Installation view of Creeping Toward The Light at Julius Caesar
Described as a “collaboration” between organizer and artist, rather than a straightforward comparison, “Creeping Toward The Light” at Julius Caesar features artist Stevie Hanley alongside one of JC’s directorial personalities, Roland Miller. The small exhibition space, dominated by Hanley’s large, banner-like assemblies, has the effect of a curious, colorful maze.
The floor is chrome throughout, treated with a foil wrapping. Miller has installed several slightly larger-than-life-sized prints of women cut out and affixed directly to the wall. Their color and visual texture is glitched, implying inversions, blow-outs and missing data. Brilliance and lurid aesthetic moments become occlusions—obnoxious, pink rhinestones are glued to the picture glass floated just a hair above a collage by Miller, covering a serial repetition of sexual penetrations. Glints that blind, rather than illuminate. That these explicit moments are not totally concealed gives way to that naughty impulse to peak around the glittery censor. Read the rest of this entry »
Garth and Pierre. “HEAD(S),” 2014
photographs mounted to bank pins
Among the four wildly diverse approaches to representing the human body photographically on display here, Heather Dewey-Hagborg’s is the most inventive, although not the most meaningful. Dewey-Hagborg picks up cigarette butts and discarded chewing gum off the city sidewalks (depicted in her color shots), subjects the detritus to DNA analysis, runs the genetic profiles through a facial algorithm, and produces 3D resin portraits that presumably resemble the people who left the remains of their consumption for the scavenger-artist to appropriate (the droppings also grace her mini-installation). The three particular subjects whose faces look out at us from the gallery wall are all young, attractive and relentlessly clean, with an airbrushed appearance that belies the butts and gum from which they have been reconstructed. Read the rest of this entry »
Jordi Colomer. “Anarchitekton (Barcelona, Bucharest, Brasilia, Osaka),” 2002–04
4 single channel video projection, silent
Barcelona: 5 min; Bucharest: 3 min; Brasilia: 3 min 49 sec; Osaka: 1 min 49 sec
Updating Barry Schwabsky’s 2012 label “retromodernism,” Colby Chamberlain coined the term “domestic modernism” to describe Margaret Lee’s recent installation of facsimiles depicting twentieth-century art and design icons. Noting that, “apparently Brancusi duplicates are trending,” Chamberlain compared Lee’s model of Brancusi’s “Endless Column” to another shown by Josephine Meckseper in 2013, highlighting their affinity in evoking department store displays. Now featured in the group show “MetaModern” at the Krannert Museum, William Cordova’s tribute to the Brancusi monument—a column of lampshades inverted in an alternating rhythm and lit from within—similarly evokes a retail aura. Iñigo Manglano-Ovalle also replicates a Brancusi phallus, but with a more aeronautical thrust; his nine-foot “Bird in Space” is fabricated from carbon fiber, Kevlar and steel, and seems ready to blow a Sputnik out of the sky. Read the rest of this entry »
Carrie Schneider. “Burning House (March, sunset),” 2011,
Our historically brief presence on this earth is owed to a fact of geologic consent. Time, heat and pressure, the primordial forces that shape our world, have, for the past 250,000 years, granted us a reprieve from the destructive dance that constantly forms and renews this planet. “Lands End” reveals how humankind has taken up where these tectonic forces have left off.
Curated by Zach Cahill and Katherine Harvath, works by thirteen artists variously envision the contemporary landscape as contested political terrain, a site of environmental degradation, the source of precious commodities we lust after, and a place of mystery, fear and wonder. In all of the works on display, time is the underlying element; either we have too much of it, or not nearly enough. Read the rest of this entry »
Harun Farocki. “War at a Distance” (still), 2003, video, 54 min.
Balanced between informative, terrifying and hypnotizing, Trevor Paglen’s large format stills and Harun Farocki’s videos expose arcane arenas of knowledge within the realm of armed-forces operations with imagery that emphasizes the marriage of human and machine vision.
Paglen is invested in revealing our current historical condition, the “bureaucratic sublime,” through exposing covert US satellites, drones over the Nevada desert, concealed military bases, and contractual documents from private aeronautical companies that attest to persistent governmental subterfuge. Landscapes and skies of striking beauty point abstractly to military surveillance. A tiny speck of drone shares the light of the sun with the immense moon in “Dead Military Satellite (DMSP 5D-F11) Near the Disk of the Moon,” 2010. Other satellites are indicated by a contrast of orbital direction in time-lapses of celestial stars and stripes. Paglen also turns the telescope earthwards. “Canyon Hangars and Unidentified Vehicle; Tonopah Test Range, NV; Distance Approx. 18 miles; 12:45pm, 2006” is photographed using a telescopic lens from eighteen miles away. Far off in the desert, the light waves captured by the camera are further distorted by heat, creating a painterly image that conveys not only an inability to accurately apprehend, but suggests a location of imagination, a site for projecting impressions of power or fear. Read the rest of this entry »
New Catalogue. “Book (Brave New World by Aldous Huxley): Images for a New Golden Record,” 2014
ink jet print, 10″ x 10″, print; 12.75″ x 12.75″, framed.
In 1977, celebrity astronomer Carl Sagan realized his conceit of sending into outer space on NASA’s Voyager spacecraft, a “Golden Record” composed of aural snippets of human culture and slices of life, accompanied by greetings, to be received by any extraterrestrial beings that might come across it and make something of it. The conventional humanism of Sagan’s project got conceptual photographers Luke Batten and Jonathan Sadler, who collaborate under the name New Catalogue, thinking of how they would represent humanity today to other intelligent life forms in the great beyond, and came up with a grid of sixteen small black-and-white shots of hands holding up familiar objects like a pencil, a hammer and a banana, against white backgrounds. The artists recruited Judd Greenstein to compose generally placid contemporary classical viola music, which is piped into their exhibit, and put text on the walls of the gallery’s front room transcribing some of the tracks on the original Golden Record, including the cloying greetings. Read the rest of this entry »
Wes Carson. “Biscayne and NE 17th, Omni”
In a series of “narrative portraits” taken on the streets of a relentlessly sunny Miami, Florida, Wes Carson seeks to capture a “particular moment” in the city’s “cultural history”—the scene of our times. Reflective to a fault about his practice, Carson’s shots are candid, because he is going for “authentic moments,” which means that he has to shoot at middle distance, forsaking intimacy in order to avoid his subjects performing for the camera. That strategy could have been fruitful had Carson looked for telling juxtapositions and ironies as street photographers of the classic tradition do (and he does some of that with the play between subjects and signage); but most of Carson’s fourteen photos catch ordinary people doing ordinary things—sitting outside or idling on the sidewalk, some of them absorbed in cell-phone conversations. Read the rest of this entry »
Hyounsang Yoo. “The Celebration,” 2013
The Museum of Contemporary Photography (MoCP) has begun accepting submissions for the third iteration of the Snider Prize. Sponsored by MoCP patrons Lawrence K. and Maxine Snider, the Snider Prize is a purchase award given to emerging artists who are on the cusp of leaving graduate school and is open to MFA students who are currently in their final year of study at an accredited program in the US. One artist is awarded a sum of $2,000, the funds of which will be used toward purchasing pieces of work that will be supplemented to MoCP’s permanent collection. Additionally, two honorable mentions will receive $500 each. Submissions for the 2015 Snider Prize will be accepted from January 15 through April 1, 2015. Read the rest of this entry »
Nancy Klehm and Emmanuel Pratt. “For the Common Good: Meet the Remediators”
Social-practice photographer and activist Emmanuel Pratt fills the gallery’s north walls with splashes of vivid and exuberant color images, done in the humanist magazine and brochure style, depicting the efforts of the Mycellia Project to reclaim the urban wastelands of Chicago and transform them into gardens through the ministrations of the local community. The site for the research-activist group’s major project embraces the South Side’s Englewood, Washington Park, and Woodlawn neighborhoods, where some of the residents have turned contaminated and blasted ground into bounteous little farms. Read the rest of this entry »
Anne Collier. “Woman With A Camera (The Last Sitting, Bert Stern),” 2009, chromogenic print.
This rather stark exhibit—large-scale framed pieces with lots of white space between—is actually lush with imagery and ideas. For contemporary photographers like Anne Collier, culture is an ocean of images to be dredged and re-presented. A key work here is a photo she found on eBay of a nude woman in the surf, which in her hands becomes a large-scale, seventies-ish surreal landscape.
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