Marco Breuer, German, born 1966
Pan (C-362), c. 2005
Chromogenic paper, scratched
Courtesy Von Lintel Gallery, New York
“He makes unique works of art in a medium known for its multiple editions.” And I would add – makes work that explores the results of experimenting with process – also something that is unique to the medium – photography. Resource=New Pictures Blog – MIA
NOTE: Goal: I’m going to re-invest my time / effort in some way with this personal archive of notes – in the meantime – what started as a trickle has become a more active stream over here: though the focus is more on drawing / art / personal work. What I want to do is to re-visit certain notes now that some time has passed – my feelings / and knowledge have changed over time so it is good to revisit notes / revise what needs to be… “stay tuned”…
I’ve been following some great photography work by Brad Moore – I think this work shows an extraordinary constraint and edit.
Vista Belta, Wimington, CA by Brad Moore
Also receiving alcolades from Lens Culture among many others…
Notable for making the cut at Photolucida, Critical Mass 2009 portfolio reviews: Congratulations to this year’s Critical Mass Top 50 – 2009. I think his work would be great to see in book form! Let’s hope the work is considered for this – as a have appreciated many of the fine books put together by Photolucida which can be found here: http://www.wmjasco.com/photolucida/photolucida.html
Happy Kids Nutrition by Brad Moore
I’ve appreciated Moore’s work for some time – especially the surburban landscape themed photographs – as written previously in this post. It would be terrific to see a group of this work presented at Blue Sky Gallery here in Portland… Maybe someday soon!
Cara Philips – Untitled #40 – from the series “Ultraviolet Beauties”
Two “new” bodies of work by two women photographers I greatly admire share an interesting coincidence revealing that which you can not see alone with the naked eye – but is none-the-less right before us.
Angela Strassheim’s work from the Evidence Series – reveals (potentially) hidden violence of past events through a forensic technique where by blood stains are made visible under special chemical spray. See the exhibition shots / photos here at the Marvelli Gallery.
Cara Phillips’ work from the Ultraviolet Series reveals (potentially) hidden damage beneath the skin as revealed through UV light photography of human skin.
Both sets of images are quite nice. Of course I’ve admired Strassheim’s work before when I’ve seen it at the Faulconer Gallery, Grinnell, Iowa. Strassheim’s Evidence Series is scary beautiful and a bit creepy but also for me touches upon how we tend to have to “cover it up” and forget the past sometimes in order to move on – haunting and mysterious.
Philips work is also scary beautiful (but not creepy) touching upon themes of beauty (or perhaps just what is considered beautiful these days) in human form and surface. What will those “blotches” become in the future? Both record a series of invisible scars under the surface so to speak – yet one clearly points to things in the past while the other points to things in the “here and now” or even – one might imagine – a horribly scary future….
Wouldn’t it be great to see these (and other “invisible” work like this) together ?
UPDATE: – sidenote… a funny coincident tangential post about “retouching before the day’s of photoshop” over here on Conscientious “…the photographic lens is an instrument of great precision, but it does not discriminate between the essential and the unessential…” source – page 6.