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...
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...
This artwork was part of a group of projects presented in the Japanese Pavilion at the Venice Biennale in 2013...
The version of Frontier acquired by the Kadist Collection consists of a single-channel video, adapted from the monumental installation and performance that Aitken presented in Rome, by the Tiber River, in 2009...
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...
Sarcastically titled to call attention to the problematic notions underlying colonialism, this photograph shows hundreds of Native Malaysians seated quietly behind one of their colonial oppressors...
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...
Robert Courtright — Recovered time — Galerie Dutko / Quai Voltaire — Exposition — Slash Paris Connexion Newsletter Twitter Facebook Robert Courtright — Recovered time — Galerie Dutko / Quai Voltaire — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour Précédent Suivant Robert Courtright — Recovered time Exposition Collage, peinture Robert Courtright Robert Courtright Recovered time Encore 27 jours : 1 février → 9 mars 2024 La galerie Dutko a le plaisir de présenter du 1 février au 9 mars 2024 la première exposition rétrospective de l’artiste américain Robert Courtright (1926-2012) à Paris...
The series The Memory of Trees is specifically about trees, and what trees have witnessed in South Africa: for example, trees that were used as locations for slave trading, or trees that was during the anti-Apartheid struggle as a kind of identifier for a safe house for activists who were fleeing from security forces...
In Fordlândia Fieldwork (2012), Tossin documents the remains of Henry Ford’s rubber enterprise Fordlândia, built in 1928 in the Brazilian Amazon to export cultivated rubber for the booming automobile industry...
This untitled work from 2012 is a print originally made as part of the Wattis Institute for Contemporary Art’s artist limited edition series...
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...
Her 2016 video installation quotes the sitcom-as-form and also draws from a 1907 comedic short, Laughing Gas...
This still life falls apart, or rather floats apart as the composition is proved unstable and constantly morphing...
Xaviera Simmons often employs her own body and collected materials in the service of her photographs and performances...