure if I want to include pictures of man made things...
the following are some images i may use..
any thoughts??
Thursday, February 19, 2009
Sam Gordon @ Kevin Bruk Gallery in Miami
Just found out about an exhibition at Kevin Bruk Gallery in Miami - if any of you happen to make your way down there, I am sure it is worth a look (and it might be particularly relevant to the discussion we had the other day in class)...
Sam Gordon
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
Sam Gordon
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
Leigh-Ann Pahapill Exhibit Closes Next Week (...in Chicago)
If you happen to be up in the ole midwest, please do have a look. Leigh-Ann is an artist to keep an eye on - her work absolutely relates to many of the issues that we "lens-based media people" concern ourselves with. Lovely stuff...
Above content from DOVA temporary
Rhetorical Situation
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
http://dovatemporary.uchicago.
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
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