Aperture Gallery and Bookstore547 West 27th StreetNew York, NY
On the occasion of the paperback edition of The Edge of Vision, author Lyle Rexer will moderate a panel discussion with contemporary photographers Jessica Eaton, David Mitchell, Yamini Nayar, and Mitch Paster. These artists, whose work all involves some form of abstraction, were not included in The Edge of Vision, and are of varying ages and genders, with very different artistic practices. The discussion will assess the growing importance of abstract practices, especially among younger photographers. The examination of their work will provide vivid examples of how far this aspect of photography has developed in the four years since The Edge of Vision was first published. Rexer will present a brief introduction and images of the four artists’ work, followed by a Q&A with the panelists.
This panel is part of the New Work series at Aperture.
Lyle Rexer (editor) is a New York–based independent writer and critic. His previous books include Photography’s Antiquarian Avant-Garde (2002) and How to Look at Outsider Art (2005); he contributed an interview with Chuck Close and Bob Holman to A Couple of Ways of Doing Something (Aperture, 2006), and is the author of The Edge of Vision (Aperture, 2010).
Pleased to find out I have work in this exhibition at the Akron Art Museum in Ohio. Now on view until January 2014.
With a Trace: Photographs of Absence
On View July 27, 2013—January 26, 2014
Akron, Ohio—With a Trace: Photographs of Absence, on view at the Akron Art Museum July 27, 2013—January 26, 2014, is comprised of ethereal images culled from the collection of the Akron Art Museum with additions from Northeast Ohio collectors Fred and Laura Ruth Bidwell. The exhibition showcases works by a multigenerational, international selection of photographers including Christopher Bucklow, Margaret De Patta, Adam Fuss, Alison Rossiter, Hiroshi Sugimoto and Minor White, among others. Organized by Senior Curator Ellen Rudolph, the exhibition features photographs created between 1939 and 2010.
With a Trace: Photographs of Absence reacquaints viewers with—or introduces them to—analog photographic techniques such as the daguerreotype and photogram, which can produce images that challenge the idea that a photograph should represent a concrete thing in the real world.
States Rudolph, “As the use of traditional photographic media continues to recede into the background of contemporary practices, it is important to highlight the range
of effects artists can produce by experimenting with the science of analog photography—light-sensitive material, chemicals and light.”
The images in With a Trace: Photographs of Absence bear traces of human presence, the transmission of energy, atmospheric phenomena and the movement of light. Using a wide range of processes to render their enigmatic subjects, artists demonstrate the versatility of non-digital photography in depicting such intangibles as memory, dreams and emotion.
Many of the artists share interests in psychology, philosophy, religion, physics and astronomy, evidence of which seeps into their images. Often deeply personal yet universally accessible, the images are as remarkable for their spiritual content as for what is visually absent. They contain the presence of something unseen: life, death, energy, beauty, love.
Process and theme go hand-in-hand in With a Trace. Alison Rossiter pours photographic developer onto the surface of expired vintage photo paper to create abstract compositions that resemble otherworldly landscapes. By contrast, twentieth-century master Minor White captured natural phenomena such as a pool of ice crystals that through his eye and technical expertise are transformed into ethereal scenes.
Time plays a critical role in the images in With a Trace: Photographs of Absence. Chris McCaw allows the sun to literally sear an image onto photo paper, representing the accumulation of light and heat over time. Hiroshi Sugimoto’s spare seascapes meanwhile reference the endurance of life through time, facilitated by air and water.
The physical presence of each photograph in the exhibition is unique. While the blankness of certain images provides a canvas on which to fix a meditative gaze, other vague yet evocative images promote self-reflection. Together, this diverse selection of photographs will emit the low-level hum of universal timelessness.
Artists in the exhibition: Christopher Bucklow (born 1957, Manchester, England; lives London); Harry Callahan (born 1912, Detroit, Michigan; died 1999, Atlanta, Georgia); Margaret De Patta (born 1903, Tacoma, Washington; died 1964, Oakland, California); Jessica Eaton (born 1977, Regina, Saskatchewan; lives Montreal); Adam Fuss (born 1961, London; lives New York City); Lotte Jacobi (born 1896, Thorn, Germany; died 1990, Concord, New Hampshire); Chris McCaw (born 1971, Daly City, California; lives San Francisco); Daido Moriyama (Japanese, born 1938, Ikeda, Osaka, Japan; lives Tokyo); Alison Rossiter (born 1953, Jackson, Mississippi; lives New York City); Hiroshi Sugimoto (born 1948, Tokyo; lives Tokyo and New York City) Minor White (born 1908, Minneapolis, Minnesota; died 1976, Boston)
This exhibition was organized by the Akron Art Museum and made possible by a grant from the Robert Mapplethorpe Foundation.
Museum Information Address: One South High, Akron, OH 44308 Tel: 330.376.9185 Fax: 330.376.1180 Website: www.AkronArtMuseum.org Gallery and Store Hours: Wednesday – Sunday: 11 am – 5 pm, Thursday: 11 am – 9 pm, Closed Monday and Tuesday and all major holidays Library Hours: Wednesday, Thursday, Friday: 11 am – 4 pm Admission: Adult general admission is $7, Student and Senior (65+) general admission is $5, Children (17 and under) are FREE, members are FREE. On the third Thursday of every month, individual admission to the collection is FREE. Special exhibitions may require paid admission. No tours available on these days.
Where is your studio exactly and how long have you been working there? My studio is in Montréal, in the old town. This is a new studio for me, and one that I applied for. I moved in November 2012. It is in an old foundry building that was reclaimed to now be…
Desperately seeking brilliant studio assistant / Montreal.
Part time. Some weeks no work if I am out of town (maybe 10 hours weeks I am out of town). 40-10 hours a week. No photo experience required. Prefer none actually. Pay starts at $10/hour and goes up a dollar for each of the following points you can cover:
1. doesn’t steal from me 2. likes to clean. dust things. sweep. mop floor. organize shit. water plants. repot plants. grow tomatos. weed….. can grow things. 3. spatially orientated. can follow left right up down instructions even if they are backwards and upside down… because that is how it is through my camera. a good spatial person will get used to this after one shoot. 4. can quickly learn to understand code speak after a quick run through of objects and code. ie: grey ground in medium grey wall up, take me full black, R, full white, G… etc… there are actually only a very few variables. it ain’t that complicated. 5. is not allergic to cigarette smoke, but also has powers to make me quit smoking 6. doesn’t ever tell me how to do things better. unless we are done working and enjoying a drink together in the studio, then you could bring something up….. or you have worked long enough and you have proved I might consider you have some good ideas. 7. if #1. then I will give you a key to the studio and then if/when I am 3 hours late to come in to work you will just do #2. 8. some painting skills 9. some basic construction skills 10. can do a spreadsheet 11. have a DL 12. have a car 13. can politely answer emails 14. have superior accounting skills. can do cash flows. 15. can find cheapest flights on Earth and can figure out how to maximize airmiles aeroplans.
So there you go. Will pay, part time up to $25/hr. Benefits include sometimes food and good booze, sometimes bad booze.
Bonus $5/hr if you have 11/12, and also are a good cook and you come over to my apartment in the morning, make coffee and breakfast and drag my ass out of bed. Another $5 if you throw me in the shower. Then drive me to work.
Apply to email@example.com
Seems some people take me way to seriously. I am seriously looking for a studio assistant. Perhaps not quite to the full extent as described. The last bit, while would be nice, totally a joke. You do not need to cook for me or throw me in the shower.
This job is not under the table, so you must be able to legally work in Canada. There are no health benefits. There is also no set schedule and often I am out of town. Periods of near full time, but not all the time full time. Realistically it probably pays about $15/ hour unless you really are a magical super hero and can double on some studio managing duties.
This year has been very good for Montreal-based photographer Jessica Eaton — her highly technical in-camera photographic abstractions have found a wide audience among international collectors, gallerists, and the hip denizens of Tumblr alike. The work is very cool, with an effortless composition and color that belie their meticulous creation. But Eaton’s interests lie in perception and phenomenology, with an admirable rigor of production and endless experimentation. Standing at the forefront of a generation of young Canadian artists whose practices and concerns are increasingly aimed at international success over local renown, it would be best to buy now, before she’s completely out of reach. – Benjamin Bruneau