A Writing on Bernard Plossu

©Bernard Plossu

This image of Plossu’s photo held in his hand may as well be anyone’s photo in anyone’s hand because the image doesn’t address the subject of the photo or the identity of the hand holding the photo, but rather the materiality of the photo itself and the way in which it represents an object out in the world.

This photo is a representation of the object and also the signifier (the original photo). For the purposes of this writing, ”reality” will mean a thing or event that is out in the world, something we perceive that is outside of our bodies. In order to understand exactly how much photography has an impact on our perceived notions of reality, we need to first understand the process in which reality is re-presented. Continue reading

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Margeaux Walter

Morning Commute I
2009–2010
Edition of 7
Digital C print
30 x 30 inches
Crowded
March 4 – April 24, 2010
“Winston Wächter Fine Art is pleased to announce its first solo show with photographer Margeaux Walter. Walter has long been interested in questions of identity and individuality in modern society. Using her own image in digital photographs and lenticulars (a printing process that creates an image that moves or shifts with the movement of the viewer), she has explored the impact of technology, or, more to the point, society’s growing dependence on technology—a trend from which she is certainly not immune.”
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Spencer Finch and Jan Dibbets

There are two artists I am looking at right now that both excite me and are influencing the direction of my work: Jan Dibbets and Spencer Finch. Jan Dibbets currently has a show up at Gladstone Gallery titled “New Horizons”. After going through a two year stint of focusing on photographing horizon lines, I immediately related to this exhibit on a personal level. The show is comprised of two photos matched up in various ways by the horizon and cropped into various geometric shapes that create a formalistic harmony throughout the series.

Taken from the press release:

“For this new body of work entitled “New Horizons,” Dibbets returns to the optical structure that has become his hallmark. As Erik Verhagen says in his recent study of Dibbets’ oeuvre, “The horizon is not a subject like other subjects, for it exists only through and in relation to our sense of sight.” It is objective and subjective, circular and rectilinear, static and mobile. In these photographs, which conjoin different photographs of a landscape and seascape along the line of the horizon, Dibbets channels it as structuring principle, not only determining space and point of view, but also—in a very painterly way—the composition itself. By subordinating the mobility of the camera to the standardization of a straight line, these panoramas create a subtle tension between the seamlessness of the horizon line and the disjunction of land and sea, only further accentuated by the resulting asymmetrical compositions.”

Sea-Land C/B1, 2007 Two unique color photographs mounted on mat board with graphite; 26 1/4 x 61 1/8 inches (66.7 x 155.3 cm) framed

Land-Sea AB3, 2007 Two unique color photographs mounted on mat board with graphite; 40 7/8 x 56 inches (103.8 x 142.2 cm) framed

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Snowstorm




The most difficult part of making this photo was climbing the stairs at the Bedford L stop.
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