Holiday Reading: Look, Browse, Read, Think…Rest
For leisurely holiday reading next week I would suggest picking up a copy of Sigrid Calon’s new book “Within the Grid and Beyond the Pattern: 120 Compositions in Form & Colour,” stencil printed on RISO. While not a photobook, the process used to make and print this books is a “photo” copy technology. The copy in hand is edition number 189 of 420. On the dust jacket turn-in around the back board the author includes the following description:
“This work arose out of my fascination for a grid. An embroidery grid, to be precise, with a minimal basic grating of 3 x 3 dots. With these dots, 8 different (embroidery) stitches can be made: one horizontal, one vertical, one 45 degrees to the right, one 45 degrees to the left, one 26.5 degrees to the right, one 26.5 degrees to the left, one 63.5 degrees to the right, and one 63.5 degrees to the left.” Following a discussion about lines as they are translated by a computer, there is a discussion of the unique qualities of the Risograph copier (the effect of screen printing with the ease of photocopying). She continues, “I have chosen to work with 8 colours: fluorescent pink, blue, orange, brown, yellow, green, black and red. … The colour combinations have been teh starting point for the book. 8 colours generate 28 two-colour combinations and 56 three-clolur combinations. Four-colour combinations make 72 options appear. Out of these I have made a selection of 28 so as to have a good basic combination of 4 compositions per A3. Each colour combination in this book appears only once.” There is a brief note about gradations and layers.
Sigrid’s book is a great introduction to color and color processes is a perfect segue to my second title for holiday reading or browsing: “Color: American Photography Transformed,” by John Rohrbach with an essay by Sylvie Penichon. Published by the Amon Carter Museum of American Art and the University of Texas, Austin, and The William & Bettye Nowlin Series in Art, History, and Culture of the Western Hemisphere.
The table of contents include: Forward by Andrew J. Walker, Introduction, One: inventing color photography, Two: defining color (1936-1970), Three: Using color (1970-1990), Four: interrogating color (1990-2010), from potatoes to pixels: a short technical history of color photography, list of plates, bibliography, acknowledgments, Index. Color reproductions throughout are all very high quality, and the book itself is over sized, allowing for enjoyment of large images. An excellent book.
For those of you who are less interested in an artist book, or in a large coffee table book, you might aim for something a little more cerebral: “Minor Photography: Connecting Deleuze and Guattari to Photography Theory,” edited by Mieke Bleyen, published by Leuven University Press, 2012. The book is broken up into three parts.
Part 1: Towards a Theory of the Minor
“From Stuttering and Stammering to the Diagram: Towards a Minor Art Practice?”
Simon O’Sullivan
“Tichy as a Maverick: Singular figure of a Minor Photraphy?”
Gilles Rouffineau
“Always in the Middle: the Photographic work of Marcel Marien. A Minor Approach”
Mieke Bleyen
Part 2: Major Artists – Minor Practice?
“Fear of Reflections: the photoworks of Paul McCarthy”
Neil Matheson
“Considering the Minor in the Literary and Photographic works of Rodney Graham and Tacita Dean”
Christa-Maria Lerm Hayes
“Entertaining Conceptual Art: Dan Graham on Dean Martin”
Eric C.H. de Bruyn
Part 3: Surrealism in Variation
“Towards a Minor Surrealism: Paul Nouge and the Subversion of Images”
Frederic Thomas
“Conceptual Art and Surrealism: an Exceptional, Belgian Liaison”
Liesbeth Decan
“Systematic confusion and the total discredit of the world of reality: Surrealism and photography in Japan in the 1930s”
Jelena Stojkovic
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Cheers! And have a great holiday week!
Artist Spotlight: Andrew Miksys
Recently, I was checking in with the great online blog Ignant, and I ran across a series called “Bingo” by photographer and artist Andrew Miksys. The bingo halls and eccentric cast of characters in Miksys’s images struck a familiar chord with me having spent time every summer as a kid in the bingo halls of Jupiter, FL with my Grandma Macel. I caught up with Andrew to ask him about the project and what he’s working on now.
SM: First off, I just recently came across your “Bingo” series and felt an instant connection both to the subject matter and your style of shooting. My grammy takes no prisoners when it comes to bingo or poker, and it was a big part of her social life when she lived in Florida. What first brought you to the bingo table and when did you decide to start this project?
AM: I started the project in Seattle. For 25 years my father had a bingo newspaper there (Bingo Today). When I was in high school, I delivered the newspaper to all the bingo halls in Western Washington. Later I came back and began photographing in the same halls.
SM: To be a bit of a tech nerd for a minute, what camera did you shoot this series with and what lighting did you use?
AM: Making pickles and drinking vodka.
Photo by Matthew Leifheit for CCNY
Nir Arieli
Born 1986 Tel Aviv, Israel
Nir Arieli’s photographs are beautiful. Picturing male dancers in glowing natural light Arieli steals the physical beauty of his subjects, elegantly transferring it into still images. A frenetic unrest scratches at the surface throughout his series, presenting signs of a struggle beneath the placid picture plane. Tension exists between perfection and imperfection. Tension exists in the very muscles of his sitters. Tension even extends to the viewer in the act of looking at men in this way. Movement is suggested or even depicted explicitly, but the final images are very still. Arieli’s photos preserve moments of balance and grace, leading to the polished contrapposto that gives his pictures gravity.
Arieli only photographs men. Choosing subjects primarily from The Julliard School’s dance program, Arieli slowly sculpts the photograph through communication. “We worked in front of a white wall and he told me certain things he wanted within the composition including muscular tension and contortion with a relaxed focus in the eyes,” says Austin Goodwin, an undergraduate dancer at Julliard and repeated subject of Arieli’s photographs. “He asked me to move extremely slowly through different positions with my upper body. Throughout this he would stop me and we would explore whatever was working best. Occasionally I would try something different to see if it was cohesive with his idea and from there the collaboration continued between me inserting movement suggestions and Nir giving direction as to focal specifics and body angles. It was a very organic process.”
Arieli’s video work is made the way a photographer should make video, the camera at a fixed point, the frame unwavering. The only thing moving in the picture is the subject himself, performing for the viewer. “Dancers are performers, the process of creating a still image gives them a similar satisfaction to the one they get when the lights come up on stage,” says Arieli to MATTE, “The camera functions as the audience. They are eager to actively contribute to the success of the work. I’m often working with them in a very abstract way of directing, and they are able to translate my words into physical states.”
Beginning his career as a military photographer for the Israeli magazine Bamachane, Arieli now focuses with reticence on beauty. “Beauty is an essential part of every body of work I make. I’m in love with it but I also know I can’t be married to it in the most traditional sense,” says Arieli. His new series entitled “Inframen” looks beneath the skin of his subjects. Exposing flaws in the sitter’s physicality through an infrared process, Arieli freezes these artists at what he considers to be a pivotal time in their lives. “I’d like the viewer to disconnect from the glorious immortal dancer’s image they know from the stage, and notice the fragility of these people, the contrast of their gentle souls against their strong bodies. The ridiculous situation in which the dancer’s whole existence is dependent on his body, and that youth is gone in such a young age. In that sense this project is a lullaby for this beautiful stage in a dancer’s life, when they’re at their best physical shape,” says Arieli. “From now on the body will betray them slowly.” -MATTE Magazine for CCNY