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Over the past two decades\, Jeff Brouws has pursued myr iad bodies of work that explore the less savory\, and perhaps more complex\ , manifestations of America’s cultural landscapes. His sixth solo show at C raig Krull Gallery\, opening June 2\, 2012\, will feature work from three o n-going series. As a self-described “visual anthropologist”\, Brouws recogn izes that photographs exist within a socio-economic\, political\, or histor ical context. Every landscape can be read as a “field of information” revea ling evidence of the external forces that have shaped them. Grounded in a s ubtle formalism\, Brouws’ photographs also ask the viewer to consider the s ystems that have facilitated their subject’s construction\, or alternativel y\, their abandonment.

Brouws’ After Trinity project explores the historical remnants\, an d contemporary realities\, of nuclear weapons and reflects his interest in identifying cultural evidence with broad sociological implications. Deeply affected after reading John Hersey’s Hiroshima as a student\, he embarked o n a wide-ranging photographic project in 1987 cataloging the symbols and ar tifacts of the atomic era. He made visits to document the Trinity site (loc ation of the first atom bomb detonation)\, Los Alamos’ Bradbury Museum of S cience dedicated to nuclear weapons\, and the Nevada Test Site. Updating th is project in 2009 with his Proximity series (a body of work for which he h as received the 201 2 Prix Pictet nomination) Brouws photographed active\, nuclear-tipped I CBM Minuteman Missile silos and their adjacency to everyday places in rural North Dakota.

In two other bodies of work\, from his Franchised and Discarded Landscapes series\ , Brouws references and complements the photography of the New Topographics m ovement of the 1970s. In addition to studying the newly constructed suburba n world\, as those artists so eloquently did\, Brouws explores terrain vagu e inner city areas and considers how racial segregation\, white flight\, di sinvestment\, corporate takeovers\, outsourcing\, and other factors have re ciprocally shaped urban\, suburban and even highway spaces. As he clearly d emonstrates\, The New West has become a “non-place” landscape comprised of big box stores and fast food chains with their glowing\, corporate logos mo unted atop skyscraper-high poles. The poet Gary Snyder referred to these si gns as “…skinny wildweed flowers sticking up…in the asphalt riparian zone.” Brouws creates single images and diptychs\, as well as typologies such as his Signs Without Signification—portraits of light-box signs from once thri ving\, but now abandoned businesses that reveal Capitalism’s cyclical natur e and it tendencies toward “creative destruction.”

Jeff Brouws has produced four monographs\, inc luding the 1992 homage to Ed Ruscha entitled Twentysix Abandoned Gasoline Stations. His most recent book i s Ap proaching Nowhere published by W.W. Norton in 2006. His work can be found in the numerous museum collections including: The Whitney Museum of American Art\, San Francisco Museum of Modern Art\, Harvard's Fogg Museu m\, the Princeton University Art Museum\, the Santa Barbara Museum of Art\, and the J. Paul Getty Museum.

DTEND:20120714 DTSTAMP:20140730T164941 DTSTART:20120602 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Fields of Information\, Jeff Brouws UID:216860 END:VEVENT BEGIN:VEVENT DTEND:20120602T180000 DTSTAMP:20140730T164941 DTSTART:20120602T160000 GEO:34.0276049;-118.4678444 LOCATION:Craig Krull Gallery\,Bergamot Station 2525 Michigan Ave. Building B-3\nSanta Monica\, CA 90404 SEQUENCE:0 SUMMARY:Fields of Information\, Jeff Brouws UID:216861 END:VEVENT END:VCALENDAR