"This is about objects, not motifs. The photo is only a substitute for an object; it is unsuitable as a picture in its customary sense"
Bernd and Hilla Becher
Silver gelatin on cotton
21 Jul 2014 / 0 notes
Elizabeth McAlpine’s 20-minute looping super8 film, 98m (the height of the Campanelie, San Marco, Venice) pans from the bottom to the top of the Campanelie in Venice. While the images projected onto the wall - the size of a postcard - continue to repeat themselves, the 98 meters of film feeding through the glass case below the projector is in constant motion, creating endlessly unique forms.
While Marie Lund’s found curtains in no way employ a traditional photographic process, the work’s ontic sunburns begin to poke at many long-standing debates regarding truth in photographic representation.
Taking the most basic understanding of a Photograph, broken down to its etymological parts, photo: meaning light and graph: to draw, along with the absence of an apparatus, or aesthetic consideration, Lund applies the curtain’s inherited conditions to contextualize the once utilitarian object into a kind of modern-proto photograph.
Studio view, EWC ©2014
3. What sorts of science experiments did you conduct for images in this exhibition?
Really simple ones—and that’s important to this project. I feel like the general public can get disconnected with science when it gets too expensive and abstract, so it was important for me to approach science with a childlike sense of wonder and a dollar-store budget. So you’ll see some simple physical demonstrations, a little smoke and mirrors, and some tricks I’m not quite ready to reveal…
Eric William Carroll’s second installment of the G.U.T. Feeling work opens this Thursday, July 17th, followed by an artist talk on August 21st, both at the Minneapolis Institute of Arts. The official press release can be found here, for the full version of the above q&a, here and Eric’s website, here.
Couple D’amoureux Dans un Petit Café, Quartier Italie, circa 1932 George Brassaï
"……Brassaï’s most famous photographs are his treatment of Paris both inside and out. Although no one can deny the often spectacular beauty of his greatest outdoor shots, it is his treatment of Paris interiors and nightlife that constitutes his most distinctive work. The aesthetic philosophy he inherited from Goethe led him to epitomize his subjects, to characterize them as fully as possible. Goethe, however, may not have been the only writer whose lead (and demands for “objectivity”) Brassaï was following. The most striking aspect of Brassaï’s interior shots is the frequent use of mirrors to expand and inflect the scene being depicted. Brassaï was familiar with the work of Friedrich Nietzsche–in Brassaï’s book Henry Miller: The Paris Years, Miller describes Nietzsche as one of Brassaï’s idols (36)–and one can’t look at these photographs without being reminded of this passage from On the Genealogy of Morals:
There is only a perspective seeing, only a perspective “knowing”; and the more affects we allow to speak about one thing, the more eyes, different eyes, we can use to observe one thing, the more complete will our “concept” of this thing, our “objectivity” be. [All emphases in the original.] (119)
Using mirrors, Brassaï allows more affects to speak about the scene, giving the viewer another set of eyes through which to view it. The photographs leave one with a greater objectivity, a more complete concept of the moment depicted.”
Text borrowed from The Hooded Utilitarian/ Robert Stanley Martin. The article can be found in its entirety here.
Nicholas Pilato is featured in Different Things from Different Places, at Annarumma Gallery, Naples.
Paul Gaffney’s work, We Make the Path by Walking stands as an introspective exercise among the artist and viewer, creating a dialectical relationship between evidence and performance.
My intention was to create a series of quiet, meditative images, which would evoke the experience of being immersed in nature and capture the essence of the journey. The images seek to engage the viewer in this walk, and to communicate a sense of the subtle internal and psychological changes which one may undergo while negotiating the landscape.
Still Life with Duration 45:00 looping video
Installation at George’s Meet and Produce 2008
The television is a loaded object, which upon sight alone signifies a motion picture, one that fluctuates and progresses over a period of time. We inherently expect something overt to occur. Still Life with Duration undermines these conventional expectations of moving images with a seemingly static tableau that invokes a kind of tension while awaiting a development. The viewer is instigated into taking a closer look, albeit a more participatory moment with the work.