What’s new…? Beni Bischof

BENI BISCHOF

Above images from “BRICKED CASTLES” / Beni Bischof

New work to me…  I like how these images defy easy categorization – perhaps it is best to simply say these are very good critical pictures.

My impression is that these works float in almost pure picture form. The picture contains the elements of  a photograph, a drawing, a painting – and it is incidental upon what medium the image rests…  That is something new and exciting.

What’s so great?

These pictures are modern and potent.

Rather than admiring the laborious recreation of “what has already been”, Bishcof’s pictures (at least those in the “Bricked Castles series” ) move beyond recollection, imitation, or sorry re-creation and reference. Quite unlike for example this work posted on Conscientious by Jörg Colberg- which rests quite heavily on someone else’s shoulders.  In my opinion the referencing sort of approach / process as exampled by Hiroyuki Masuyama recreating Caspar David Friedrich leads only to diluting the potential potency of both…

Bischof‘s Bricked Castles series for me has that potent quality of allowing one to postulate multiple meanings… especially considering the current context of world affairs for example between the “eastern” and the “western” cultural (religion) views of the world…

See more about Bischof here.

Brad Moore – photography

I’ve been following some great photography work by Brad Moore – I think this work shows an extraordinary constraint and edit.

Vista Belta, Wimington, CA by Brad Moore

Also receiving alcolades from Lens Culture among many others…

Notable for making the cut at Photolucida, Critical Mass 2009 portfolio reviews: Congratulations to this year’s Critical Mass Top 50 – 2009. I think his work would be great to see in book form!  Let’s hope the work is considered for this – as a have appreciated many of the fine books put together by Photolucida which can be found here: http://www.wmjasco.com/photolucida/photolucida.html

Happy Kids Nutrition by Brad Moore

I’ve appreciated Moore’s work for some time – especially the surburban landscape themed photographs - as written previously in this post. It would be terrific to see a group of this work presented at Blue Sky Gallery here in Portland…  Maybe someday soon!

Theme: Looking closely (at rocks)

42 Studien (Print Detail)
Installation virtual 2008 – JÜRGEN BERGBAUER

I first came across JÜRGEN BERGBAUER earlier this year through a 5b4 -review of Bergbauer’s book: Studien nach der Natur – which I see has made a “best of 2009 book list” on 5b4.  I wrote about my interest here in a previous entry…

Bergbauer’s project – Studies after Nature” has been on my mind off and on for quite a while now.  In Bergbauer’s work – the “final” images are constructed out of an archive of objects – specifcally found objects (rocks) – from the roadside according to the artist statement.  The “studies” of the archive are arranged in various patterns of which I’m unsure of (or if) there may be an underlying organizing structure – outside of an aesthetic judgement and arrangement although the constructions do appear to be bound to a sense of gravity.  None the less the resulting constructions are I think quite beautiful – but also quite artificial – and deliberate – full of patterns hinting at structural issues – yet not really resolving them in my opinion. I’m also quite amazed (although admittedly it looks too laborious) at the amount of apparent work done to “catalogue” all of the pieces which are incorporated in to the final studies…

Untitled (basalt – East Central Oregon) 2009 – Matt Niebuhr

On my own road trip this summer, I came across a section of land by the roadside in East Central Oregon, that I have one image thus far that gets me very excited to explore further but with a different approach.

What I’m intrigued by is natural dazzle of that which can be found out in the world (by anyone) as determined by the forces of nature – just by looking carefully or deliberately.  This is a theme that I am beginning to be able to discern as a thread in a number of photo studies I’m working.  Here, the fractures of basalt arranged according to natural laws – the horizontal fissures describing the shifting forces inside the earth – reminders that the solid ground beneath is not still.  I’ve collected a few shards of basalt and the shapes that are revealed in these shards amaze me.  I’m looking forward to trying to document these shards in a meaningful way.  And then, I’m really looking forward to the next road trip back to eastern Oregon.

“The purpose of…”

Shed with blue lines… by John Pfahl – series from Altered Landscapes

“There’s a great quote by Rauschenberg, who said: “If you’re in front of a good work of art, and you don’t change your mind about something, you’re a fool.” And so it’s similar, that if art just underscores that which we already know, then it’s not doing anything for you. It should present something new, some new frontiers for you, or open up some new ideas of thought, even if it’s a dumb reaction and you say, “I could have done that.” Just acknowledging the fact that you didn’t do it shows, at least, that you’re open to that kind of thinking.”

John Baldesari:National City – interview conducted by Hugh Davies and Andra Hales, Nov. 14, 1995 -

I often question if my “art” antennae is tuned in enough to receive a signal.  It’s frustrating when I find myself trying to convince myself that “this or that” must be something worth looking at, or alternatively, something worth trying to make – as if there might be a “standard” for appreciation… or the ability to decipher a “communique” in art.  This is especially apparent to me when I don’t appreciate a “sanctioned” work – what does that mean – am I really a fool?

The book, John Baldesari:National City is a good example – having looked it over, I appreciate the conceptual works – a challenge to conventions – the effort of the artist to convey a kind of information about how one might encounter art, judge it by conventions and “get something” from it. But after that, I’m done with it. National City seems to be too laborious and focused on “getting it” – after which I don’t think it’s something I’d want to or need to come back to. In short,  it doesn’t seem to stick with me. So I ask myself what’s missing?

I think I’m realizing this partly in contrast to looking at the recently discovered (for me anyway) work by John Pfahl – specifically in his series of Altered landscapes.  I think I appreciate this sort of work by Pfahl more because it evokes a mystery that I can’t quite understand. The best ones embrace an odd characteristic of photographs that transform spatial conditions which look very different “in real life” onto flat planes  which is interesting to me – that is part of the mystery for me. This coupled with the obvious added touch onto (or into?) the photograph seems just the right thing to do…

Ready made compositions – William Garnett

Amazing beautiful photographs below – attributed to William Garnett for a story in Fortune – “From Baton Rouge to the Gulf” – Jan 1961.

“From Baton Rouge to the Gulf” – photograph by William Garnett for Fortune – Jan 1961

“From Baton Rouge to the Gulf” – photograph by William Garnett for Fortune – Jan 1961

“From Baton Rouge to the Gulf” – photograph by William Garnett for Fortune – Jan 1961

And this ….

Rabbit and Cattle Tracks, Carrizo Plain, California – William Garnett

More about William Garnett on the Getty….

What is fascinating to me is the amount of “trace” information contained in these photographs – at one level the photographs reveal (record) formal patterns arising due to some form of action – movement process – in the first three images – having to do with processing chemicals at industrial scale plants – in the forth example, something of “nature”.  The photos themselves are not really “explaining” anything – but you might begin to infer something spending the time “reading” the information they contain…   Also of note is the unusual effect of the aerial view – an altogether different vantage point – allowing us to perhaps imagine the forest for the trees…

Jurgen Bergbauer – Houses and other objects…

untitled (Häuser no. 5) – Jurgen Bergbauer
60 cm x 155 cm (24” x 60”) lambdaprint on aluminium / diasec face matt , 2003

42 Studien (Print Detail) – Jurgen Bergbauer
Installation virtual 2008

Natur IV – Jurgen Bergbauer
180 cm x 240cm (71” x 95”) lambdaprint on aluminium / diasec face matt, 2008

Natur – Jurgen Bergbauer
Installation virtual 2008 -

Quite nice work by Jurgen Bergbauer (artist website here) – found via post by 5B4 Photography and Books (written up nicely as well….) - here’s some more hinting at the “construction” of the book by Jurgen Bergbauer.

There is a tight consistency and pattern of study or inquiry that appeals to my aesthetic sense and architectural interest which draws me to these wonderfully rich photographic images of Bergbauer’s.  The exploration of natural forms and resulting patterns or “structure” resonates for me in the direction of a “quell the clutter” approach…  Jurgen Bergbauer is an artist that I am to watch for upcoming work for sure….

Gerhard Richter’s “Kugel”

Originally published:  March 29, 2005

Note: This is not a photo that I took – it is a web image from the resource (collection) on Gehard Richter’s Paintings, Watercolors and
Multiples for which proper credit maybe found and attributed here:
www.sammlung-frieder-burda.de/index_e.html

My comments…..the orb is particular in capturing the moment (trace?) in this picture of the art piece. The reflection in the all seeing – the instant of recording – context, photographer and apparatus.  The picture preserves a trace of the subject/viewer relationship that in “reality” is always shifting and requires that  you be present in the now to participate…

I love how the photo provides another space for interpretation of the piece.

The photograph provides a separation distance between you and the orb – more precisely, the presence of an image in your likeness which can only occur obviously given the situation “in real time” between you and the orb…    You see your likeness in the mirror… Here through the photograph – the separation distance is quite apparent as it offers a glimpse of the relationship to the moment when a photograph was taken….

Gerhard Richter
Kugel
1989
Diameter: 8 cm
Ball of high-grade steel
signed, dated and numbered by engraving “A.P. 5/5 Richter 1989″

UPDATE

What does this have to do with “modern photography”?  …  The work by Matthew Jordan comes to mind…

Untitled 2008, Matthew Jordan - From his series “half empty“… more here….

…examining the threshold at which ordinary visibility ends and perception begins ….