Wednesday, November 25, 2009
Tuesday, November 24, 2009
Its late at night and i felt like posting something
These images are from a show i went to at the Riot Room here about a month ago. Bands name was 'Girl in a Coma' - all female. They were freaking rad and a lot of fun to watch!
Project Projects Projects
Ok, so SITE is done, well my work is but things havnt really stopped over here yet! WE are right now in the final few days before Thanksgiving and then as soon as we get back from that its *BAM* right into end of semester critiques. So right now i have a few things on the go that i wanna share...
Over the last few weeks Me, Dusty Colyer and Donald Pelton have been working on a project titled Two Twenty Four. The name comes from the highway in Missouri that we found ourselves on after driving in a random direction one day with the intent to take photos wherever we ended up. We stayed off all interstates and major roads. We ended up ( in terrible weather) in the small town of Wellington (irony anyone>?) and so we have based the project between Wellington, MO and Lexington, MO. The images i shot on this first trip are these three. Two fridays ago we went back to Lexington and spent another full 14 hour day shooting in and around this now familar strip of highway. These are the results:
I have 9 images in the book, Dusty 7 and Donny has 10.The focus was how we all work in a way that looks at and deals with the idea of space and of place and it was a very interesting vehicle with which to explore these ideas in an area that none of us were familiar with. We had a very interesting couple of days.
Right now these images are being turned into a book which is being published by the online firm "My Publisher". Our goal for this project had been a book and so we have a 11.5x15 inch book coming but we also wanted to have an exhibition. Dusty owns and runs The Omni which is an American school bus he has painstakingly converted into a mobile gallery. see below:
Bus Inside
Bus Outside
Our plan is to have a show of our Two Twenty Four project in this gallery on the next First Friday which is December 4th. For everyone back home, First Friday is like a massive opening night where all the galleries in the large Crossroads Art District have openings on the same evening. It is massive. Its like an opening at the Blue Oyster multiplied by 1000. There are street performers and bands, live shows and dozens of galleries all with brand new work up. Epic.
Other Projects. I dont know if i can put much of this up yet cos it is still in very early phases but there is a bit of a group coming together over here of artists within the Photo dept. The idea was put forward the other day to orgainise a group show combining KCAI artists ( or graduates as well depending on time frame) with Art School grad's and holding a group show somewhere in New Zealand.
OK epic post but thats kinda whats going on right now. Oh and i am also trying to jack up a solo show for Feb here....
Over the last few weeks Me, Dusty Colyer and Donald Pelton have been working on a project titled Two Twenty Four. The name comes from the highway in Missouri that we found ourselves on after driving in a random direction one day with the intent to take photos wherever we ended up. We stayed off all interstates and major roads. We ended up ( in terrible weather) in the small town of Wellington (irony anyone>?) and so we have based the project between Wellington, MO and Lexington, MO. The images i shot on this first trip are these three. Two fridays ago we went back to Lexington and spent another full 14 hour day shooting in and around this now familar strip of highway. These are the results:
I have 9 images in the book, Dusty 7 and Donny has 10.The focus was how we all work in a way that looks at and deals with the idea of space and of place and it was a very interesting vehicle with which to explore these ideas in an area that none of us were familiar with. We had a very interesting couple of days.
Right now these images are being turned into a book which is being published by the online firm "My Publisher". Our goal for this project had been a book and so we have a 11.5x15 inch book coming but we also wanted to have an exhibition. Dusty owns and runs The Omni which is an American school bus he has painstakingly converted into a mobile gallery. see below:
Bus Inside
Bus Outside
Our plan is to have a show of our Two Twenty Four project in this gallery on the next First Friday which is December 4th. For everyone back home, First Friday is like a massive opening night where all the galleries in the large Crossroads Art District have openings on the same evening. It is massive. Its like an opening at the Blue Oyster multiplied by 1000. There are street performers and bands, live shows and dozens of galleries all with brand new work up. Epic.
Other Projects. I dont know if i can put much of this up yet cos it is still in very early phases but there is a bit of a group coming together over here of artists within the Photo dept. The idea was put forward the other day to orgainise a group show combining KCAI artists ( or graduates as well depending on time frame) with Art School grad's and holding a group show somewhere in New Zealand.
OK epic post but thats kinda whats going on right now. Oh and i am also trying to jack up a solo show for Feb here....
Thursday, November 19, 2009
Thank You'
To: Angela Edgar, Patrick Clancy, Rachel Gillies, Max Oettli, Emily Hlavac, Mishca Rhys Hill, Lydia Katharine Boehr, Nick McKenna, Nik Smith, Dusty Colyer, Pat @ Gallup Map and Framing, Cory Hinesley, Colin J. Burke, Steven Lewis, Katy Osterwald and of everyone else that helped in some way...
Tuesday, November 17, 2009
Important Areas...
Good idea Em. You win.
Monday May 4th, 2009 - "The Perseus Project"
Wednesday May 6th, 2009 - "Trying to Think"
Tuesday May 19th, 2009 - "...photorealism..."
Monday May 25th, 2009 - "Yves Medam"
Thursday May 28th, 2009 - "Aaron Hobson - Cinemascapes"
Monday July 20th, 2009 - "Waaaay overdue"
Wednesday August 5th, 2009 - "Wow Lack of Posting"
Sunday August 30th, 2009 - "Current Work"
These are some of the older posts fomr first semester that are relevant, the majority of second semester work is accessible through my tag cloud and the heading current work. Thanks!
Monday May 4th, 2009 - "The Perseus Project"
Wednesday May 6th, 2009 - "Trying to Think"
Tuesday May 19th, 2009 - "...photorealism..."
Monday May 25th, 2009 - "Yves Medam"
Thursday May 28th, 2009 - "Aaron Hobson - Cinemascapes"
Monday July 20th, 2009 - "Waaaay overdue"
Wednesday August 5th, 2009 - "Wow Lack of Posting"
Sunday August 30th, 2009 - "Current Work"
These are some of the older posts fomr first semester that are relevant, the majority of second semester work is accessible through my tag cloud and the heading current work. Thanks!
Monday, November 16, 2009
Exhibition! Woo
"I'm just so happy to be here...i'd like to thank the academy for making this possible...god..small children...the pope...."
Silly photos. but some more to come. stay tuned.
Friday, November 13, 2009
Title and Poster
I printed 100. we put maybe 50 under car window wipers in Westport last night. And Anna gave them to people in the bar....
I'm putting the rest up around school today.
Thursday, November 12, 2009
Some other Stuff...
All of the bits of paper form my wallet and my weird collections of paper from my house. on a wall. i dont have much more of an explanation than that right now. Bellow are all the munted recipts form my wallet overlayed into one image.
Chicago Murder Sites
Harlan Wallach - 1996
Take that name how you will, these are an epic combination of text and image and also ambiguity. The point of view that many of the photos are shot from adds to this sense of ambiguity and the dark and shadowy nature of the images adds a dark sense of brooding when combined with the snippits from newspaper cuttings...
Wednesday, November 11, 2009
Tuesday, November 10, 2009
Monday, November 9, 2009
Title ideas:
Any suggestions/ideas/comments would be freaking sweeeeeet!
The [ ] Project
A Project of Deception
The Paradox Project
Deception Point
Force 5 (i dunno where that one came from)
Full Fathom Five
Sense
Shit i really dislike naming projects. There is so much pressure to have a name that its relevant and at the same time kind of intelligent sounding. I would rather call it something completely nonsensical but yea...
The [ ] Project
A Project of Deception
The Paradox Project
Deception Point
Force 5 (i dunno where that one came from)
Full Fathom Five
Sense
Shit i really dislike naming projects. There is so much pressure to have a name that its relevant and at the same time kind of intelligent sounding. I would rather call it something completely nonsensical but yea...
Friday, November 6, 2009
So i need a title....
Trying to think is dam hard right now. The exhibition is still without a title and i neeeed one...
Wednesday, November 4, 2009
Tuesday, November 3, 2009
Some notes and stuff
Reading stuff/notes/stuffstuff:
-"My work is over when i have managed to get beyond the mirror" - Jorge Molder in Face: The new Photographic portrait. Ed:William A. Ewing
-"To say that 'the camera cannot lie' is merely to underline the multiple deceits that are now practiced in its name." Marshall McLuhan 1964. page 86 of the above.
-"Photography pretends to show reality. With your technique you have to go as near as to reality as possible in order to imitate reality. And when you come so close then you recognise that, at the same time, it is not." Thomas Ruff 1993. Page 104
-"If you stand in front of a customs officer, you try and make a face like the one in your passport. So why should my portraits be communicative at a time when you could be prosecuted for your sympathies?" Thomas Ruff 1993. page 119. I found this one really interesting especially as it came from 1993! I feel that it is even more true now...
-Jason Salavon -"The class of 1967" 1998. All the male and females fomr this year overlayed on top of one another kind of in the style of Bernd and Hilla Becher..
-Axel Antas -"White Portrait" 2002
White out, a void where the face should be...
-"I am visable, I am Image." Jean Baudrillard, 1993.
-Eva Lauterlein series called "chimeres" - Spooky and haunting images of people who look totally disengaged, robotic almost...
-Douglas Gordon "Monster" 1997
-"The visable world is no longer a reality and the unseen world is no longer a dream." W. B. Yeats
-Helen Sear from the series "twice...once" 1998-2000
Epic series in whice two portrait images were superimposed creating bizzare and starngly penetrating portraits that look like victims of some sort of strange surveillance experiment. "What is secret and hidden is also ghastly". Look up Freud's notion of the "Unheimlich"
-"My work is over when i have managed to get beyond the mirror" - Jorge Molder in Face: The new Photographic portrait. Ed:William A. Ewing
-"To say that 'the camera cannot lie' is merely to underline the multiple deceits that are now practiced in its name." Marshall McLuhan 1964. page 86 of the above.
-"Photography pretends to show reality. With your technique you have to go as near as to reality as possible in order to imitate reality. And when you come so close then you recognise that, at the same time, it is not." Thomas Ruff 1993. Page 104
-"If you stand in front of a customs officer, you try and make a face like the one in your passport. So why should my portraits be communicative at a time when you could be prosecuted for your sympathies?" Thomas Ruff 1993. page 119. I found this one really interesting especially as it came from 1993! I feel that it is even more true now...
-Jason Salavon -"The class of 1967" 1998. All the male and females fomr this year overlayed on top of one another kind of in the style of Bernd and Hilla Becher..
-Axel Antas -"White Portrait" 2002
White out, a void where the face should be...
-"I am visable, I am Image." Jean Baudrillard, 1993.
-Eva Lauterlein series called "chimeres" - Spooky and haunting images of people who look totally disengaged, robotic almost...
-Douglas Gordon "Monster" 1997
-"The visable world is no longer a reality and the unseen world is no longer a dream." W. B. Yeats
-Helen Sear from the series "twice...once" 1998-2000
Epic series in whice two portrait images were superimposed creating bizzare and starngly penetrating portraits that look like victims of some sort of strange surveillance experiment. "What is secret and hidden is also ghastly". Look up Freud's notion of the "Unheimlich"
Artists Statement - SITE 2009
“They Say the Camera never lies. It lies everyday.”
-Caesar Romano
The photographic image has long been treated as a direct and literal representation of reality. [SLICE] explores the nature of truth within the photographic image. It questions and distorts our reliance and assumption on the truthful and unbending nature of the mechanically produced photograph.
In our everyday life we interact with the photographic image, we use it to tell us about the world, to report on events, times, space and locations inaccessible to us. We hungrily consume the photograph in order to learn, to discover, to seek out, the “truth” of a situation.
But how do we feel when this truth is distorted, warped, bent or even horrifically misused. How does this change the nature of other photographs that we view? Do we question what it is we are seeing in a photograph anymore? Are we happy with the notion that what we see may not be what actually took place? With so much visual stimulus persistently bombarding us in contemporary society it seemed critical for [SLICE] to explore the constantly shifting nature of truth within the image.
As Andre Bazin notes in The Ontology of the Photographic Image(i) , the photograph provides us with a “…hallucination at the same time as it delivers fact.”(ii) The photographic image offers the viewer a slice, a frozen moment of the real, delivered to us as a tangible object, something that can be held in our hand, pinned to a wall or stuck in a book. However, the event depicted by the image is something that does not exist in that same time or space as the photographic print itself.
In [SLICE] the figure within the images is caught in the middle of a sudden movement, frozen forever in that split second of time that it takes for the camera’s shutter to fire. This figure acts as a metaphor for the isolation and removal from time and space that is inherent in every photograph, this hallucination that Bazin speaks of and what Barthes calls “madness”(iii). Through the use of this figure and the ambiguity of its presence in the images [SLICE] makes the viewer question exactly what it is that they are seeing and their assumptions of the photographic image. It creates a paradox, questioning and commenting on the power of truth at the same time.
[SLICE] does not attempt to make a judgment or final decision on the outcome of the nature of truth within the photograph, for that would be impossible and recklessly self-limiting. Instead, it is intended to make the viewer explore, discover and question their ideas about reality within the frame and the long held perceptions of the photograph as an indexical signifier of truth.
(i) Bazin, Andre. “The Ontology of the Photographic Image.” (1967) in Trachtenberg, Classic Essays on Photography, 242.
(ii) Kriebel, Sabine T. “Theories of photography – A Short History” in Photography Theory Edited by James Elkins 17-19. New York: Routledge, 2007.
(iii) IBID
-Caesar Romano
The photographic image has long been treated as a direct and literal representation of reality. [SLICE] explores the nature of truth within the photographic image. It questions and distorts our reliance and assumption on the truthful and unbending nature of the mechanically produced photograph.
In our everyday life we interact with the photographic image, we use it to tell us about the world, to report on events, times, space and locations inaccessible to us. We hungrily consume the photograph in order to learn, to discover, to seek out, the “truth” of a situation.
But how do we feel when this truth is distorted, warped, bent or even horrifically misused. How does this change the nature of other photographs that we view? Do we question what it is we are seeing in a photograph anymore? Are we happy with the notion that what we see may not be what actually took place? With so much visual stimulus persistently bombarding us in contemporary society it seemed critical for [SLICE] to explore the constantly shifting nature of truth within the image.
As Andre Bazin notes in The Ontology of the Photographic Image(i) , the photograph provides us with a “…hallucination at the same time as it delivers fact.”(ii) The photographic image offers the viewer a slice, a frozen moment of the real, delivered to us as a tangible object, something that can be held in our hand, pinned to a wall or stuck in a book. However, the event depicted by the image is something that does not exist in that same time or space as the photographic print itself.
In [SLICE] the figure within the images is caught in the middle of a sudden movement, frozen forever in that split second of time that it takes for the camera’s shutter to fire. This figure acts as a metaphor for the isolation and removal from time and space that is inherent in every photograph, this hallucination that Bazin speaks of and what Barthes calls “madness”(iii). Through the use of this figure and the ambiguity of its presence in the images [SLICE] makes the viewer question exactly what it is that they are seeing and their assumptions of the photographic image. It creates a paradox, questioning and commenting on the power of truth at the same time.
[SLICE] does not attempt to make a judgment or final decision on the outcome of the nature of truth within the photograph, for that would be impossible and recklessly self-limiting. Instead, it is intended to make the viewer explore, discover and question their ideas about reality within the frame and the long held perceptions of the photograph as an indexical signifier of truth.
(i) Bazin, Andre. “The Ontology of the Photographic Image.” (1967) in Trachtenberg, Classic Essays on Photography, 242.
(ii) Kriebel, Sabine T. “Theories of photography – A Short History” in Photography Theory Edited by James Elkins 17-19. New York: Routledge, 2007.
(iii) IBID
All planned out yo...
Self explanatory i think...
ok maybe not. this is gallery space here at KCAI and iv just sorted out the prints that are going where in the space.
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