Tag Archives: 60 Minutes

Brighton Photo Fringe 2012 – Blind Field presents Origins of Encounter until 21 October

Blind Field are showing Origins of Encounter at the Phoenix Brighton until Sunday 21 October as part of the Brighton Fringe 2012. The artists involved are Joan Alexander, Luke AR Hamblin and Louise Maher, all of whom, according to the press release, “examine notions of the encounter in relation to place, narrative and the photograph”.

© Joan Alexander – Study V – Facing North Window – 60 Minutes

Joan Alexander
“Alexander’s work explores the margins of inscription and projection, the unacknowledged spectra between positive and negative. Alexander is interested in the ‘latent image’. A visual in waiting, from between times, like the line between shadow and light; the line, like a map, is always a metaphor. Alexander’s practice immerses the viewer within a passage of time through an encounter with the movement and interruption of light. Her projections create a space where the viewer must pass through lines of light drawing attention to their presence. The correlation between printed and projected material asks for a closer examination creating awareness to the tangible and intangible nature of her practice.”

© Luke AR Hamblin – A study of still life. Sunflowers

Luke AR Hamblin
“Hamblin is interested in the way in which photography enables us to dissect the world and pull it apart. For Hamblin making photographic pictures is about assembling a Cast of characters, analysing their poses, placing them in the picture frame. Hamblin has developed a complex process of picture-making, exploring the role of perception and portrayal in our engagement with ‘place’. His series Studies for a theory of the Epic Photograph encourages us to think about how simple aspects of pose and gesture can embody whole narrative worlds. Drawing on references from early twentieth century modes of portrayal: theatre, cinema and painting, Hamblin’s photographs offer the viewer undisclosed narratives to decipher and re-construct.”

© Louise Maher – Old Head, Kinsale 2006-2012

Louise Maher
“Maher’s practice concentrates upon the inextricable relationship we have to our environment. By focusing on everyday expressions of this connection, she explores perceptions of the encounter. Maher’s approach stems from an appreciation of the historical development of street photography, yet it is also influenced by a typological approach. She values the photograph’s capacity to simultaneously document and picture the world. Her photographic series’ unite aspects of spontaneity and formalization to create a visual language that presents the viewer with space to translate.” From the press release.

Filed under: Photographers, Photography Festivals, Photography Shows Tagged: Blind Field, brighton, Brighton Photo Fringe, Joan Alexander, Louise Maher, Luke AR Hamblin, Origins of Encounter, photo show

ARTIST TALK: Liz Magic Laser

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Liz Magic Laser, Still from I Feel Your Pain, 2011


Tuesday, September 25, 2012 | 6:00pm | Ferguson Hall Exhibiting artist Liz Magic Laser will discuss her performance-based video work including the piece, I Feel Your Pain. This video, which is currently on view at the MoCP, re-stages political interviews, such as one between Barack Obama and Steve Kroft for 60 Minutes, using body language and cadence to insinuate the progression of a romantic relationship and consider the nuances of communication in politics and love.Liz Magic Lasers works have involved collaborations with actors, dancers, surgeons, and motorcycle gang members. A graduate of the Whitney Museum Independent Study Program and Columbia Universitys MFA program, Laser has been a resident at the LMCC Workspace Program and is a 2011 Smack Mellon Artist Studio Program resident. Her work has been exhibited in museums and galleries internationally and was the recent subject of a short documentary through the award-winning PBS series Art21. Ferguson Hall is located at 600 S. seo marketing . Michigan Ave. This event is free and open to the public.


banner_ad1eblast.jpgMoCP | 600 S. Blog Submission . News submission . Michigan Ave Chicago, IL 60605 | 312.663.5554 | [email protected]

AO On Site photoset/news summary – New York: The Dependent Art Fair at the Sheraton Hotel on 26th Street, floors 12 and 14 – March 4, 2011


Zerek Kempf, Weight of Fall (Waltz) (2011) at 2-UP Gallery.
All images Nicolas Linnert for Art Observed.

Friday evening’s Dependent Art Fair opened its doors for a one-night-only event showcasing the works of various galleries and artist groups. The newest addition to 2011’s growing roster of fairs, the Dependent was held on the 12th and 14th floors of Chelsea’s Sheraton Hotel. Fifteen exhibitors filled their respective hotel rooms with works for sale. Some revealed highly curated installations while others presented a collected showcase of individual works. The fifteen groups were given  60 minutes to install, with the fair beginning its preview hour at 4pm and closing altogether at 9 that evening. What began as a scattered number of curious collectors and onlookers grew quickly to a sizable throng of attendees navigating from room to room through the hotel’s packed hallways.


A sculpture by Barkev Gulesserian at CANADA (bathroom gallery).

More text and images after the jump…


Anicka Yi‘s perfume oil piece at Cleopatra’s.

Cleopatra’s gallery featured, among other works, an intensely color-saturated bedspread by Polly Apfelbaum and a perfume piece by Anicka Yi that filled the room and wafted into the hallway. The glowing aura of the bedspread in tandem with the acute aroma of Yi’s oil gave the installation a distinct sensorial personality.


Polly Apfelbaum’s multicolor bedspread for Cleopatra’s.

2-UP, a collaborative poster project, distributed its collection of double-sided monthly poster editions and offered installations for sale centered on luggage pieces as installation spaces. Zerek Kempf’s crowd-pleasing Weight of Fall (Waltz) projected a moving figure onto a pillowcase surrounded by cloud-like pillow stuffings. When prompted by a collector about pricing, the artist was caught unawares.


2-UP Posters hung from shower rod, 2-UP Gallery.

At Ramiken Crucible, artist Andra Ursata encased in glass a highly detailed diorama that sat on twig stilts. Elevated and lit from a single lamp below it, the scene was a miniature replica of her childhood home in Romania. The artist mulled her own memory to meticulously reconstruct her home and added a ghostlike presence to the center of the room.


Andra Ursata, T. Vladimirescu Nr. 5, An International Psychic Maneuver, (2007-2010) at Ramiken Crucible.


Andra Ursata, T. Vladimirescu… (detail), (2007-2010) at Ramiken Crucible.

CANADA presented their gallery space at Dependent in addition to a booth at The Armory Show’s Pier 94. One bed on their 14th floor gallery was entirely occupied by Quinn Taylor’s foam sculpture of Groucho Marx’s caricature disguise glasses. The exhibitors played with sound mixers to produce whimsical noises and occasionally announce “This is CANADA” with distorted, robotic voices.


Quinn Taylor‘s foam sculpture of the classic Groucho Marx disguise at CANADA.

In an interview with Art Observed, Dependent Director Rose Marcus said the fair’s name could be interpreted as a form of institutional critique but from the beginning “couched in humor.”  Marcus added, “Many of the artists you see are represented in both the Dependent and the Independent.”  One goal of the fair was to present a variety of groups and galleries that possess elements of bricolage but that maintain a very professional practice. “It was curated as a tight snapshot of a group of people who are very intelligent, and very do-it-yourself—and that is reflected in their extensive professionalism,” Marcus said.  The Dependent was also conceived to be an art fair that was from the beginning founded on transparency. The Director explained, “The fair’s structure was determined by its transparent economics. Exhibitors were given an hour to install because of hotel check-in times.” In addition, the rooms’ architecture guided the actions of the exhibitors in a way that promoted site-specificity.

The 15 participating exhibitors included Audio Visual Arts, CANADA, Cleopatra’s, Dispatch, Empty Room, Evil Freaks, KS Art, New York Fine Arts, Paradise, Ramiken Crucible, Recess, Reference, Silvershed, Soloway, Specific Object, and 2-UP.


12th floor gallery entrance from 14th floor stairwell.


Works at Silvershed: Oliver Lenz (foreground bed), Patrick Meagher & Yunhee Min (middleground bed), Kerry Hassler (background on silver bed board)


Alexander Dawson, 99 Cent Reading Glasses (2011), at Silvershed.


A crowd gathers in one of the hallways.


Jonathan Torres, Rikipunky (2010) at Paradise.


CANADA at The Dependent Art Fair.


Works by Bjorn Copeland (foreground) and Tony Cox (background) at CANADA.


Crowds emerge from the elevator at the 14th floor galleries.


Dan Graham, Detumescence (1969) at Specific Object.


Works by Rose Marcus and Andy Meerow at Evil Freaks.


Reference Gallery’s memorabilia tribute to Reid Ramirez.


Entrance queue to the Sheraton Hotel, 25th Street.


Line outside the Sheraton Hotel.

-N. Linnert

Related Links:

The Dependent Art Fair [Main Page]
If You Liked the Independent, You’ll Love the Dependent (Maybe!) [Artinfo]
Free-For-All Spirit Breezes Into A Vast Art Fair [NYTimes]