Beyond Image: Photography in Contemporary Art
Beyond Image: Photography in Contemporary Art
At the Armory Center for the Arts
March 25 – June 10, 2007
Opening reception, Saturday, March 24, 7–9 p.m.
Pasadena, CA – The exhibition Beyond Image: Photography in Contemporary Art will be on view at the Armory Center for the Arts March 25 – June 10, 2007. An opening reception will take place on Saturday, March 24, 7-9 p.m. The Armory is located at 145 N. Raymond Avenue, Pasadena.
Beyond Image brings together work by 10 contemporary artists in which photography plays a central role. In an image-saturated culture where visual information is constantly and instantaneously created, manipulated, disseminated and consumed, the photograph becomes distorted and disposable. The works in the exhibition critique, analyze and dissect the photograph both conceptually and physically in decidedly non-mechanical and often analogue ways.
Whether in the process of its creation or through the use of the photograph as medium, the artworks incorporate the photograph as an essential component of the work. Many artists in the exhibition take a performative or process-oriented approach, while others engage more physically with the photographic material. This exhibition includes sculpture, painting, video, drawing and installation-based work. Artists are Brian Bress, Emilie Halpern, Gregory Michael Hernandez, Soo Kim, Kristi Lippire, Renee Lotenero, Christine Nguyen, Kim Schoen, Susan Silton and Augusta Wood. Curated by Elise Barclay.
Brian Bress creates sets in which he incorporates sculpture, painting, photography and found objects. The artist photographs his sets before, during and after they have been used in performance. The often surrealist scenes become a collage of fragmented elements in which he blatantly distorts forms to get at the strangeness of artifice.
Using simple materials, photographs and means of manipulation Emilie Halpern conjures natural and cosmic phenomena. She stages her photographs in ordinary settings to extraordinary effect, while posing questions about what is possible and what can only be imagined.
Gregory Michael Hernandez uses the photograph as a tool with which he reinterprets relationships to space. He combines 26 photos of landscapes which encompass 360-degree views. Assembled on the twenty-six sides of a geometrically perfect shape, he creates a landscape which both excludes the viewer and invites his/her posses ion of it.
Soo Kim photographs images of landscapes and interiors, cuttting, combining and collaging them with exacting precision. Her incisions become a process of subtractive drawing resulting in delicate layers of imagery. Kim removes information suggesting a space outside of the photographic image.
Kristi Lippire's pastiches of photographs by well-known and established artists transform these images into sculptural objects. In one of her works a quiet photographic still life becomes an out-of-scale tower of produce.
Renee Lotenero's multi-layered process involves photographing tiles encountered during her travels and creating hand-made replicas utilizing the same techniques and materials as the originals. Using these new versions of old tiles, Lotenero creates sculptures which repurpose the tile as a structural rather then decorative element. Photographs of the original tile are incorporated into the sculpture as well, collapsing the distant past, the recent past and the present.
Christine Nguyen combines the techniques of photography and drawing in her photo-based installations. She exploits the physical properties of the photographic materials and process creating dream-like narratives which glow with a convincing presence in spite of their otherworldly appearance.
Kim Schoen's photographs of fireworks devoid of any contextual information call to mind the war in Iraq, 4th of July celebrations and quiet graphite drawings. The invisible aspects of the work, the fact that these fireworks were orchestrated by the artist and photographed by a group of artist friends at a particular time and place invite questions about the consumption of images and the ways they shape our collective and individual memory. Our reception of these images creates a series of indelible abstractions.
Taken from digital videos of 360-degree views of urban landscapes, Susan Silton's triptychs of blurred images evoke the views from the window of a train at high speed and abstract paintings. The motion conveyed in these images underscores the impossibility of apprehending our experiences in their totality though means outside of ourselves and the fragmentation of that which we "experience" artificially through the photograph.
Augusta Wood's staged images combine text and image in a seamless yet transparent manner. She deftly collages fact – the surroundings which she
photographs - with fiction –bits of text from novels incorporated into the settings that she photographs.
All Armory exhibitions are free and open to the public. For more information, the public may call 626.792.5101 x 122, or visit www.armoryarts.org.