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.
From the series Arctic by Gautier Deblonde
I came across the work of Gautier Deblonde by way of Granta 101 in a photographic essay: “The Arctic”. (The series “Voyage to Spitsbergen” can be seen on the site – nbpictures – and it is worth checking out…)The photographs in the series (Arctic) are meant to “serve as a reminder to people that our climate is changing, and that without a doubt it will affect them personally and profoundly, wherever they live. “
From the series Arctic by Gautier Deblonde
I appreciate the sense of time in the photographs above. Why would one live up above the Arctic Circle these days – except in search of something – Oil? Natural Gas? – Scientists studying the ice? What has happened to this train? Why is it here – and abandoned in this way – this place called the Spitsbergen ? Near to the summer solstice as we are right now… with our sunrise / sunsets so early and late – seemingly – I’m trying hard to imagine what it must feel like to be in perpetual daylight for some 2 months straight in “Midsummer” – or the opposite – darkness in “Midwinter”…
How attuned to the natural rhythms of the day are we anymore?
From the prolific posting over on Conscientious – I managed to catch a glimpse of work by Jan Stradtmann – which is quite nice.
From the series “Sprotta” by Jan Stradtmann
In particular I was drawn to the series “Sprotta”. It is refreshing (and yet perhaps too much explanation) to read the artists statement:
“I stayed for four months in the East German village Sprotta. A world that seems full of harmony and domestic activity was questioned on a subtle way by me, the photographer. I was stimulated by the theme of a world that seems very much in a proper state, where everyone has his or her place and duty. The shown pictures appeal to the fantasy of the observer and leave enough space for the imagination. So there is the analytic moment in the foreground. I get in contact with the world, organize it and formulate the result in a picture. As an author I hold myself back and report about people. This is the result of an own fiction, a construction about life which I tried to display with its human abyss. With a small distracting moment the pictures become a surreal tilt that initiates thinking about it. I move between the line of documentation and construction in this way of photographic presentation. The protagonists act unreal and like a freeze image in a movie. Sprotta pauses for a moment and becomes in the verification of its own existence a symbol of a country that manifests itself in its non representation of anxieties, dreams and wishes.”
I say it is refreshing because the artist clearly lays out the consciousness of the photographs. Too much explanation can however can kill the experience of discovery when looking… it is a delicate balance.
Still – very beautiful subtle images.
Images from “To Combine Things Together” by Jan Stradtmann.
The other series that is ongoing that caught my eye is simply “To Combine things Together” which I find very subtle and rich – I come away with a heighten awareness of timing and position… wishing I could see the next event, or shift my feet a bit to see a little more – nice and titillating. The manipulation of space and time – shifting and compression in the photograph is something that is very wonderful to compare.
from series B-66 Low-Bucuresti
2003 – © Christian Gieraths & GALERIE POLLER
It is amazing to see the control and composition in Gieraths photographs. So even, so carefully color toned. Crafted images in so many ways.
I wonder about the barber / beauty shop photograph…..Is this an extension of all the beauty shop pictures before? I’m not sure that it is – empty.
from series B 66 Low-Bucuresti
I wonder about the influences of Thomas Ruff…. ?
A tough question to ask yourself…. in developing a voice… an image…. a signature style.
October 6 – December 10, 2006
Works by Iowa-born photographer Angela Strassheim.
“Angela Strassheim’s first museum exhibition is also the first exhibition of any kind to include her Left Behind series in its entirety. The catalogue, which reproduces all twenty-seven color photographs, includes an essay by Jean Dykstra.”
Bucksbaum Center for Arts – Grinnell College