The Edge of Vision: Abstraction in Contemporary Photography
Description:
"This exhibition presents photographs and photo-based installations, many exhibited for the first time, that explore the territory of "undisclosed" or abstract imagery in all its forms. These investigations range from artifacts of the process of recording the action of light without the benefit or limitation of a camera lens (as seen in the work of Ellen Carey, Michael Flomen, and Ilan Wolff) to direct photographs of surfaces that generate pattern and optical uncertainty (Roland Fischer) to images that comment on our culture of images (Penelope Umbrico and Carel Balth). In some works, documentary references are all but expunged, creating a new class of aesthetic objects. Others test the limits of the familiar. All of these works involve a profound questioning of what role photographs play in contemporary visual culture.
The organization of the exhibition highlights the investigative nature of contemporary photography. An introductory section, Propositions, introduces viewers to a range of techniques, visual effects, and critical positions. The core of the exhibition is a series of single-artist installations that display the stunning range of these photographers' insights. They free the photograph from its familiar social and temporal references, aiding in the discovery of new possibilities of metaphoric suggestiveness, psychological engagement, and optical possibility."
Contains photography by: Bill Armstrong, Carel Balth, Adam Broomberg and Oliver Chanarin, Ellen Carey, Roland Fischer, Michael Flomen, Manuel Geerinck, Shirine Gill, Barbara Kasten, Seth Lambert, Charles Lindsay, Chris McCaw, Edward Mapplethorpe, Roger Newton, Jack Sal, Penelope Umbrico, Randy West, Silvio Wolf, and Ilan Wolff
* Lyle Rexer: The Edge of Vision Interview Series, part 1
* Lyle Rexer: The Edge of Vision Interview Series, part 2
aperture foundation
The Edge of Vision: Abstraction in Contemporary Photography
Description:
"This exhibition presents photographs and photo-based installations, many exhibited for the first time, that explore the territory of "undisclosed" or abstract imagery in all its forms. These investigations range from artifacts of the process of recording the action of light without the benefit or limitation of a camera lens (as seen in the work of Ellen Carey, Michael Flomen, and Ilan Wolff) to direct photographs of surfaces that generate pattern and optical uncertainty (Roland Fischer) to images that comment on our culture of images (Penelope Umbrico and Carel Balth). In some works, documentary references are all but expunged, creating a new class of aesthetic objects. Others test the limits of the familiar. All of these works involve a profound questioning of what role photographs play in contemporary visual culture.
The organization of the exhibition highlights the investigative nature of contemporary photography. An introductory section, Propositions, introduces viewers to a range of techniques, visual effects, and critical positions. The core of the exhibition is a series of single-artist installations that display the stunning range of these photographers' insights. They free the photograph from its familiar social and temporal references, aiding in the discovery of new possibilities of metaphoric suggestiveness, psychological engagement, and optical possibility."
Contains photography by: Bill Armstrong, Carel Balth, Adam Broomberg and Oliver Chanarin, Ellen Carey, Roland Fischer, Michael Flomen, Manuel Geerinck, Shirine Gill, Barbara Kasten, Seth Lambert, Charles Lindsay, Chris McCaw, Edward Mapplethorpe, Roger Newton, Jack Sal, Penelope Umbrico, Randy West, Silvio Wolf, and Ilan Wolff
* Lyle Rexer: The Edge of Vision Interview Series, part 1
* Lyle Rexer: The Edge of Vision Interview Series, part 2
aperture foundation
The Edge of Vision at Pingyao International Photography Festival
Tuesday, November 17th, 2009
"On view as part of the Pingyao International Photography Festival earlier this year. The Edge of Vision, curated by Lyle Rexer, presented a group of contemporary photographers who base their practice in some form of abstraction. Click and scroll the images for a virtual experience of the installation in China.
Special thanks to photographer Nils Duval and Matthieu Torrano from China Time Machine Image Centre, who created this VR. CTMIC was instrumental in printing this and several other exhibitions at the festival.
The exhibition, specially expanded for Pingyao, was divided into several sections: “The Aesthetics of Perception,” “The Politics of the Image,” and “The Poetics of Light, Space and Time.” Taken together they force us to ask, what, after all, is a photograph, and where does its meaning lie? In the picture itself? In the world or its phenomena? In us? These questions are as vital and open today as they were 170 years ago, when no one knew exactly what a photograph should look like or what it might disclose.
Artists included in this presentation are Bill Armstrong, Carel Balth, Ellen Carey, Richard Caldicott, Roland Fischer, Manuel Geerinck, Shirine Gill, Barbara Kasten, Seth Lambert, Charles Lindsay, Roger Newton, Nicki Stager, and Penelope Umbrico."
aperture foundation
Aperture hosts a panel moderated by Lyle Rexer, featuring artists Jack Sal, Silvio Wolf, and Penelope Umbrico at The New York Photo Festival. The panel will be followed by a book signing of Rexer’s recent Aperture publication The Edge of Vision: The Rise of Abstraction in Photography.
ALSO:
By GRACE GLUECK Published: March 7, 2003
"Once it was widely assumed that photography was about representation; no matter how off-register, its subject matter was shaped by our sense of objective reality. Yet within recent years, the camera's potential for unclued abstraction has come more and more into play. This show, focusing on fresh explorations in the field, is an intriguing demonstration.
Working in color and in black-and-white, the 16 exhibitors have approached abstraction in very different ways: some by exploring realistic subjects from odd angles; others by constructing or finding an image abstract in its very nature; and still others by making cameraless photographs. Their modes range from geometric patterning, like the all-over grid imposed on a field pulsing with shades of blue in Vik Muniz's ''After Yves Klein (From Pictures of Color),'' to the convoluted, free-flowing sculptural forms in black and white of Winfred Evers's ''Moving Still.''
David Maisel's stunning ''Butte, Montana No. 7,'' an aerial photograph of a mountainous terrain, shows blobs of hot color and deep tracklesss white dispersed among peaks, valleys and ridges as curved by nature as those of a man-made structure. Juan Uslé's ''Early'' makes an epic from what seems to be the slats of a tightly strung orange-red blind, punctuated by long slits of bright white daylight slipping through the cracks. William Eggleston's Iris print ''Untitled (Cloud in Sky, California)'' is a subtly nuanced study of an ethereal formation in grays and whites. Good group shows of abstract photography are hard to come by, and this is one not to miss."
David Maisel's stunning ''Butte, Montana No. 7,'' an aerial photograph of a mountainous terrain, shows blobs of hot color and deep tracklesss white dispersed among peaks, valleys and ridges as curved by nature as those of a man-made structure. Juan Uslé's ''Early'' makes an epic from what seems to be the slats of a tightly strung orange-red blind, punctuated by long slits of bright white daylight slipping through the cracks. William Eggleston's Iris print ''Untitled (Cloud in Sky, California)'' is a subtly nuanced study of an ethereal formation in grays and whites. Good group shows of abstract photography are hard to come by, and this is one not to miss."
CGAC
Centro Galego de Arte Contemporanea CGAC, Santiago de Compostela
Centro Galego de Arte Contemporanea CGAC, Santiago de Compostela
CGAC is pleased to announce the celebration of its tenth anniversary, which will take place at its premises in Santiago de Compostela, Spain, on Monday September 29th, 2003. The same day CGAC will open 6 exhibition projects with artists such as Karin Sander, Roland Fischer, João Onofre, Hubbard and Birchler, Vicente Blanco and Marina Abramovic.
Roland Fischer. Camino 30th September - 7th December.
Roland Fischer (Munich, Germany, 1958) is one of the most unique photographers of his generation. He always works with series, in which he portrays façades, cathedrals as well as anonymous and popular characters. At CGAC he will present a specific project including a collective portrait of one thousand and fifty pilgrims taken in Santiago de Compostela, alongside the architectural portraits of emblematic buildings related to the Road to Santiago. This exhibition will be taken later to Sala Amas Salvador de Logroño, Centro de Arte Caja de Burgos and Dombergmuseum Freising.
Essay by Marilyn Kushner
"The opportunity to jury an exhibition of contemporary artwork is normally welcomed as a chance to see the latest work being done - both by well-known artists and also those who are not necessarily represented at galleries or major printshops. It is an occasion that enables one to get a "democratic" sense for what is being done in the field because anyone can submit slides to juried exhibitions. And so, when the jury for this IPCNY exhibition convened on a hot July day in New York, we were shown some four hundred slides and photographs of work by well over one hundred artists.1 A number of these artists were familiar faces, but many were not. Our goal was to select the best art being shown to us, regardless of topic or medium. We considered choosing a thematic exhibition but ultimately decided that would force the elimination of some works which we felt deserved to be included in the final group. After a process of viewing, culling out some work, and viewing again, all with lively discussion, a decision was made; one that we hope will present examples of some (but certainly not all) of the more provocative printmaking done in 2002.
Due to its relatively less costly mode of production, its reproducibility, and the ability for broad dissemination, printmaking has been a medium used for transmission of ideas. As such, it has been considered one of the more "political" media. In other instances, the intimacy of some printmaking has lent itself to more private moments intended for personal contemplation, both by the creator and the viewer. And, both abstract and representational images have been used to advance the public and private spheres of the medium. Indeed, the broad variety of work seen in this exhibition is a testament to vast possibilities of image, message and technique prevalent in the print field.
...
Roland Fischer's Facades on Paper are portraits of corporate skyscrapers that invite us to look at architecture from a fresh perspective. Upon first glance, they are abstract geometric designs, and it is only a second, closer examination that reveals the hyper-real truth that these are identifiable buildings. Has Fischer made these corporate symbols two-dimensional icons of modern design? He has certainly forced us to reconsider these buildings as more than three-dimensional sculptural structures. Reality and abstraction have merged in his images.
The abstract works in the exhibition are as arresting as the representational images. Aesthetic beauty is the raison d'être for many of these, the objects speak for themselves. Andra Samelson's Bix, a pigment print that is created from a reversal of her ballpoint pen drawings, is meant to resemble a blueprint. Delicate arabesque lines define the form and the space it occupies, making it a sculpturesque shape that is in constant flux. The viewer is constantly challenged to define its shifting nature. While Samelson's image is only meant to be suggestive of mass and volume, Entertaining..., a multiple by Richard Tuttle, is a handsome study of texture and depth in three dimensions..."
International Print Center, NY
NEW PRINTS: Winter 2008
"International Print Center New York is pleased to present NEW PRINTS: Winter 2008, on view from January 10th – February 23rd, 2008. Consisting of 45 works by 34 artists, the exhibition represents a cross-section of some of the most exceptional printmaking today, continuing IPCNY’s commitment to provide an ongoing exhibition venue for contemporary prints and a major source of information about artists working in the medium. The exhibition will be on view in IPCNY’s gallery at 526 West 26th Street, Room 824, between 10th and 11th Avenues in Chelsea.
NEW PRINTS: Winter 2008 is the 26th presentation of the New Prints Program. Created to provide greater exposure for brand new prints by artists at all stages of their careers, the New Prints Program is a series of juried exhibitions organized by IPCNY four times each season.
The Selections Committee for the exhibition was composed of: Gregory Amenoff, artist and Chair of Visual Arts at Columbia University School of the Arts; Ruth Bowman, arts educator and collector; Bill Hall, Master Printer, Pace Prints; Susan Inglett, Susan Inglett Gallery/I.C. Editions; Brett Littman, Executive Director, The Drawing Center; and Dona Warner, Executive Director, Dieu Donné Papermill.
A curatorial essay by Brett Littman will accompany the exhibition.
Twenty-four out of the thirty-five artists included are independent, working in locations across the country and abroad including California, Illinois, Massachusetts, Michigan, Minnesota, Missouri, Nebraska, New Jersey, New York, Texas, Washington, Canada, and Japan. Independent artists may statistically dominate the show, however there is a solid presence from respected publishers and presses such as: the Brodsky Center, NJ; Center Street Studio, MA; Derriere l’Etoile Studios, NY; Durham Press, PA; Lower East Side Printshop, NY; LeRoy Neiman Center for Print Studies, NY; Carolina Nitsch Contemporary Art, NY; and SOLO Impression, NY. IPCNY is pleased to welcome and exhibit work for the first time from One Eye Pug, a brand new publisher in New York.
The complete artists’ list is: AWG, Nadine Bariteau, Jennifer Bauer, Brian Borlaug, Noah Breuer, Nicholas Brown, Rachel Burgess, Miguel Cardenas, Osvaldo Ramirez Castillo, Willie Cole, Terry Conrad, Michael Dal Cerro, Matthew DiClemente, Wanda Ewing, Roland Fischer, Rebecca Foster, Beka Goedde, Ethan Green, Jose Guinto, Cody Hoyt, Alysia Kaplan, Joyce Kozloff, Jon Lee, Brian Lynch, Nobuko Misawa, Benjamin Moreau, Malcolm Morley, David Opdyke, Chris Papa, Alyson Shotz, Roger Tibbetts, Brad Widness, Fred Wilson, and Megan Yee.
"International Print Center New York is pleased to present NEW PRINTS: Winter 2008, on view from January 10th – February 23rd, 2008. Consisting of 45 works by 34 artists, the exhibition represents a cross-section of some of the most exceptional printmaking today, continuing IPCNY’s commitment to provide an ongoing exhibition venue for contemporary prints and a major source of information about artists working in the medium. The exhibition will be on view in IPCNY’s gallery at 526 West 26th Street, Room 824, between 10th and 11th Avenues in Chelsea.
NEW PRINTS: Winter 2008 is the 26th presentation of the New Prints Program. Created to provide greater exposure for brand new prints by artists at all stages of their careers, the New Prints Program is a series of juried exhibitions organized by IPCNY four times each season.
The Selections Committee for the exhibition was composed of: Gregory Amenoff, artist and Chair of Visual Arts at Columbia University School of the Arts; Ruth Bowman, arts educator and collector; Bill Hall, Master Printer, Pace Prints; Susan Inglett, Susan Inglett Gallery/I.C. Editions; Brett Littman, Executive Director, The Drawing Center; and Dona Warner, Executive Director, Dieu Donné Papermill.
A curatorial essay by Brett Littman will accompany the exhibition.
Twenty-four out of the thirty-five artists included are independent, working in locations across the country and abroad including California, Illinois, Massachusetts, Michigan, Minnesota, Missouri, Nebraska, New Jersey, New York, Texas, Washington, Canada, and Japan. Independent artists may statistically dominate the show, however there is a solid presence from respected publishers and presses such as: the Brodsky Center, NJ; Center Street Studio, MA; Derriere l’Etoile Studios, NY; Durham Press, PA; Lower East Side Printshop, NY; LeRoy Neiman Center for Print Studies, NY; Carolina Nitsch Contemporary Art, NY; and SOLO Impression, NY. IPCNY is pleased to welcome and exhibit work for the first time from One Eye Pug, a brand new publisher in New York.
The complete artists’ list is: AWG, Nadine Bariteau, Jennifer Bauer, Brian Borlaug, Noah Breuer, Nicholas Brown, Rachel Burgess, Miguel Cardenas, Osvaldo Ramirez Castillo, Willie Cole, Terry Conrad, Michael Dal Cerro, Matthew DiClemente, Wanda Ewing, Roland Fischer, Rebecca Foster, Beka Goedde, Ethan Green, Jose Guinto, Cody Hoyt, Alysia Kaplan, Joyce Kozloff, Jon Lee, Brian Lynch, Nobuko Misawa, Benjamin Moreau, Malcolm Morley, David Opdyke, Chris Papa, Alyson Shotz, Roger Tibbetts, Brad Widness, Fred Wilson, and Megan Yee.
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