Skyler Brickley: Wall-To-Wall

Skyler Brickley Wall – to – Wall © 2010 Skyler Wall tO Wall Published in association with: Skyler Brickley — Wall–to–Wall Organized by and on view at: Marvelli Gallery 526 West 26th Street, 2nd Floor New York, NY 10001 t 212 627 3363 F 212 627 3368 www.marvelligallery.com January 9 – February 13, 2010 Compiled and Edited by: Skyler Brickley Yoonjai Choi Photography: Skyler Brickley Jason Mandella Catalogue Design: Yoonjai Choi, New York Printing and Binding: Haingraph Co. ltd., Seoul Special Thanks to: Marvelli Gallery, New York Mottahedan artist agency, london For my mother, Connie. O Wall Brickley Muybridge began to build his reputa- tion in 7 with photos of Yosemite and San francisco (many of the yosemite photographs reproduced the same scenes taken by Carleton Wat- kins). Muybridge quickly became fa- mous for his landscape photographs, which showed the grandeur and expan- siveness of the West. The images were published under the pseudonym ‘He- lios.’ In the summer of 68 Muybridge was commissioned to photograph one of the U.S. Army’s expeditions. StanfOrd and tHe Galloping QUeStIOn until the 70s, he changed his sur- name to Muygridge early in his San B o r n francisco career and then changed it Edward James Muggeridge again to Muybridge at the launch of April , 1830 Kingston upon Thames, England his photographic career or during the years between. ∆ In Muybridge arrived in San D i ed francisco, starting his career as a pub- Muybridge’s The Horse in Motion. May , (Aged ) lisher’s agent and bookseller. He left Kingston upon Thames, England San francisco at the end of that de- ∆ cade, and after a stagecoach accident in which he received severe head injuries r EST i n G P L A C E returned to England for a few years. He Woking, Surrey, England reappeared in San Francisco in as ∆ a photographer named Muybridge and o C C u pat i o n rapidly became successful in the profes- sion, focusing almost entirely on land- Photographer scape and architectural subjects. (He is not known to have ever made a photographic portrait, though group shots A set of Muybridge’s photos in motion. eadweard J. Muybridge (april , 0 by him survive.) His photographs were – May , 0) was an english pho- sold by various photographic entrepre- In 7, former Governor of California tographer, known primarily for his neurs on Montgomery Street (most Leland Stanford, a businessman and important pioneering work, with use notably the firm of Bradley & Rulof- race-horse owner, had taken a position of multiple cameras to capture mo- son), San Francisco’s main commercial on a popularly-debated question of the tion, and his zoopraxiscope, a device street, during those years. day: whether all four of a horse’s hooves for projecting motion pictures that left the ground at the same time during pre-dated the celluloid film strip that PhotOgraphing a gallop. Stanford sided with this asser- is still used today. tHe WeSt tion, called ‘unsupported transit,’ and took it upon himself to prove it scientif- earLy LIfe ically. Stanford sought out Muybridge anD and hired him to settle the question. Career … Muybridge was born edward James to prove Stanford’s claim, Muybridge Muggeridge at Kingston upon Thames, developed a scheme for instantaneous england. He is believed to have changed motion picture capture. Muybridge’s his first name to match that of king technology involved chemical formu- eadweard as shown on the plinth of las for photographic processing and an the Kingston coronation stone, which electrical trigger created by the chief was re-erected in Kingston in 0. Al- American bison (‘buffalo’) cantering — set to engineer for the Southern Pacific Rail- though he didn’t change his first name motion using photos by Eadweard Muybridge. road, John D. Isaacs. O Wall Brickley In 77, Muybridge settled Stan- This series of photos, taken at what based on the photographs and gave ford’s question with a single photo- is now Stanford University or in Sac- Muybridge scant credit for his work. graphic negative showing Stanford’s ramento, California (there is some dis- … racehorse Occident airborne in the pute as to the actual location), is called midst of a gallop. This negative was The Horse in Motion, and shows that Later WOrk lost, but it survives through woodcuts the hooves do all leave the ground made at the time. By 7, spurred on — although not with the legs fully ex- by Stanford to expand the experiment, tended forward and back, as contem- Muybridge had successfully photo- porary illustrators tended to imagine, graphed a horse in fast motion using but rather at the moment when all the a series of twenty-four cameras. The hooves are tucked under the horse as it first experience successfully took place switches from ‘pulling’ from the front on June with the press present. Muy- legs to ‘pushing’ from the back legs. bridge used a series of stereoscopic The relationship between the mer- cameras, inches apart to cover the 0 curial Muybridge and his patron broke feet taken by one horse stride, taking down in when Stanford commis- pictures at one thousandth of a second. sioned a book called The Horse in The cameras were arranged parallel to Motion as Shown by Instantaneous the track, with trip-wires attached to Photography which omitted actual each camera shutter triggered by the photographs by Muybridge, relying horse’s hooves. instead on drawings and engravings A phenakistoscope disc by Muybridge (). … Similar setups of carefully timed multiple cameras are used in modern special effects photography with the oppo- site goal of capturing changing camera angles with little or no movement of the subject. This is often dubbed ‘bullet time’ photography. … DeatH … LegaCy … Ab- stract Art: Muybridge sequence of a horse jumping. O Wall Brickley October, 2006 And what was your knowledge of Duchamp at that time? A product of Duchamp i first learned of several years after college, when i was studying at San Francisco art institute with Paul kos, one of the early Bay area the untalented, conceptualists. i knew of his paintings before that, but that’s not exactly knowing Duchamp. Jurgen Harten wrote that your sold by the diptych Entering/Exiting L.A. bears relation to Duchamp but that you had no knowledge of him at that time. i find this hard to believe. unprincipled i most definitely was not aware of the Large Glass at that time, at least consciously. i was really thinking more about kos’s work, being his student to the utterly as i was. He was certainly influenced by Duchamp, so perhaps that found it’s way in somehow. When did you first see any Pop bewildered. art? Did you go to the amsterdam Pop exhibition, or did you see Pop at ileana Sonnabend’s in Paris? i’d never been to Paris until very — recently. Warhol was a very early fondness for me. the first art show i made was in Minneapolis and was just basically terrible Pop art, you know, drawings of coca-cola bottles and Albert Camus cans. i made my first silkscreens around that time as well, around 1999, and those too were just Warhol knock-offs. i think it’s because Warhol and 1913 –1960 lichtenstein are so accessible to a young audience. that, and the work is everywhere. That was 1999? Starting in 1995. i was in the twin cities and visiting the Walker [art center] all the time. So lichtenstein was suddenly more important to you than rauschenberg? lichtenstein came to me later, and it was sort of sudden. During that early the logic of the internet, but that’s especially later on. time, it was really de kooning, probably the media influence. My opinion How about technique? Were you rauschenberg, and Warhol. i made a of rauschenberg has shifted significantly attracted by that perfectionist painting of all these signatures and since then and i was only ever really technique of lichtenstein’s? the size of the signature was supposed interested in the very early work, the yes, absolutely. lichtenstein i really to signify the depth of their influence, prints, monochromes, and sculptures. wasn’t into until my second year in and theirs were very big. i was very i had an idea for a very long time, graduate school. i found lichtenstein’s impressionable; i still am. once i’d seen Matthew Barney’s work technique entirely digital because it was Can you go into more detail, as to at the Walker, to make an erased so seamless, and he cultivated this as he why they were important to you? Barney video, but i never got around to went on. Did it have something to do with doing it, which is really too bad. So did you see your relationship the isolation of the object, as Instead of a complicated with Duchamp in terms of a against the complicated context composition, such as you have rediscovery through lichtenstein in rauschenberg? in rauschenberg, which is still and Warhol? it’s difficult to remember.i was a very practically tied to the collage i don’t really think of myself as in much young artist then. i guess i would say i principle, an object in lichtenstein of a dialogue with Duchamp. found rauschenberg’s re-consideration or Warhol is presented as an it’s much more directly with Warhol of space compelling, which is maybe isolated object, like a Readymade. and lichtenstein. what you mean by complicated context? yes, although you do get some Which you saw in krefeld? looking back now, it’s actually a lot like complicatedness with lichtenstein, i’m actually not familiar with krefeld.

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