Blindseye Arranger (Max) (2013) features a greyscale arrangement of rudimentary shapes layered atop one another like a dense cluster of wood block prints, the juxtaposition of sharp lines and acute angles creating an abstracted field of rectangular and triangulated forms composed as if in a cubist landscape. As the video progresses, however, a disembodied hand begins to move these forms, animating a pictorial frame that was previously still. The hand – ostensibly the “arranger” of the works title – functions as a metonym of the artist’s hand, quite literally bringing a motionless work to life. The hand in Blindseye Arranger , though, also signals a shift towards the performative, functioning as a reminder that all works of art are created by a maker’s “hand” and, in such, are never fully separate from the context in which they are made. Bress’s gesture towards interdisciplinarity in his work, by extension, signals an important moment in which questions of medium-specificity give way to more trenchant inquiries into notions of authorship and creative process.
Although originally trained in filmmaking and animation, Brian Bress explores the influence of pictorial traditions on contemporary media-based practices. His single-shot videos utilize painterly effects such as geometric abstraction to create visual compositions that blur presumed boundaries between contemporary media-based work and more traditional disciplines such as sculpture and painting. His work is deliberately processed-based and his videos, by extension, explore how visual motifs “evolve” over time through as a viewer engages with a given object or image. Animated figures and actors – such as disembodied hands – disrupt these seemingly still frames, repositioning these works in the context of film while also suggesting the presence of the artist’s hand. Bress’s videos may seem overtly indebted to creative lineages, and his images frequently border on the surreal. But in gesturing towards past works, his videos signal the emergence of creative practices enabled through technological advancements while also offering a meditation on a durational aesthetics privileged in media-based work.
Untitled is a black-and-white photograph of a wave just before it breaks as seen from the distance of an overlook...
In the 1980’s, while browsing Parisian fleamarkets, Barbara Bloom stumbled into an anonymous watercolor (dating to around 1960) in one of Paris’ fleamarkets, probably a study made by an interior designer for a bedroom...
A minute Ago starts with a hailstorm pelting down unexpectedly on a quiet beach in Siberia...
Hill of Poisonous Trees (three men) (2008) exemplifies the artist’s signature photo-weaving technique, in which he collects diverse found photographs—portraits of anonymous people, stills from blockbuster films, or journalistic images—cuts them into strips, and weaves them into new composition...
For Untitled, Caesar encased recycled objects such as scraps of plywood, paper or cloth in resin and then cut and reassembled the pieces into abstract forms...
To make his series Shadows (1980), Gaines subjected 20 potted plants to a uniform procedure...
Tarantism is the name of disease which appeared in southern Italy, resulting from the bite of a spider called Tarantula...
Hill of Poisonous Trees (three men) (2008) exemplifies the artist’s signature photo-weaving technique, in which he collects diverse found photographs—portraits of anonymous people, stills from blockbuster films, or journalistic images—cuts them into strips, and weaves them into new composition...
For Untitled, Caesar encased recycled objects such as scraps of plywood, paper or cloth in resin and then cut and reassembled the pieces into abstract forms...
War Footage is a series of wall-mounted works composed of 16mm film leader, tightly bound to flag-shaped panels by the artist...
The lengthy titles in Chen Xiaoyun’s work often appear as colophons to his photographs that invite the viewer to a process of self realization through contemplating the distance between word and image...
The types of objects Feldmann is interested in collecting into serial photographic grids or artist’s books are often also found in three dimensional installations...
Jeremy Grayson obituary | Photography | The Guardian Skip to main content Skip to navigation Skip to navigation Jeremy Grayson photographed Shirley Bassey, Sammy Davis Jr and Marlon Brando Jeremy Grayson photographed Shirley Bassey, Sammy Davis Jr and Marlon Brando Obituary Jeremy Grayson obituary My father, Jeremy Grayson, who has died aged 90, was a professional photographer who worked over the years for clients including the BBC, Radio Times, Talk of the Town and the London Palladium...
Mullican’s Stick Figure Drawings depict characters reduced to their most basic graphic representation...
MUM , the acronym used to title a series of Rogan’s small interventions on found magazines, stands for “Magic Unity Might,” the name of a vintage trade magic publication...
While his works can function as abstract, they are very much rooted in physicality and the possibilities that are inherent in the materials themselves...
In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...
Will Rogan’s video Eraser (2014) shows a hearse parked in a clearing amidst leaf barren trees...
This still life falls apart, or rather floats apart as the composition is proved unstable and constantly morphing...
In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...