installation view of Darren Bader’s work (including my photo) in the Dallas Museum of Art exhibition, Never Enough: Recent Acquisitions of Contemporary Art
Recently, I was contacted by the Dallas Museum of Art to make a photograph using directions provided by the artist, Darren Bader, for inclusion in an exhibition at the Museum. The artist, who frequently employs work by collaborators for use in his installations, assigned me the goal of photographing “oil with/and Mohel” (an example of his rhyming pair juxtapositions). Subsequently, the DMA coordinated with the Saint Louis Art Museum to allow me to photograph a local Mohel in their galleries, next to an oil painting. You can see that image, and the DMA’s description of the exhibition after the jump.
For nearly two hundred years, culture has taught us to accept photographs as truthful vestiges of events that have occurred, and we have been conditioned to ignore the manners in which that truth is manipulated by both the photographer and the camera. In the digital era, our faith in the photo document is no less, despite the many additional ways that images are altered (ranging from a conscious event like post-processing to the unintended problems inherent to having the digital sensor emulate analog film).
Telegenic is a series exploring the manipulation and dispersion of digital media via light-emitting displays, and the ways in which digital capture fails to fully communicate screen-originated imagery.
Continuing in my decision to concentrate on figurative work this summer, I am reposting this series that I shot with Lindsey some time ago. I’ve added a few images that have not been seen before as well.
I’ve decided to take a bit of a break from the more rigid structure of my art-making, and focus for a while on a classic motif, the human figure. Among subjects for artists, there is almost nothing more answerable to the timeless question of form or content than the body. For in the nude human form, we see both an object with wonderfully innate aesthetic qualities and a condition that we all closely identify with. Certainly, this is a Modernist direction that moves away from what I typically do, but it is surprisingly comfortable territory, and something that I have always been fascinated by.
In this group of images, Alexandra was an excellent collaborator that I hope to work with again soon. Alex has an amazing profile, bright eyes, and totally put up with my requests to have the human body positioned in ways that are physically impossible. Thanks again, Alex!
(Contrary to some beliefs, the languished transition toward rail transportation, and the subsequent outpacing of Chicago over St. Louis in shipping, was not due to the city’s stubborn clench to outmoded steamboat technology.)
In 476, the western hemisphere of the Roman Empire fell`. Subsequently, centralized power dissolved for Rome, and so the once hot embers of one of human civilization’s mightiest kingdoms began to rapidly cool. At many times and for many reasons, St. Louis has been compared to Rome. Both cities shared an influential Catholic populace, and both cities achieved a considerable prominence, both at home and abroad. However, both cities also declined rapidly, almost inexplicably. While the fall of the Roman Empire is now widely understood, the reasons for the depreciation of St. Louis is less known. The story behind the exaltation and descension of the “Rome of the West” offers an interesting example of the potential effects of shifting markets, political uncertainty, and the introduction of new infrastructure, especially when adaptation is not in proportion to evolution. On a national level, St. Louis’ loss of scale gives insight to a rhetoric of urban decay and decline repeated over and again throughout the United States; if the sustainability of American cities is the question, then St. Louis could well be part of the answer. (more…)
Currently up at the International Photography Hall of Fame is an exhibition that I curated called, St. Louis Shoots: Contemporary Street Photographers from St. Louis. The exhibition will be on display until April 27, 2014, and the Museum’s hours are as follows:
In case you missed it, here are my installation shots for the Anna Kuperberg’s South Side exhibition at the International Photography Hall of Fame. The show ran from February 7, 2014 to March 7, 2014. If you would still like to see some of Anna’s work in person, a portion of the South Side images are included in my new exhibition at IPHF, entitled, St. Louis Shoots: Contemporary Street Photographers from St. Louis (up through April 27, 2014).
Jarred Gastreich; St. Louis, 2013
I hope that all of you will make it to my next exhibition at the International Photography Hall of Fame, which I have guest curated for the Museum. The opening is March 7, from 6-9p, and the run is from 3/7 to 4/27.
“St. Louis is a city with a rich photographic heritage stretching back almost to the very origin of the medium. Today, the cultural landscape of the city supports a diverse array of photographic artists, including a large network of street photographers who work with the city as either their subject or home base.
‘St. Louis Shoots: Contemporary Street Photographers from St. Louis’ features work from such recognized artists as Yvette Drury Dubinsky and Sam Fentress, while introducing the photographs of many talented newcomers. For an outsider’s perspective, the exhibition will juxtapose a portion of ‘Anna Kuperberg’s South Side’.
On view with the legendary photographs featured in ‘Decisive Moments: 20th Century Street Photography Prints from St. Louis Collections’, the exhibition offers an exciting comparison of current talent to those masters who defined the street.”
Some other images from the exhibition after the jump. (more…)