Tag Archives: Video Installation

Stan Douglas Named the Recipient of ICP’s Infinity Award for Art

Stan Douglas has been named the recipient of the prestigious Infinity Award for Art by the International Center of Photography. Tonight, he will be presented the award at a ceremony in New York City. Douglas works in various media including video, installation and photography. Here, Lightbox visits highlights of three projects from the artist’s prolific photographic endeavors.

What is real? What is unreal? In a world where reality and history can be recreated and manipulated to appear authentic in a photograph, it is imperative that we ask these questions. We, as a society inundated with visual culture, are trained to ponder the truth and meaning behind what we see—but what if a photograph was created to question reality? To question history? Stan Douglas creates images that catalyze critical analysis and force their viewers to revisit the scenes they depict. Douglas, in creating new images of scenes in history, ponders the truth within the medium of photography and the sociological issues that lie in the passages and stories illustrated in his photographs.

Based in Vancouver, Canada, Douglas approaches each image with epic, Hollywood-level production—tapping into his history as a maker of films and video. Demanding the most active viewer who questions, challenges and investigates all that he or she sees, each image is created to excruciating detail.

Linda Chinfen; Courtesy the artist

A production photograph depicting the lighting and building of the set of Abbott & Cordova, 7 August 1971, 2008.

Courtesy the artist

A 3-dimentional rendering Abbott & Cordova, 7 August 1971, 2008.

In producing Abbott & Cordova, 7 August 1971, 2008 (slide #4), Douglas built a set to recreate a scene of the actual intersection in Vancouver. The placement of the actors in the image was pre-envisioned in three-dimensional renderings to anticipate the actual photograph. Not one detail was left unnoticed—down to the products in the dressings of the windows and the scraps of paper that lie on the streets. The mural-sized image, which was composited from 50 different images from the same shoot, is one of four in his series Crowds & Riots. All the images in the series are large scale tableaux depicting vignettes from Vancouver’s history—reflecting on matters of the police, class and social order.

Gjon Mili / Time & Life Pictures / Getty Images

Multiple exposure stroboscopic shot of actress and dancer Betty Bruce doing a routine for Broadway show High Kickers

In his series, Midcentury Studio, Douglas took on the identity of a photojournalist working between 1945 to 1951 (a selection of this work is represented by slides #6 – #9 in the gallery above). Inspired by imagery from this time, Douglas created images that discuss the decisive moment in photography—as Henri Cartier-Bresson explained, the exact moment that the photographer makes the photograph by firing the shutter of the camera—that very moment which is creative. Unfolding on Cartier-Bresson’s expression, Douglas constructed and carefully created these scenes to capture this experience and illustrate the scrupulous amount of information and action that lies in each frame of a photograph. In Dancer II, 1950, 2010, Douglas created an image similar to one from our own archive shot by famed photographer Gjon Mili for LIFE Magazine.

In Douglas’s most recent series, Disco Angola, most recently shown at David Zwirner Gallery in New York City in April, he once again approaches the identity of a photojournalist. This time, he is one who travels between New York City and Angola in the 1970s. Each image in the series utilizes the nature of body language as insight into the historical moment—from the pensive waiting of the Portugese colonialist awaiting evcuation (Exodus, 1975, 2012), to the interracial-intercultural array of dancing people (Club Versailles, 1974, 2012), to the group of rebel fighters performing capoeira, the Brazilian martial art that originated in Angola (Capoeira, 1974, 2012). Disco, a source of escapism for New Yorkers from the nearly bankrupt city at the time, traces its roots to Africa. Connecting these two seemingly disparate places, separated by thousands of miles of ocean and cultural-political borders, Douglas traces subtle parallels between New York’s struggles and the emerging Angolan liberation fight for independence from Portugal—one which would ultimately lead to a decades-long civil war.

Douglas’s series Midcentury Studio is currently on view at Victoria Miro Gallery in London through May 26, 2012. More information about the Infinity Awards can be found here.

Our Origins Opening Reception Draws a Crowd

We’d like to thank everyone who came out to the opening reception for Our Origins last Thursday!

The event, which included a guided gallery tour from contributing artists Alison Ruttan, Ken Fandell, Alison Carey and Jennifer Ray, had an exceptional turnout, allowing artists, curators, college students and the general public to meet and discuss artistic representations to the age-old question, “Where do we, as humans, come from?”

In case you missed it, here are some photos from the event:

Jennifer Ray discusses the inspiration behind her series, Go Deep into the Woods.

Alison Carey discusses her series, Organic Remains of a Former World with visitors.

After giving a lecture on his video installation, The Most Important Picture Ever, Ken Fandell mingles during the reception.

Jennifer Ray fields questions on her work during the opening reception.

The crowd snacks and socializes, no doubt making plans to meet up at the next MoCP event.

Miss this event? Visit us for one of these upcoming events at the museum:
• Thursday, September 27 at 5 p.m. when Colleen Plumb and Kelli Connell visit the museum to sign their books, Animals are Outside Today and Double Life.
• Tuesday, October 2 when Our Origins artist Aspen Mays joins Kathryn Schaffer, postdoctoral fellow at the Kavli Institute for Cosmological Physics at the University of Chicago, to talk about ways scientists and photographers can team up to help answer questions about the origins of the universe.

Tim Hetherington Installation and Video on View



Installation shot of Sleeping Soliders by Tim Hetherington. Image taken with SONY a33 DLSR Camera and Lens, generously donated by Sony USA

In remembrance of Tim Hetherington, photographer, reporter, and filmmaker, Aperture is honored to present his Sleeping Soldiers video installation and his Diary video, from Wednesday, May 25 through Thursday, June 23.

Tim Hetherington was killed in Misurata, Libya, on April 20, 2011, during an attack by pro-Qaddafi forces on the rebel-held town. His funeral took place in London on May 13 and in New York, May 24.

Sleeping Soldiers (5 minutes, 2009) is an immersive video essay, shot at the same time as the film Restrepo, featuring soldiers of a U.S. Airborne Infantry platoon based in the Korengal Valley of Eastern Afghanistan, in combat, and asleep. The original three-screen installation was first shown in New York in 2009 at the New York Photo Festival, in an exhibition curated by Jon Levy.

Diary (19 minutes, 2010) is a highly personal and experimental film that expresses the subjective experience of Hetherington’s working life, and was made as an attempt to find himself after ten years of reporting. It’s a kaleidoscope of images that link our Western reality to the seemingly distant worlds we see in the media.

Both videos were shot and directed by Tim Hetherington, with editing and sound design by Magali Charrier.

Hetherington’s family and friends have suggested that donations in his memory be made to the three charities that Tim felt most strongly about: Human Rights Watch, the independent organization dedicated to defending and protecting human rights, for which he worked regularly; Committee to Protect Journalists; and Milton Margai School for the Blind in Sierra Leone, where Hetherington photographed and worked with students, who had been intentionally blinded by the Revolutionary United Force. Donations to these charities will be accepted at Aperture during the screening of his videos.

Tim Hetherington was born in Liverpool, UK, in 1970. He studied literature at Oxford University and later returned to college to study photojournalism. He lived in New York and was a contributing photographer for Vanity Fair magazine. He was known for creating diverse forms of visual communication and his work has ranged from multiscreen installations, to fly-poster exhibitions, to handheld device downloads. Known for his long-term documentary work, Hetherington lived and worked in West Africa for eight years and reported on social and political issues worldwide.

As a filmmaker, he worked as both a cameraman and director/producer. He was a cameraman on Liberia: An Uncivil War (2004) and The Devil Came on Horseback (2007), and his directorial debut, Restrepo (codirected with Sebastian Junger), was awarded the Grand Jury Prize at the 2010 Sundance Film Festival and shortlisted for an Academy Award for Best Documentary Feature, in 2011.

He authored and published two books of photographs: Long Story Bit by Bit: Liberia Retold (Umbrage Editions, 2009), and Infidel (Chris Boot, 2010).

He was the recipient of numerous awards, including a Fellowship from the National Endowment for Science, Technology, and the Arts (2000–2004), a Hasselblad Foundation grant (2002), four World Press Photo prizes, including the World Press Photo of the Year 2007, the Rory Peck Award for Features (2008), and an Alfred I. duPont award (2009).

Fresh garbage. ‘Matter out of place’ and filthy reality at the Wellcome’s new show

The Wellcome Collection’s new show is all about ‘Dirt: The filthy reality of everyday life’, writes Rosie Walters. The science, the sociology, the history and the horror of waste forms the basis of this free London exhibition. It is not based on the science of dirt, but on the context in which it is found, and our attitudes towards it over the years.

The Wellcome has a history of putting on exhibitions that blur the lines where science, communication and art all meet, and making it accessible not just to scientists, but to anyone who’s interested.

L0068416 Last barge of garbage to Fresh Kills

Above: Last barge of garbage to Fresh Kills, 2001. Courtesy of the City of New York

Loosely split into six different sections, the exhibition guides you from the microscopes of Antonie van Leeuwenhoek (below) and immaculate houses in seventeenth-century Delft, to the squalid reality of life in the slums of New Delhi and the growing crisis of waste disposal in New York’s Staten Island (above).

Ant eggs and maggots etc.

Above: Ant eggs and maggots etc., by Anthony van Leeuwenhoek, 1807. Courtesy Wellcome Library, London.

Each section explores social and political attitudes to the many different types of dirt. From human to industrial, it seeks to examine anthropologist Mary Douglas’ view that dirt is just ‘matter out of place’.

A young Venetian woman, aged 23

Above: A young Venetian woman, aged 23, depicted before and after contracting cholera. Coloured stipple engraving. Courtesy: Wellcome Collection.

Despite being a topic that does not naturally associate itself with beauty, the exhibition is incredibly visually striking: there is a clear progression from section to section and a good mix of media. Videos, specially commissioned artwork, photos and explanatory panels are nicely balanced, giving visitors enough information to appreciate the exhibits without them getting overloaded by facts and figures.

Raw Material Washing Hands

Above: Raw Material Washing Hands, 1996, by Bruce Nauman, Video installation. Courtesy ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d’Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008.

The strongest area by far is the one focusing on the Deutsche Hygiene Museum, which covers everything from 1960s animations showing the viewer how important washing fruit is (‘be like Snow White and wash your fruit before you eat it!’) to the disquieting ‘racial hygiene’ Nazi posters, and an illustration in Der Stürmer [The Attacker] from 1943 showing the Star of David and the Soviet hammer and sickle as ‘germs’ and ‘microbes’ in the view of a microscope. It also shows promotional posters for, and images from the first international Hygiene exhibition in Dresden in 1911, including Franz von Stuck’s giant eye poster (top).

V0013642 King's Cross, London: the Great Dust-Hea

Above: King’s Cross, London: the Great Dust-Heap, next to Battle Bridge and the Smallpox Hospital. Watercolour painting by E. H. Dixon, 1837. Courtesy Wellcome Library, London.

‘Dirt’ may not be the ideal choice for the more squeamish – the scratch-and-sniff cards accompanied by anti-bacterial hand wash and giant ‘anthropometric modules’ (bricks) made of human faeces were a little nauseating. But it certainly is a fascinating insight into mankind’s morbid relationship with waste.

Rosie Walters is a UCL student and science editor of Pi.

Dirt: The filthy reality of everyday life
24 March > 31 August 2011
Wellcome Collection, 183 Euston Road, London NW1 2BE, UK
+44 (0)20 7611 2222
Admission free.

Eye is the world’s most beautiful and collectable graphic design journal. Available from all good design bookshops and online at the Eye shop, where you can buy subscriptions, back issues and single copies of the latest issue. Eye 79, a type special, will be out any moment.

Go here! Do this!

1. Picture Books is A F.L.O.A.T collaboration with four Independent Photography Book publishers featuring selections from Hassla, JSBJ, Lay Flat and Seems. Opening Reception and book sale, introducing a selection of limited edition prints TOMORROW December 18th 6 – 8pm. Don’t miss this event!

2. EBERSMOORE in Chicago is excited to announce its upcoming exhibition, Ah, Wilderness!, a curated artist book of 50 plus artists. Including work by Heidi Norton.

Heidi Norton

3. Take a break from holiday madness to read Artie Vierkant’s treatise on the post-internet image object over at jstchillin. If this is Artie chillin‘, you better step up your game!

4. Klomp Ching Gallery is hosting an OPEN DAY TOMORROW anytime between 11am-6pm where “we’ll be happy to open up the portfolios of our gallery artists, share their work with you and answer any questions you may have about buying contemporary photography.” (via Klomp Ching)

5. Daniel Shea has extended viewing hours for Lesson 1: Misanthropy New Sculptures, Photographs, and Video Work by Daniel Shea at Acre Projects *ADDED HOURS: Dec 17th, 6:00-9:00.

Daniel Shea

6. TONIGHT in Brooklyn, PhotoFeast’s slideshow exhibition is a one night event featuring photography, video, installation, performance and a zine library by students and emerging artists in New York.

7. TODAY is your last chance to submit to <strong><a href=” />3rd Ward’s Open Call “giving you just enough time to submit your work for chance at a 3-month live/work NYC residency, a $5,000 cash grant and access to the resources to help you create a body of work that is larger than the city itself.” (via 3rd ward)

8. The Magenta Foundation is pleased to announce Year Seven of its Emerging Photographers exchange! Deadline for submissions is Friday, Dec 31. Click here for “Guidelines for Submission”.

Julia Stoschek Collection at Deichtorhallen Hamburg: “I want to see how you see”

SEO Denver .

Exhibition of the Julia Stoschek collection from 16.04.2010 – 25.07.2010 at the Deichtorhallen Hamburg. point of sale portland . Android Wallpapers . I WANT TO SEE HOW YOU SEE Video installation photography with: Maria Abramovic Doug Aitken Björk (Encyclopedia Pictura) Monica Bonvicini Thomas Demand Jeppe Hein Isaac Julien Tony Oursler Piplotti Rist www.deichtorhallen.de