Angles Gallery is pleased to present Not in Arcadia Ego, featuring photographic works by Noriko Furunishi, Ori Gersht, Soo Kim, and Walter Niedermayr. The exhibition will be on view in the main galleries January 12th through March 9th.
The landscape has been a central theme in visual art since antiquity. But beginning in the 16th century, a new market for secular art emerged in the Netherlands, which caused a shift in the role of the landscape that reverberates today. Often relegated to a theatrical backdrop for biblical, mythological, and historical scenes in the 17th and 18th centuries, the landscape was elevated to higher status with Poussin's second version of Et in Arcadia Ego, also known as Shepherds in Arcadia (Les bergers d'Arcadie). Since that time, the landscape has worn powerful human emotions, previously reserved for history painting alone.
The radical use of the landscape by the early Moderns, and especially the Impressionists, opened the door for the early photographic works of the 19th century. The new medium had a profound impact on painting in general, and facilitated an expansion of both representations and perceptions of the landscape in the visual arts. Through the 20th century, the subject of the landscape remained dominant in photography, in response to industrialization, globalization, and the threat of ecological disaster. By the close of the 20th century (and more evident today) artists used the photographic landscape to contemplate the future of the human race, examine the history of culture and war, and, still, to illuminate the threat of ecological disaster.
The four artists represented in the exhibition use photography in unique ways to communicate an array of ideas to the viewer. Often referencing the tropes of painting, and openly borrowing from the milieu for composition and scale, today's landscape, as depicted in the photographic medium, is layered with emotion, history, and the weight of human experience.
Also on view will be three recent sculptural works by gallery artist Tom LaDuke. These works have never before been assembled in a single exhibition, and represent the artist's exploration of themes of perception and identity. Taking as a point of departure the German Idealists' notion that the self is a linguistic construct, a Mobius trip of reflection and perception, the artist has created a number of intimate sculptures that make manifest the dichotomy of the internal and external self.