Untitled, (Basel lens flare 5950, 6198, 7497)
2009 - Painting (Painting)
Jordan Kantor
Lens Flare and the series Untitled Basel Lens Flare (6168, 5950, 7497) were part of a solo project by the artist presented at ArtBasel in 2009. Included in the Kadist Collection, these works continue to explore the ontology of the image to investigate the relationship between painting, photography, and a new time-based variable: film. Reduced here to the essential function of recording the exposure of light through the apparatus of a lens, Kantor then translated these film stills into painted colored canvases that retain the 3:4 aspect ratio of the 16mm film as well as the exact size of the projected image. The resulting paintings depict the “lens flares” in the film—the fleeting reflective glare inside the camera apparatus that results from when its lens is pointed directly at a bright light source.
Jordan Kantor’s artworks explore relationships between painting and photographic mediums. Unified by an overarching logic rather than a singular aesthetic approach—and strongly informed by art history—his interdisciplinary practice addresses discourses in contemporary image culture through the lens of conceptually-driven painting.
Colors:
Related works sharing similar palette
© » ARTS EQUATOR
Monsters' Ink: A Fiend’s Diary & Heather | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Tuckys Photography December 2, 2019 By Nabilah Said (1,500 words, 7-minute read) Spoiler Alert: The following contains major spoilers for the shows A Fiend’s Diary and Heather...
© » ARTS EQUATOR
Music – a propaganda promoting the Khmer Rouge socialist identity (via the Phnom Penh Post) | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles January 21, 2019 Shortly after their rise to power in April 1975, the Khmer Rouge sought to change the social identity of the Khmer people...
© » KADIST
Ryan Gander
2012Epiphany…learnt through hardship is composed of a bronze sculpture depicting the model of the little dancer of Degas, in the pose of a female nude photographed by Edward Weston (Nude, 1936) accompanied by a blue cube...
© » KADIST
Rodney Graham
1991Ponderosa Pine IV belongs to a series of large-scale photographs of trees taken by Graham and depicts a particular species that live in Northern California...
© » KQED
How LGBTQ+ Hip-Hop Artists Found Their Voices and Changed Culture | KQED Skip to Nav Skip to Main Skip to Footer That's My Word How LGBTQ+ Hip-Hop Artists Found Their Voices and Changed Culture Nastia Voynovskaya Dec 6 Save Article Save Article Failed to save article Please try again Facebook Share-FB Twitter Share-Twitter Email Share-Email Copy Link Copy Link Tupac, Queen Latifah and Page Hodel at Hodel's LGBTQ+ party, The Box, in the early '90s...
© » KADIST
Mona Marzouk
2014Trayvon is a series of acrylic paintings by Mona Marzouk that engages the courtroom as its points of departure...
© » KADIST
Hit Man Gurung
Hit Man Gurung’s series I Have to Feed Myself, My Family and My Country… addresses labor migration, a phenomenon prevalent in South Asian countries like Nepal...
© » ARTS EQUATOR
Pain and Cauterisation in "Off Centre" | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Tuckys Photography Saloma (Sakinah Dollah) and Vinod (Abdulatiff Abdullah) February 22, 2019 By Casidhe Ng (1, 543 words, eight-minute read) When the play ends (although it never really ends), Saloma sits on stage, alone, even after the house lights have been turned back on, with a look of uncertainty and shock plastered across her face...