Thursday, April 30, 2015

Walead Beshty
Installation view of A Partial Disassembling of an Invention without a Future: Helter-Skelter and Random Notes in which the Pulleys and Cogwheels are Lying around at Random All over the Workbench 
Curve Gallery, Barbican Centre, London, UK
October 9, 2014 - February 8, 2015
Photo: Justin Piperger

Tuesday, April 14, 2015

Jan Dibbets and HIS Perspective

Jan Dibbets in conversation with Sharon Boothroyd
London, UK
Interview conducted by phone 19 April 2013: 

"For Dibbets, the fundamental goal is to unmask the seemingly self-evident role of photography as a legitimate depiction of the world and to show how even simple operations can expose photography’s illusion." - Brain Wallis (ICP, NY)

Jan Dibbets-- Sea 0-135 (degrees)
Jan Dibbers -- Perspective Correction Series (1968)
This work was made in a park in Amsterdam. It is concerned with illusion and reality, the difference between what the camera sees and what the eye sees. As its title suggests, Dibbets wanted to 'correct' the recessive perspective of a large area of ground. He decided to use light coloured rope that would clearly mark off a cross shaped area of grass. He used much thicker rope for the two top, more distant, right-angles, so that they would appear to be in the same plane as those at the bottom of the photograph. The nearest right angles are approximately eight inches long, whereas those farthest away are each over thirty feet long. Grass was chosen because it did not have obvious perspectival references.

Monday, April 13, 2015

Ed Ruscha - TATE SHOTS

Ed Ruscha and his books

There's A Place: Photographs by J. Shimon & J. Lindemann

April 11–June 7, 2015


John Shimon and Julie Lindemann are American artists who work together as the collaborative duo J. Shimon & J. Lindemann. They embrace their Wisconsin origins and are best known for their photographs about human existence in the Midwest. Their photographs are introspective—they could not be taken by an outsider. While Shimon and Lindemann are fully versed in contemporary photography and social media, their knowledge of photographic history and antiquarian techniques gives their pictures a distinct aesthetic. This gets to the very heart of their work: even though they use a medium with inherent possibilities for mass production, they favor the individual—and sometimes unique—photographic print. There’s a Place is their first museum retrospective and the largest exhibition of their work to date.

My Advanced Photo class from Cornell College is taking a road trip to see this show!