I am pleased to announce that Angela Strassheim’s new series, Evidence, will be featured in New Pictures 4, March 17 – October 9, 2011, in the Perlman Gallery at the Minneapolis Institute of Arts. Evidence brings together Strassheim’s forensic photography training with her long-standing investigation of the dark undercurrents of American domestic life. The New Pictures series, now in its second year, features experimental photography and new media art by artists from around the world. Please stay tuned for more details on Strassheim’s exhibition, which will include a small installation on the history of crime photography.
Periodically, we’ll ask artists and writers to contribute 100 words on featured New Pictures artists. For “New Pictures 3: James Welling’s Glass House,” we have asked photographer Mark Wyse to contribute his 100 words. Based out of Los Angeles, Mark Wyse’s works are included in major museum collections including the Metropolitan Museum of Art and the Los Angeles County Museum of Art.
I can’t help thinking, while looking, that James Welling is trying to make the Glass House bleed. But this isn’t right and glass doesn’t bleed.
James Welling in pursuit of making the invisible, visible has taken photography’s most adored trait, its illusion of transparency collapse in on itself. The intellectual and visual allure of Phillip Johnson’s masterpiece of reflection and transparency, the Glass House must have been an irresistible pull. In Welling’s photographs the Glass House becomes a sublimated analogy of photography itself.
Here light and glass unravel into a spectrum of hallucinogenic color.
Looking at the photographs, I quickly feel the presence of James Welling’s body standing, looking, seeing, contaminating and polluting with psychedelic color the pristine, thoughts of Phillip Johnson’s idealism.
In Glass House, not only does photography see itself, it dreams.
Announcing New Pictures 3 artist, James Welling! The exhibition is on view beginning on Friday, August 20, 2010 in the Perlman Gallery (262). An official opening will take place on September 30 when everyone is back from summer vacation. On September 30, David Little, Curator and Head of the Department of Photography and New Media, will present a Gallery talk on the show at 6:30 P.M. Save the date! The exhibition is free.
Don’t miss your chance to see Marco Breuer’s New Pictures exhibition in the second floor Perlman Gallery before it closes this weekend. Breuer’s penchant for pushing photographic materials to their limits creates unexpected results. His images often appear to lie somewhere between abstract painting and photography. It should be no surprise then that he plays with conventional museum space as well. Watch MIA staff and Breuer transform the original white walled exhibition space into a giant black-walled chalkboard. Breuer literally drew connections between his works and commented on the gallery space itself. It is a great opportunity to gain insight into the artist’s own thought process, and his sense of humor.
While installing “New Pictures 2″ last February, Marco Breuer talked about his creative process. In the link below, he recalls discovering his interest in material and surface while on a 100 day art making spree. Don’t miss Breuer’s provocative installation before it ends on August 8.
Periodically, we’ll ask artists and writers to contribute 100 words on featured New Pictures artists. Now, we would like to hear what you have to say on Marco Breuer in 100 words or less. Send your submissions to Photo_Intern@artsmia.org by Wednesday, July 14th and we will make a selection to be posted. Tell your friends, let your 100 words be heard!
Periodically, we’ll ask artist and writers to contribute 100 words on featured New Pictures artists. Today we launch the first contribution by artist Julian Kreimer who teaches painting and contemporary theory at SUNY Purchase College School of Art + Design.
——————————————- 100 Words on Marco Breuer
The silken skin of the paper becomes visible when it is marred. The scrape, fold, cut, or burn sets off the smoothness of the rest.
After viewing Breuer’s work, I notice for days the surfaces of paper, seeing in the glare of a magazine page a lone smeared fingerprint. Instead of photographs that mirror the world, the world begins to resemble his photographs.
The mystery of his work isn’t just the beauty of the images, but the delicacy of those surfaces. Like accident victims seen years later, scarred but healthy; what combination of sternness, experience, and love coaxed the paper back into a whole?