Posted Oct 7, 2010
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.
Posted Sep 16, 2010
A Lunch at the Belvedere, 2004
Courtesy Luc Delahaye / Galerie Nathalie Obadia
Are you ready? The day has come. Tonight, Thursday, September 16, 2010, 6-9 p.m. is the opening for the newest photography exhibition, Embarrassment of Riches. There will be a Gallery Talk with David E. Little, curator and head of the MIA’s Department of Photography and New Media at 6:30 p.m. The exhibition is free and will be in the Harrison Photography Gallery on the third floor. It will run through January 2, 2011. See the recent e-flux posting for additional information. Be sure to check out other Third Thursday festivities as well.
Posted Aug 31, 2010
Courtesy of the artist and Metro Pictures
Cindy Sherman’s untitled photograph of herself in the guise of a Renaissance woman is overtly disconcerting. Her opulent dress and jewel-adorned hair run counter to her awkward, false nose. Though piously folded, her reddened hands suggest hard work. The coloration beneath her eyes betrays a very real woman, while the classical column suggests an idealized European society portrait. By using extensive makeup and costuming to assume different personas in her “History Portrait” series, Sherman at once references and challenges the conventions of female portraiture.
By emphasizing the artificial and the grotesque, Sherman urges viewers to look beyond the surfaces and consider portraits as constructions designed to serve a social, political, or even erotic purpose. In this gallery, Lucas Cranach’s portrait of Anna Buchner is frank in its realism but reveals little of her personality. The exaggerated opulence of her weighty gold chains and rings serves as an inventory of her husband’s wealth. In the small portrait of Charlotte of France by Jean Clouet the Younger, the richly dressed seven-year-old girl poses as an adult; her portrait may well have served to attract a future husband in a foreign court.
Sherman’s critique is as relevant for portraiture today, in which digital photography enables easy manipulation of images to suit the sitter’s purpose. Read more about the ongoing Art ReMix series at the MIA.
Posted Jul 8, 2010
We’re starting a new section called Shout Out to occasionally let you know about events in the area we think you should know about.
Tonight: Carrie Thompson opening reception for “I hope we go together” at the XY and Z Gallery. 6-9PM.
If you cannot make it tonight, be sure to check out the exhibition during regular hours (Monday 11AM- 7PM, Friday & Saturday 1PM- 9PM, and Sunday 12PM-5PM) until August 2nd. 3258 Minnehaha Ave S, Minneapolis, MN 55406.