Photo-A-GoGo presents art that has photography as an element, whether it is predominant or used as a minor accent, to show how the creative process now parallels or responds to the ubiquitous social digital/exchange mentality. We have the MIME, Instagram, Snapchat, all the ways we express or project our ideas or self-image – so the photograph, instead of being “worth a thousand words” is now as common as a mosquito in July. However, that does not mean that art or the intention behind it or the imagery utilized is, in the end, benign.
Left: Don Doe, Fille Sans Dot, Fille Avec Dot (2017), giclee, 22 x 15″
The artists in this exhibition are quite varied in style and background – they all use machines, mechanisms or minutiae that are accessible to most – and they all bring something new and fresh to the use and application of the photograph. For instance, Don Doe combines portions of magazine photo-pages to distort representation and fracture meaning. It’s a cubist approach in a way, but more like Picasso’s Les Demoiselles d’Avignon (1907) than say Girl With Mandolin (1910) as there is more of an emotional and confrontational content than what one would see as being akin to analytical theory.
Right: Pablo Picasso, Les Demoiselles d’Avignon (1907), MoMA.
Liz Guarracino creates unexpected abstractions by photographing ice at close range. The formations Guarracino captures are similar to those taken with an electron microscope; however, here we see something familiar in a curious context-less presentation. As a result, the trapped air bubbles depicted, as they ascend and form stalagmite-like intrusions in the ice become strange, even otherworldly.
Using abrupt movements and a Polaroid camera Jan Houllevigue creates a haunting image of a cold and calculated world submerged in a thick unyielding atmosphere where feral focus and lingering light breeds unsteadiness in the viewers sense of being grounded. As a result, we get a glimpse of a parallel plane, perhaps the afterlife, where lost souls look for a new home in order to regain full consciousness in the here and now.
Left:Jan Houllevigue, Untitled (San Paolo) (2018), silver print, 10 x 11″.
Moses Hoskins creates Books of Debris that turn art making into urban archeology. By gathering all the paper and plastic trash that carelessly never made it into our growing landfills and oceans, Hoskins turns us all into voyeurs as we flip through a series of snapshots and Polaroids mixed amongst product packaging, receipts and scented car fresheners.
Right:Janusz Kawa, Time and Light VI (from Time and Light series) Guadalajara, Mexico, (2008), Archival Digital C Print 20 x 24″, edition 3/8
Janusz Kawa’s photographs can be found in a variety of places including a cover of The New York Times magazine section, as a portrait of Daniel Day-Lewis or in the depiction of the Faces of Rajastan. For this exhibition, Kawa offers one of his works from the Time and Light series where blurred movements dull and disperse the fading forms. A compression of the senses perhaps, which leaves us with a tinge of romanticism in a most mundane moment.
In my new series, collectively titled Cross Contamination, I begin with old LP album jackets that feature a photograph. After all or most of the original lettering is painted out I attach hand made ‘stickers’ of variously drawn sizes and styles to suggest parallels between two distinct types of popular culture. By visually upsetting the base image with the current day fad of tagging objects and signs with stickers, I am acknowledging the importance and the persistence of disruption.
Left:Creighton Michael, Blindsight 0118 (2018), layered acrylic on concave panel, 28 x 16 x 1 ½”
Creighton Michael has had a recent partial loss of his sight due to a surgical error that almost took his life. In response to his circumstance, Michael has initiated the Blindsight series utilizing a number of media and techniques including photography as he explores the space between sight and perception. As in his previous work, there are definite elements of interference only this time they are more real than ever.
Claire Seidl turns the night into near non-representation as harsh hovering light overruns the composition invading the deepest darks. Here, one may be reminded of a transitional state of awareness where visual stimuli move from one episode to the next. There are also hints of geometry here, combined with a distant landscape, bringing this moment back to earth and out of the twilight zone.
Right:Jill Thayer, Belief Systems: Reflexivity (2018), Digital media on cradled wood panel, 14 x 14 x 1 ½”.
Jill Thayer’s two-dimensional work creates a medley of movements that begin with the photographed details of her installations. Adjustments are made in a variety of ways with digital media programs where colors are enhanced, forms are stretched and comparisons are made. Inhabited with related elements at different angles and measures, Thayer presents compositions that suggest sound, even music, as much as they do space and perspective.
Roman Turovsky presents a visceral view of Hell’s Kitchen in New York City. To his photograph, Turovsky applies digital filters giving this print its ‘vintage’ appearance. The combination of the current day image of a part of Manhattan that has, against all odds, maintained most of its low profile and old New York feel is both disorienting and profound, while the frayed focus gives us that added feeling of vertigo.
Left: Patrick Winfield, Full Regalia (2016), instant film on wood panel, 44 x 42″.
Patrick Winfield mixes several instant print pictures in a grid format in the creation of a ‘portrait’ that suggests multiple views. Not unlike the Cubist, we see many angles and the inclusion of text, however here, there is something between the excess and ritual practices. What will most intrigue the viewer is the beautifully successful arrangement of crimson reds, phthalocyanine greens and off whites in this most alluring work.
Tansy Xiao gives us a sense of the theatric, as a pair of characters strut across the picture plane in Keys (2016). The mix of photographs at bottom right is both a minor and pivotal element, as it is comprised of a collage of images of keys garnered from the Internet. The two main figures are made of actual keys, and the absence of a third figure (there are three boxes across the lower half of the composition) raises questions about absence, memory and reality.
By D. Dominick Lombardi, Contributing Editor
Photo-A-GoGo opens Friday, October 19 from 6-9pm at SRO Gallery. The gallery is located at 1144 Dean Street in Brooklyn, NY and runs through November 11th.