Tuesday, September 17, 2013

Wish You Were Here Exhibition Review & Paul Pfeiffer in Art 21

Wish You Were Here Exhibition

August 30 - September 29, 2013
Chanel Waikiki Boutique
2116 Kalakaua Ave. 


I'm hoping to take some of my students to view this great selection of work showing in the Chanel boutique. Check out the review written by my current mentor, Jaimey Hamilton Faris. A brief quote, Jaimey writes:

"Sponsored by the Honolulu Museum of Art (HMA), organized by John Koga and Allison Wong, and hosted by Chanel, this off-the-beaten track gem features the work of Ashley Bickerton, Paul Pfeiffer, Garnett Puett, and Lawrence Seward. Why do I want you to be there? To see how experienced artists delve into the complexities and nuances of cultural commodification without getting weighed down in parody or righteous critique. Their work, if it employs the clichés of tourist culture, only uses them strategically to hone our looking at it, engaging us with deeper issues of absent human relations."

I also took time to learn more about Paul Pfeiffer's work. I found his interests in celebrity commodification and his use of erasure to discuss time, place, and desire very compelling. His images currently showing in Waikiki feature beach scenes with iconic portraits of Marilyn Monroe removed from the environment. At first the images appear simple and commonplace, yet over time one begins to notice prints in the sand or an out-of-place shadow. With patience, Pfeiffer's images are both haunting and thought-provoking.

For more info on his work, check out: Paul Pfeiffer, Art 21, Season 2 "Time"
http://www.pbs.org/art21/artists/paul-pfeiffer

Saturday, September 7, 2013

New work: Manufactured Horizons

This new work deals with compositing images of human-made constructions (or activity) on the water sandwiched between two images that reflect light pollution gradients. I'm currently exploring ways to articulate how the "artificial" collides with the "natural." I use quotations here since these terms open up  huge discourses on the notion of nature, wilderness theory, artificiality, the sublime, etc. I'm also thinking about the ways in which I, the artist, can not only photograph the horizon but also reproduce one via post-processing and the final print. A great read that continues to influence my ideas is William Cronon's collection of essays "Uncommon Ground: Rethinking the Human Place in Nature." 









Saturday, August 10, 2013

Friday, August 9, 2013

The Hawaii Pictures: Ansel Adams and Georgia O'Keefe, Honolulu Museum of Art Exhibition


Excerpt from Honolulu Museum of Art webpage:
https://www.honolulumuseum.org/art/exhibitions/13245-georgia_okeeffe_and_ansel_adams_hawaii_pictures

“Both artists wanted to unmask what lay beyond the beaches of Waikiki,” says Theresa Papanikolas, the museum’s curator of European and American art, and curator of the exhibition. “O’Keeffe went beyond prevailing stereotypes and pictured Hawai‘i in terms of her own authentic and deeply personal response to its natural beauty. Meanwhile, the work that Adams did in the island reflected and augmented his broader aim to exploit the capacity of modern photography to reveal the essence of a given subject and, in doing so, make America’s celebrated spaces immediately identifiable and accessible.”

The exhibition includes a selection of painting associated with O’Keeffe’s 1939 trip to Hawai‘i to create illustrations for print advertisements for the Hawaiian Pineapple Company (now the Dole Company). During her two-month stay, O’Keeffe visited O‘ahu, Maui, Kaua‘i, and Hawai‘i Island, painting dramatic coastlines, volcanic terrain, traditional tools, and exotic flora.

Adams’s photographs of Hawai‘i were also the result of a commission. He first visited the islands in 1948 to take photographs for a series on national parks for the Department of the Interior, and returned in 1957 for a commemorative publication for Bishop National Bank of Hawai‘i (now First Hawaiian Bank).




Thursday, August 1, 2013

Artist Talk: Kosta Kulundzic’s Hawaii Apocalypse, 8/1

Article in Flux Hawaii, July 25, 2013
End of the World in Paradise

Looking forward to this artist talk on August 1. Excerpt from article:

"Kosta Kulundzic’s Hawaii Apocalypse, on display at SPF Projects until August 25, puts Saint George the Dragon Slayer, the patron saint of soldiers, chivalry, and horsemen, right in the center of paradise. This medieval legend has everything you could want: a brave hero, an evil villain, and a damsel in distress. O‘ahu becomes the unexpected setting for religious violence and comic book catastrophe."

Kosta Kulundzic’s Hawaii Apocalypse, curated by Trisha Lagaso Goldberg is currently showing at SPF Projects from July 18–August 25. An artist talk will take place on August 1 at 7 p.m.

LINK for more info:
http://fluxhawaii.com/archives/end-of-the-world-in-paradise/

Wednesday, July 31, 2013

Article: Interview with Collector Bret Kreuk

Article: Other People & Their Ideas
Interview by Mark Rappolt
Art Review, Issue 69, Summer 2013
For full text: http://artreview.com/features/bert_kreuk_other_people_and_their_ideas_no._7/

I found this Art Review interview with collector Bret Kreuk interesting. Mark Rappolt asked "What would you like people to take away from it [your collection]?"

Bret Kreuk replied, "You know, what I’d like them to take away is that art is not only about a nice two-dimensional picture. Art is also very much about learning, and about an educational process. People should look at an artwork, not because they think it’s ugly, or it’s beautiful, because ugly is a very subjective word. Something beautiful might be very superficial – somebody came up with an idea, made it commercial so that people buy it. That’s easy. It’s always easy to buy an artist who is clever enough to present something which is attractive, but staying truthful to the concept of their own ability and their own ideas, that’s something else. Ugly is maybe even nicer. It’s about the educational process, and helping people on their way to think differently about art. That’s what I’d like people to take away from it, that they have to think for themselves."

Sunday, July 28, 2013

Recent Work: Lost & Found

These are experiments working with previous images from last semester. I'm using the latitude and longitude coordinates of where I took the image to specify their exact location via Google Maps. Paired with my somewhat ambiguous landscapes, I find the Google Maps satellite images of the same place intriguing. I'm wondering what new dialogue is sparked when paired with my rendition of the location... information accessibility online, perception of place, ways in which photography can simultaneously share information and deceive the viewer. 

Still works in progress... 

21° 16' 53.20" N, 157° 42' 47.72" W

21° 15' 48.96" N, 157° 49' 18.71" W

35° 18' 17.02" N, 139° 33' 3.85" W

Saturday, July 27, 2013

Video: Aperture Panel Abstraction in Photography, Hammer Museum

Aperture Panel: Abstraction in Photography, Hammer Museum

I found this video available on Youtube very interesting. Going to keep my eyes open for the Rexer's book due out in September 2013.

http://www.youtube.com/watch?v=qDYBJV4ylzw

Blurb: From the beginning, abstraction has been intrinsic to photography, and its persistent popularity reveals much about the medium. Artists Susan Rankaitis and James Welling and UCLA Associate Professor of Art History George Baker debate a host of approaches to the abstract photographic experience in this panel discussion moderated by Lyle Rexer, the author of The Edge of Vision: The Rise of Abstraction in Photography.



Tuesday, July 2, 2013

New York: Gugghenheim, The Met, MOMA, and ICP

Oh New York, New York. Even when it is rainy, hot, and humid like the days I visited, I still love this city. As I made my way back from June's residency in Boston, I had the opportunity to soak up a few excellent exhibitions in the Big Apple. Here are some highlights:

1. Guggenheim: James Turrel's site specific installation

I was excited to experience Turrell's installation live since I’ve only read about his works. As expected, it does take time to slow down and immerse yourself in the environment. As I watched the glowing, ethereal color gradients change, I found it just as fascinating to note how other observers experienced the space. Some visitors sat quietly with their eyes closed, others laid back on the recliner benches with eyes wide open as if in awe. On my left, a couple felt inclined to kiss and directly in front of me, children shouted “Woooow!” On the upper floors, there were older works of Turrell's on view that gave context for his projects and career trajectory. Another highlight was seeing his Afrum (White) or aka White Cube in person.

"My work is about space and light that inhabits it. It is about how you confront that space and plumb it. It is about your seeing." - James Turrell

Click here for an 8 min video link on Turrell & the project:  http://www.guggenheim.org/new-york/exhibitions/on-view/james-turrell

2. The Met

Everyday Epiphanies: Photographs and Daily Life Since 1969
At War with the Obvious: Photographs by William Eggleston

Punk: Chaos to Couture
Frank Lloyd Wright Room
Impressionist Wing

3. Museum of Modern Art
Painting and Sculpture floors
XL: 19 New Acquisitions in Photography
Artist highlights: Liz Deschenes, Allan Sekula, Stephen Shore, Taryn Simon, Robert Frank, Běla Kolářová, Dora Maurer, Paul Graham, Óscar Muñoz, Mariah Robertson

4. International Center of Photography:  A Different Kind of Order: The ICP Triennial
(One of my favorite museums in Manhattan, the triennial did not disappoint!)

Artist & work highlights: Trevor Paglen Untitled (Predator Drone), Wangechi Mutu, Elliot Hundley Pentheus, Mishka Henner Dutch Landscapes, Thomas Hirschhorn Touching Reality, Gideon Mendel Drowning World, Sam Falls, Sohei Nishino Diorama Maps,  Mikhael Subotzky & Patrick Waterhouse

Excerpt from press release:

"The exhibition sketches the contours of the new visual and social territory in which photography finds itself today. A number of key themes serve as guidelines that link the works in the exhibition:
• Artist as aggregator identifies one of the main aesthetic offshoots of the digital image environment: the present-day descendants of the “image scavengers” of the 1980s who are now busy plundering and reorganizing found, online photographs into highly personal, web-based archives.
• The resurgence of collage is evident in works that combine photographic fragments, digital images, paint, three-dimensional objects, and audio and video material to blast open and reconfigure the space of the photograph in unprecedented ways.
• At a time when all manner of power structures are being called into question, mapping has become a renewed subject of artistic inquiry—part of a wider fascination with the power of ordering systems that has emerged in response to the dematerialized disorder of the Internet’s environment.
• The Internet’s dissolution of geographic distance has spurred the development of new forms of community, allowing artists to explore new forms of connection, collaboration, and multiple authorship that do not depend on physical proximity.
• In cooperation with ICP Associate Librarian Matthew Carson, the exhibition will also include an installation of approximately 100 recent photo books, which testifies to the extraordinary boom in self-published and small-press photo books now occurring around the world."


Small video I made as the train approached Manhattan

Thursday, June 13, 2013

Big Island Selection

Last week, I had the opportunity to photograph a wedding on the Kona side of Big Island. Dustin and I took advantage of the trip and extended our stay by two extra days for creative photo adventures. Big Island's surreal lava landscape, steep cliffs, and patches of green pasture were especially interesting to explore given the current direction of my work. Since we were on the Kona side, I made a point to scope out the windmill farm by Ka Lae Point. Throughout our visit, the vog was fairly thick which I tried to embrace while making pictures. I did encounter a few moments of clear air and light which I was thankful for. As I scouted for pictures, I was particularly interested in finding strange or unusual hints of human intervention on the landscape. I find myself looking for equal parts beauty and strangeness.