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.

Chance Juxtapositions

Edward S. Curtis: Chief Garfield – Jicarilla  |  Russell James, Natural Beauty.

Copyright by respective photographers both images above

Edward Curtis “Shadow Catcher”

Russell James “Celebrity Sittings”

Two different results from essentially the (it seems) same starting point…. documentary projects of sorts of relative importance.

“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…

Darwin, without the car…

“Frame for a Tract House, Colorado Springs, Colorado”
1969 - © Robert Adams

“Something had to change,” he added. “You just can’t keep going with that many cars.” – source…

Same might be said for houses (sprawl)…

Instead of feeling deprived of having a new car every other year (the marketing of personal identity wrapped up in the car one owns – needs a new twist – like the obnoxious “I own the road” Tahoe driver… we all hate them really don’t we?) –    one might feel freedom…  The car as a form of personal transportation is both a blessing and a curse – - obviously, now we must find alternatives that have less impact…

I wonder what (or if) Robert Adams would have found “The New West” – without the car.  Would Robert Frank have been able to make  “the Americans” ?

Michael Marten – Sea Change

Grain, Kent – Michael Marten

Sea Change – by Michael Marten – on view at Blue Sky Gallery here in Portland -

I think because I grew up in the cornfields of the Midwest – the views offered by Marten of seaside edges at various tides – low and high in close comparison  - are for me quite interesting and somewhat foreign.   Of course I’ve visited various shorelines along the way, but there is something important about spending enough time in one place in order to see the influences of the natural environment (or manmade for that matter) on the shape of the landscape. Perhaps it is an issue of slowing down enough to internalize it in a way – to come back time and again is the key.  One can do this in any number of places of course at different time scales, but the regular contrast and steady rhythm of high/low tides is a wonderful opportunity to do so in a predictable way.

From Marten’s statement:

“… Natural processes have lit, watered and shaped the world since time immemorial. Paying attention to their rhythms and effects may help us to reconnect to the fundamentals of the planet, which we ignore at our peril…”

Indeed.  All it takes is to be reminded in a serious way – how quickly you can be come isolated – at the mercy of nature’s way.  Perhaps that is the element missing for me in these pictures which are striking on their own terms – but for me an element of risk would be an interesting additional dimension in the series…. I like the series though – it is a good start on any number of possible ways to look at our world around us.

More of Marten’s work here on his website.

The medium is the message…

, originally uploaded by Matt Niebuhr.

Sometimes… the medium is the message… and it becomes quite apparent when isolated…