For "The Tree of Life", the director Terrence Malick once again collaborated with the production designer Jack Fisk, with whom he has worked since his first film, "Badlands" (1973). While "The Tree of Life" covers the origin of life and, to some degree, the history of the universe, a significant portion of its running time takes place in a small Texas town in the 1950s. “We tried to make it as universal as possible and never do anything that would pull you out of the story, generally we wanted to create a place that many people could relate to."
Saturday, 28 May 2011
Todd Eberle | Empire of Space
American Flag, Millerton, New York, August 2006
Grandparents and Dog, Houston, Texas, November 1995
Agnes Martin, Gallisteo, New Mexico, 1992
Todd Eberle: Empire of Space
Rizzoli
Foreword by Glenn O'Brien, Contribution by David Hickey, Photographed by Todd Eberle, Introduction by Graydon Carter
Contrasting ultramodernist photographs taken over a thirty-year period constitute the first book by one of the most celebrated photographers working today. Born in Cleveland, Ohio, in 1963, and first coming into prominence in the early 1990s with his iconic photographs of Donald Judd’s works and architecture, Todd Eberle’s photographs document the disparate images that make up American architecture, landscapes, and society and are united by a minimalist aesthetic that runs through his work. Whether his approach to a particular subject is earnest (an unfurling flag) or kitsch (the Vegas strip), Eberle brings to his photographs a heightened sense of precision, symmetry, and proportion. The Empire of Space is a lavish look at Eberle’s career and features many rare and never-before-published portraits, landscapes, still lifes, and interiors. In the spirit of Walker Evans, Eberle creates an enduring and poetic portrait of America, the arts, and architecture through thoughtfully contrasting and analogous photographs. This exciting and definitive book on Eberle’s illustrious legacy is sure to rank among the most important publications to mix modernism, minimalism, and photography.
About the Author
Todd Eberle is a professional photographer and artist based in New York City. He is currently the photographer-at-large for Vanity Fair and regularly contributes to the New York Times Style Magazine, Interview, and the Wall Street Journal Magazine, among others.
Wednesday, 4 May 2011
Richard Learoyd | Presences at Fraenkel Gallery San Francisco
Richard Learoyd, Agnes to the Right, 2011
Unique Camera Obscura Ilfochrome Photograph, 58" x 48"
Richard Learoyd, Tatiana in Red with Green Chair, 2010
Unique Camera Obscura Ilfochrome Photograph, 58" x 48"
Richard Learoyd, Agnes with Eyes Closed, 2007
Unique Camera Obscura Ilfochrome Photograph, 76" x 64"
Richard Learoyd's photographs are unique images made with a specifically built camera. The camera is the size of a small room, in which the artists pins direct colour positive paper (known as dye destruction, Cibachrome or Ilfachrome) to the back wall and views the image, much as inside a camera obscura. An image cast by a lens fixed to the front wall is projected onto the paper and the resulting exposed sheet is fed directly into a print processing machine connected to the walk-in camera / dark room. The fact that this process is a direct positive on a large scale, with no print enlargement from a negative or transparency, results in an image of astounding clarity, detail and lack of film-grain. The effect is almost hyper real.
Unlike in most conventional photography, objects and people are brought to the immovable camera and placed and arranged in front. He also works outside the convention of a photographic sequence or series, but in a cohesive grouping of singular images. Learoyd's seemingly simple or restrained compositional arrangements belie complex conceptual and philosophical ideas, many of which question the nature of optics and the practice of photography itself. The chosen subject matter however does not overtly attempt to fulfil an externalised cultural or theoretical brief, but carries its message initially through sheer visual impact.
More Info Richard Learoyd Aperture Article, Aperture 199 / Summer 2010
Unlike in most conventional photography, objects and people are brought to the immovable camera and placed and arranged in front. He also works outside the convention of a photographic sequence or series, but in a cohesive grouping of singular images. Learoyd's seemingly simple or restrained compositional arrangements belie complex conceptual and philosophical ideas, many of which question the nature of optics and the practice of photography itself. The chosen subject matter however does not overtly attempt to fulfil an externalised cultural or theoretical brief, but carries its message initially through sheer visual impact.
More Info Richard Learoyd Aperture Article, Aperture 199 / Summer 2010
Tuesday, 26 April 2011
Paul Graham: Photographs 1981-2006 | Whitechapel Gallery
Paul Graham Interior, Rainton Services, North Yorkshire, November 1981
Deutsche Börse Photography Prize 2011 | 5 April - 1 May 2011
Roe Ethridge, Pumpkin, 2010.
Jim Goldberg, Open See, 2009.
Thomas Demand, Haltestelle, 2009.
Elad Lassry, Skunk, 2009.
Sunday, 17 April 2011
Wangechi Mutu
Death by Mariposa, 2006
Ink, acrylic, collage and contact paper on Mylar; 17" x 25 1/4", 20 3/8" x 38" framed
Cactus Green Nips, 2009
Mixed media on Mylar; 46" x 53", 52 1/2" x 58 1/2" framed
Before Punk Came Funk, 2010
Mixed Media ink, paint, collage on Mylar; 54" x 51"
Spanning a wide range of media, Mutu employs interventionist methods of collage and assemblage to inventively critique the institutions of power and representation that regulate both the aesthetic and symbolic status of the gendered and racialized body. Mining such diverse sources as fashion magazines, pornography, and documentary photographs, Mutu's striking combination of the surreal, grotesque, and seductive reflects the underlying currents of violence and psycho-sexual tension embedded within the legacy of colonial discourse and the American subconscious at large.
Mutu's variegated surfaces move decisively between dense layers of spliced images, glitter, paint, and beads to the swirling calligraphic markings of snakes and hair that give voice to these dystopic scenes of desire, horror, and excess. Mutu’s formal methods of collage and montage allow for a mixing of photographic genres and styles culled from the mass media—a representational strategy that not only resists binary determinations but complicates and disrupts the very terms upon which we read images. Through the often jarring incongruities between her collaged elements, from the performative sexuality of pornographic poses to the ethno-centric bodies captured under the anthropological gaze of National Geographic, Mutu plays with the effects of displacement by constructing images that are always already dysfunctional, disordered and destabilizing. What Mutu brilliantly establishes in her charged environments and fantastical tableau is a framework that challenges the question of difference and its attending modes of address, suggesting that resolving these issues is, to borrow the words of the theorist Barbara Johnson, “always a function of a specific interlocutionary situation—and the answers, matters of strategy rather than truth."
Sunday, 10 April 2011
Sunday, 6 March 2011
Sunday, 20 February 2011
Gabriel Orozco | Sand on Table 1992-93
Sand on Table, 1992–93, Gabriel Orozco
Silver dye bleach print
12 1/2 x 18 3/4 in. (31.8 x 47.6 cm)
© Gabriel Orozco, Courtesy of Marian Goodman Gallery, New York
Orozco works in sculpture and photography in a style that is elegant, minimal, and antimonumental. His sculptures are often ephemeral—in this case, a table on a beach topped with a pyramid of sand—and his photograph of it gives the constructed situation a longer life. This work encourages an awareness of the temporal fragility of our accomplishments as well as of the richness of the resources available if we would but use the ordinary in poetic ways.
Robert Smithson | Proposal for a Monument on the Red Sea 1966
PROPOSAL FOR A MONUMENT ON THE RED SEA
(formally known as Cube in Seascape), 1966
(formally known as Cube in Seascape), 1966
Paper on gelatin silver print
Collection: Museum of Modern Art, New York
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