This relates to a post last week over on Brian Ulrich's Not if But When blog titled, "Where is the Crisis" in which he asks why more photographers aren't making work about the current crisis (that's what they call it in Spain and it seems pretty fitting to me). After seeing the current Art of Two Germanys show at LACMA a couple of times, I was taken aback by how incredibly political art was in postwar Germany, as artists and the country tried to come to grips with Nazism. It does seem to me at times that we have become a bit complacent. Maybe it's in part due to the optimism of the Obama election but I'm also wondering why the horrors of the Bush years weren't tackled more by artists (of course, there was excellent photojournalism going on during this period abroad).
From an article titled Tough Times Call for Shrewd Artists by Dorothy Spears in the NYT:
Anne Tucker, the curator of photography at the Museum of Fine Arts, Houston, said it will be interesting to see whether, in an era when documentary photography is no longer embraced by the art world, the current hard times will prompt artist-photographers to document human suffering — and endurance. “When the chips are down, she said, “there’s much more receptivity to it.”
Tuesday, February 17, 2009
Monday, February 16, 2009
Re: The Boom is Over. Long Live the Art!
My response to a very interesting piece in the NY Times by Holland Cotter about the current state of the art market and where it might be going - perhaps the most interesting piece on art I've read in a long while:
1) Cotter's mention of the artists doing everything in terms of media is interesting. William Lamson's video pieces come to mind, which have gained prevalence on his website (and are a joy to watch). Is being a photographer alone not enough anymore? Was it ever?
2) I found the bit on the gatekeepers and figurative circle jerk fascinating (in the sense that someone dared mention it) especially in contrast to traditional business and how this would never fly in other industries for obvious reasons.
3) "Students who entered art school a few years ago will probably have to emerge with drastically altered expectations. They will have to consider themselves lucky to get career breaks now taken for granted: the out-of-the-gate solo show, the early sales, the possibility of being able to live on the their art."
- How is this significantly different from the boom times?
4) Using Henry Darger as an example of an artist with a day job? He was an outsider artist who never intended his art to be seen and was blown away when his landlord mentioned having seen it and it's potential worth on his death bed.
Do yourself a favor and order In the Realms of the Unreal immediately if you haven't seen it yet.
5) Aside from the Darger mention, entirely true (and I hope the art world comes to accept this):
"It’s day-job time again in America, and that’s O.K. Artists have always had them — van Gogh the preacher, Pollock the busboy, Henry Darger the janitor — and will again. The trick is to try to make them an energy source, not a chore."
6) "But with markets uncertain, possibly nonexistent, why not relax this mode, open up education?"
- When will art education ever be "opened up" with it's time and monetary restrictions? Is 120k really the buy-in price to be considered a "legitimate" artist or for having doors opened for us?
7) "Why not make studio training an interdisciplinary experience, crossing over into sociology, anthropology, psychology, philosophy, poetry and theology?...My guess is that if you did, American art would look very different than it does today."
- Ed Winkleman recently posted something about not listing unrelated education on an artist resume. I respectfully find fault with this. Should not an artist have knowledge of an array of topics which then infiltrate their art, whether directly or indirectly? Why not an educated artist, outside the traditional gatekeeper mode? Doesn't Roger Ballen have a PhD in Geology? Does this make him more or less "valid?" Does it influence his art in a unique and positive way or negatively?
8) "But there will be many, many changes for art and artists in the years ahead. Trying to predict them is like trying to forecast the economy. You can only ask questions."
- This is what I've tried to do with this post - ask questions. I invite you to ask your own.
1) Cotter's mention of the artists doing everything in terms of media is interesting. William Lamson's video pieces come to mind, which have gained prevalence on his website (and are a joy to watch). Is being a photographer alone not enough anymore? Was it ever?
2) I found the bit on the gatekeepers and figurative circle jerk fascinating (in the sense that someone dared mention it) especially in contrast to traditional business and how this would never fly in other industries for obvious reasons.
3) "Students who entered art school a few years ago will probably have to emerge with drastically altered expectations. They will have to consider themselves lucky to get career breaks now taken for granted: the out-of-the-gate solo show, the early sales, the possibility of being able to live on the their art."
- How is this significantly different from the boom times?
4) Using Henry Darger as an example of an artist with a day job? He was an outsider artist who never intended his art to be seen and was blown away when his landlord mentioned having seen it and it's potential worth on his death bed.
Do yourself a favor and order In the Realms of the Unreal immediately if you haven't seen it yet.
5) Aside from the Darger mention, entirely true (and I hope the art world comes to accept this):
"It’s day-job time again in America, and that’s O.K. Artists have always had them — van Gogh the preacher, Pollock the busboy, Henry Darger the janitor — and will again. The trick is to try to make them an energy source, not a chore."
6) "But with markets uncertain, possibly nonexistent, why not relax this mode, open up education?"
- When will art education ever be "opened up" with it's time and monetary restrictions? Is 120k really the buy-in price to be considered a "legitimate" artist or for having doors opened for us?
7) "Why not make studio training an interdisciplinary experience, crossing over into sociology, anthropology, psychology, philosophy, poetry and theology?...My guess is that if you did, American art would look very different than it does today."
- Ed Winkleman recently posted something about not listing unrelated education on an artist resume. I respectfully find fault with this. Should not an artist have knowledge of an array of topics which then infiltrate their art, whether directly or indirectly? Why not an educated artist, outside the traditional gatekeeper mode? Doesn't Roger Ballen have a PhD in Geology? Does this make him more or less "valid?" Does it influence his art in a unique and positive way or negatively?
8) "But there will be many, many changes for art and artists in the years ahead. Trying to predict them is like trying to forecast the economy. You can only ask questions."
- This is what I've tried to do with this post - ask questions. I invite you to ask your own.
Saturday, February 14, 2009
DRKRM Gallery Opening tonight - Joseph Rodriguez
drkrm.gallery is pleased to announce the first Los Angeles exhibition of Flesh Life: Sex in Mexico City, the work of New York-based photographer Joseph Rodríguez, from February 14 through March 15, 2009, with an opening reception on Saturday evening, February 14, from 7-10 p.m.
From Nezahualcoyotl, the largest working-class suburb on Earth, to La Condesa, Mexico City’s hipster hangout, putas and putos stroll the streets, cruising for johns and surviving on their wit, born out of true desperation. These men, women, and everyone in-between are sex-workers in a country where extra-marital sex is considered a mortal sin, and, confoundingly, where they ply their trade without official reprisal. In Mexico, macho husbands consort with other men, and virgencitas are anything but.
Friday, February 13, 2009
FlakPhoto showcases LayFlat
FlakPhoto will be showcasing selections from Lay Flat 01 over the coming weeks. If you aren't aware of FlakPhoto, head over for a peak or just trust me when I say you'll want Andy Adam's impeccable taste to appear on your blog reader on a daily basis and add it now.
Lay Flat 01: Remain in Light contains a number of articles and 20 unbound works by emerging photographers and was co-curated by Shane Lavalette and Karly Wildenhouse who, judging by the first two selections on Flak, have excellent taste also. Shane's blog/journal is not one to miss either.
Ignoring the articles, photos come out to $1.25 each, which is a pretty good deal in my book. Get yours now.
Thursday, February 12, 2009
The Garden Party at Edgar Varela Fine Arts - Thursday
Think of it as an after party to the monthly Downtown Art Walk in that you'll have to head over in your car unless you like the prospect of walking through Skid Row and back.
9pm to 2am - drinks will be had, music will be played and work will be shown, including photos by Jennie Warren with whom I shoot for a photo collective. I actually saw this print at the art walk a while ago before knowing who Jennie was and it blew me away. Sounds like a good time. $5 cover.
More info via the LA Times here.
Monday, February 9, 2009
Off topic wow factor - Lieko Shiga
Not at all L.A. related, but I came across the work of Leiko Shiga, who's won the ICP's Infinity Award for best young photographer (28 years old). I like work that confuses me a bit. Lieko's work feels like a bit of a mix between Ryan McGinley and Bill Henson with some mysticism thrown in. She definitely has something unique, dreamlike going on.
This is my forerunner for favorite find of 2009 thus far. A taste of her work below but I highly recommend a visit to her site.
This is my forerunner for favorite find of 2009 thus far. A taste of her work below but I highly recommend a visit to her site.
All works copyright Lieko Shiga
Wednesday, February 4, 2009
Photo España - Descubrimientos 2009
So I try not to talk about my own work very much on here, with the intent that the blog be greater than myself and focused on West Coast photography and LA in particular, but I can't resist today. I just found out I was selected for the Photo España Descubriemientos reviews/contest so my work will be reviewed by what I think is the most impressive panel I've seen yet and one of my photos will be part of a group show that is part of the festival.
Having lived the past 3 years (and 4 total) of my life in Madrid, I'm super excited to be going back and to be part of this amazing celebration ofo photography, which I've immensly enjoyed over the years.
Head over to website to view the other photographers participating in Descubrimientos.
Sunday, February 1, 2009
Feature -Patrick Romero
Patrick Romero is an LA-based photographer I found via his Flickr stream (I strongly disagree with those who think good photography cannot be found on that site).
Patrick was in the Tim Barber curate show, "Various Photographs" and has a photo in the Humble Arts online exhibition #23.
He just did a final post expressing his frustration with the fine art world on his blog, which has caused him to turn his focus to editorial work, which is fine and the editorial world is respectable indeed and could benefit from his perspective but a part of me is sad when I see these frustrations lead to a good photographer turn away from fine art. The internet and blogosphere was supposed to democratize things a bit more, but sometimes it feels like we've just added a few more gatekeepers, which is why I have an overwhelming 40 or so blogs on my reader to try to absorb as much as I can, though we all know the ones that "count."
Patrick was in the Tim Barber curate show, "Various Photographs" and has a photo in the Humble Arts online exhibition #23.
He just did a final post expressing his frustration with the fine art world on his blog, which has caused him to turn his focus to editorial work, which is fine and the editorial world is respectable indeed and could benefit from his perspective but a part of me is sad when I see these frustrations lead to a good photographer turn away from fine art. The internet and blogosphere was supposed to democratize things a bit more, but sometimes it feels like we've just added a few more gatekeepers, which is why I have an overwhelming 40 or so blogs on my reader to try to absorb as much as I can, though we all know the ones that "count."
F-ing Brilliant
I need to ask this guy to write my artist statements.
A gem in today's Los Angeles Times:
The artist as a young boy
Everyone’s an art critic. And some critics, when they answer to Dad, are also big fans.
To: Director, Los Angeles County Museum of Art
Re: Potential exhibition
I am writing to renew my offer to let you exhibit recent artistic compositions by my 3-year-old son, Zachary Rau (2006- ). As I previously detailed, Zachary's creativity at Hansel-Gretel Pre-Kindergarten has received lavish praise not just from his teacher, Ms. Jandy, but also from our relatives, friends and neighbors.
Employing the most rudimentary tools, including Q-tips for brushes and paper silhouettes of animals, rockets and choo-choo trains, Zachary has distinguished himself as a pioneering talent of his generation.
Because I have not heard back from you despite repeated e-mails, telephone calls, registered letters and unannounced visits to your office and home, I have taken the liberty of providing, below, interpretive text to help your curators better understand Zachary's inimitable takes on teddy bears, fire engines and the human condition.
In this typically irreverent handiwork from Zachary's early period, colorful plastic gems affixed to a spaceship celebrate earthly pleasures. The artist's deliberate placement of several luxurious jewels in an upside-down position represents an implicit critique of materialism. The inclusion of ample epoxy, uncommitted to bonding any material, invites us along on this uplifting voyage through contemporary existence.
-- Elmer's glue, sequin and putty on construction paper. (On loan from the Rau Family refrigerator door.)
Through prodigious use of red glitter, the color of deficits, the artist appraises the economic devastation wrought by the modern Gilded Age. The abandoned Q-tip satirizes the establishment's failure to clean up Wall Street. On a subtler level, this archetypal, inadequate instrument of the country's dysfunctional healthcare system lampoons the shortcomings of government bailout efforts, particularly with regard to the auto industry, of which the artist has been a zealous advocate since the acquisition of his first Hot Wheels.
-- Tinsel, swab and drool on manila folder. (On loan from the Hansel-Gretel Pre-Kindergarten wall.)
The vulnerability of childhood is a recurring theme in the artist's work, nowhere more so than in this melancholy depiction of a green dinosaur. A cogent metaphor for annihilation, the beast's emotional palette decries youth's inevitable passage. The red scrawl conjures blood, the purple embodies bruises and the yellow evokes the flame of existential pain. An ominous black cookie crumb completes this apprehensive self-portrait of the artist as fragile thunder lizard.
-- Crayon and Oreo on reverse side of interoffice memo. (On loan from Grandpa's bottom desk drawer.)
During the Bush years, the artist ardently condemned not only the "war on terror" but also anything remotely frightening, including Halloween masks, monsters under beds and "Disney on Ice." In this passionate censure of the Patriot Act, the outline of the bell -- that inviolate national symbol -- is traced unsteadily, suggesting the irreparable distortion of our civil liberties. Red, white and blue star stickers, strewn as if by random, represent the desecration of the American flag. But there is hope as well. Splotches of purple paint and a discarded Band-Aid allude to the artist's heartfelt belief that the country may yet transcend the ideological divide of red and blue states. And the signature motifs of kitty cats and smiley faces beseech the citizenry to resist despair in these bleak times.
-- Decal, washable finger paint and frayed bandage on day-care tuition bill. (On loan from the estate of Great-Grandma Rau.)
Your curators are welcome to install these interpretive passages alongside Zachary's collection. I would write more, but Lena, my 5-year-old daughter, has offered a compelling exegesis of "Little Red Riding Hood" as a vegan manifesto, and I must determine when UCLA's literature department has its next open tenure-track position.
Jordan Rau is a reporter in The Times' Sacramento bureau.
Re: Potential exhibition
I am writing to renew my offer to let you exhibit recent artistic compositions by my 3-year-old son, Zachary Rau (2006- ). As I previously detailed, Zachary's creativity at Hansel-Gretel Pre-Kindergarten has received lavish praise not just from his teacher, Ms. Jandy, but also from our relatives, friends and neighbors.
Employing the most rudimentary tools, including Q-tips for brushes and paper silhouettes of animals, rockets and choo-choo trains, Zachary has distinguished himself as a pioneering talent of his generation.
Because I have not heard back from you despite repeated e-mails, telephone calls, registered letters and unannounced visits to your office and home, I have taken the liberty of providing, below, interpretive text to help your curators better understand Zachary's inimitable takes on teddy bears, fire engines and the human condition.
"Cosmos" (2007)
In this typically irreverent handiwork from Zachary's early period, colorful plastic gems affixed to a spaceship celebrate earthly pleasures. The artist's deliberate placement of several luxurious jewels in an upside-down position represents an implicit critique of materialism. The inclusion of ample epoxy, uncommitted to bonding any material, invites us along on this uplifting voyage through contemporary existence.
-- Elmer's glue, sequin and putty on construction paper. (On loan from the Rau Family refrigerator door.)
"Untitled #24" (2009)
Through prodigious use of red glitter, the color of deficits, the artist appraises the economic devastation wrought by the modern Gilded Age. The abandoned Q-tip satirizes the establishment's failure to clean up Wall Street. On a subtler level, this archetypal, inadequate instrument of the country's dysfunctional healthcare system lampoons the shortcomings of government bailout efforts, particularly with regard to the auto industry, of which the artist has been a zealous advocate since the acquisition of his first Hot Wheels.
-- Tinsel, swab and drool on manila folder. (On loan from the Hansel-Gretel Pre-Kindergarten wall.)
"Extinction" (2007)
The vulnerability of childhood is a recurring theme in the artist's work, nowhere more so than in this melancholy depiction of a green dinosaur. A cogent metaphor for annihilation, the beast's emotional palette decries youth's inevitable passage. The red scrawl conjures blood, the purple embodies bruises and the yellow evokes the flame of existential pain. An ominous black cookie crumb completes this apprehensive self-portrait of the artist as fragile thunder lizard.
-- Crayon and Oreo on reverse side of interoffice memo. (On loan from Grandpa's bottom desk drawer.)
"Bell" (2008)
During the Bush years, the artist ardently condemned not only the "war on terror" but also anything remotely frightening, including Halloween masks, monsters under beds and "Disney on Ice." In this passionate censure of the Patriot Act, the outline of the bell -- that inviolate national symbol -- is traced unsteadily, suggesting the irreparable distortion of our civil liberties. Red, white and blue star stickers, strewn as if by random, represent the desecration of the American flag. But there is hope as well. Splotches of purple paint and a discarded Band-Aid allude to the artist's heartfelt belief that the country may yet transcend the ideological divide of red and blue states. And the signature motifs of kitty cats and smiley faces beseech the citizenry to resist despair in these bleak times.
-- Decal, washable finger paint and frayed bandage on day-care tuition bill. (On loan from the estate of Great-Grandma Rau.)
Your curators are welcome to install these interpretive passages alongside Zachary's collection. I would write more, but Lena, my 5-year-old daughter, has offered a compelling exegesis of "Little Red Riding Hood" as a vegan manifesto, and I must determine when UCLA's literature department has its next open tenure-track position.
Jordan Rau is a reporter in The Times' Sacramento bureau.
Friday, January 30, 2009
Ephemeral Photography
From a great article over at the WSJ titled "Asking the Artist for a Do-Over:"
In 1995 the Museum of Modern Art purchased the complete set of Cindy Sherman's 1977-80 untitled film stills, considered some of the most important photographs produced in the contemporary era. Nowhere on the accompanying labels or on its Web site does the museum acknowledge that these prints were run off at the time of the purchase from the old negatives, because many of the original black-and-whites had been processed carelessly, resulting in severe color shifts and fading. "When people bring in an early work that's technically all wrong -- it's turned silver or something -- we print out another one," said Janelle Reiring, director of Sherman's gallery, Metro Pictures.
Now, this is something I have often thought about when it comes to photography. What's the most a photo can last? If I were going to buy Gursky's 99 Cent for 3 million dollars, I'd sure as heck want to know that it could be passed on from generation to generation like a painting can. Might this be the reason for photography not selling anywhere near the prices of the top contemporary canvases?
It would make sense to me that some sort of foundation be created by the big art photographers or their galleries ensuring (by simply keeping a high res. digital file for printing) that another pristine copy could be exchanged for the old one, which would then be destroyed, retaining the value of the work. Such a guarantee might make auction (and thus, gallery) prices rise.
In 1995 the Museum of Modern Art purchased the complete set of Cindy Sherman's 1977-80 untitled film stills, considered some of the most important photographs produced in the contemporary era. Nowhere on the accompanying labels or on its Web site does the museum acknowledge that these prints were run off at the time of the purchase from the old negatives, because many of the original black-and-whites had been processed carelessly, resulting in severe color shifts and fading. "When people bring in an early work that's technically all wrong -- it's turned silver or something -- we print out another one," said Janelle Reiring, director of Sherman's gallery, Metro Pictures.
Now, this is something I have often thought about when it comes to photography. What's the most a photo can last? If I were going to buy Gursky's 99 Cent for 3 million dollars, I'd sure as heck want to know that it could be passed on from generation to generation like a painting can. Might this be the reason for photography not selling anywhere near the prices of the top contemporary canvases?
It would make sense to me that some sort of foundation be created by the big art photographers or their galleries ensuring (by simply keeping a high res. digital file for printing) that another pristine copy could be exchanged for the old one, which would then be destroyed, retaining the value of the work. Such a guarantee might make auction (and thus, gallery) prices rise.
Wednesday, January 28, 2009
J. Bennett Fitts / Kopeikin Reopening Saturday
Copyright J. Bennett Fitts
Kopeikin Gallery is having it's first Opening at it's new digs in West Hollywood with a joint show featuring J. Bennett Fitts' "Industrial Landscape[ing]" series this Saturday from 6-9pm.
I'll be in attendance so let me know if you are going also and we can say hello and geek out on photo.
Monday, January 26, 2009
Quote of the week
So Joerg published this today on Conscientious (which I'm certain all of you read) but I just wanted to add a little something to the end of it.
"Because it's the product of three independent parties - photographer, camera, subject - the photograph cannot be owned. Indeed, it can affect us in ways the photographer might never have foreseen or desired." - William T. Vollmann
...However, you must all go write artist statements now, telling us what you would like us to feel and think about your work because conceptualism has won. What's that you say? You are trying to communicate visually? Go write something anyway or we won't consider your work.
"Because it's the product of three independent parties - photographer, camera, subject - the photograph cannot be owned. Indeed, it can affect us in ways the photographer might never have foreseen or desired." - William T. Vollmann
...However, you must all go write artist statements now, telling us what you would like us to feel and think about your work because conceptualism has won. What's that you say? You are trying to communicate visually? Go write something anyway or we won't consider your work.
Animal Collective tics for the Wiltern in May on sale!
Copyright Noah Kalina
Photo related posts to follow shortly, but if you are an Animal Collective fan, you'll want to know that tickets for their show on May 29 at the Wiltern just went on sale. Looks like downstairs is already sold out so act fast. Scalped tics for the last two sold out shows were going for 100 bucks. Buy today or beware.
If you're not a fan, please forgive the post...but you should be.
Monday, January 19, 2009
Translight Photography Center
Translight Colours is now Translight Photography Center, offering both color and B&W darkroom rentals, Epson 9800 printing and a whole slew of other services. You can use the Epson color printer (up to 44" tall) with Christine, the manager's supervision for just $7 a square foot. That means to print a 6 foot wide print comes out to about $65. A comparable print at a very popular lab here, the name of which I'll keep to myself, would run you $160 and you'd have to wait to get your test print, come back, see it, make tweaks, and then come back again for the final print. I don't know about you, but I like the idea of being able to bang it all out in one go and have Christine there to help if anything goes wrong. I can't wait to try it out.
Thanks, Aline
PIX, the rental house here in Los Angeles has launched a blog. If it's anything like their MySpace page, you will definitely want to add this one to your blogroll to keep up to date on all things photo related in town.
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