PHIL CHANG
Press Pack
612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM
PHIL CHANG
BORN
1974, Elkhart, IN Lives and works in Los Angeles, CA
EDUCATION
2005 M.F.A. California Institute of the Arts, Valencia, CA
1997 B.A. University of California Irvine, Irvine, CA
SOLO EXHIBITIONS
2019 George Eastman Museum, Rochester, NY (forthcoming)
2017 Matte Black Marks, Matte Black Pictures, M+B, Los Angeles, CA
2015 Pictures, Chromogenic and Pigment, #2, Praz-Delavallade, Paris, FR CMP Projects, California Museum of Photography, University of California, Riverside, CA
2014 Pictures, Chromogenic and Pigment, M+B, Los Angeles, CA
2012 Cache, Active, LA> GROUP EXHIBITIONS 2018 Form and Class: Origins and Ends of the Work of Art, curated by Walter Benn Michaels, Andrew Rafacz, Chicago, IL 2017 Four Person Summer Group Show: Phil Chang, Laeh Glenn, John Houck, Ian James, Roberts & Tilton, Los Angeles, CA Light Play: Experiments in Photography, 1970 to the Present, Los Angeles County Museum of Art, Los Angeles, CA I Love L.A., Praz-Delavallade, Los Angeles, CA 2016 A Matter of Memory: Photography as Object in the Digital Age, George Eastman Museum, Rochester, NY About Time, San Francisco Museum of Modern Art, San Francisco, CA Rotation 2016: Recent Acquisitions, California Museum of Photography, Riverside, CA 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Arturo Bandini, Los Angeles, CA Unfixed: The Fugitive Image, Transformer Station, Cleveland, OH 2015 Russian Doll, M+B Gallery, Los Angeles, CA The Human Apparatus, Klemm’s, Berlin, Germany Lens Work: Celebrating LACMA’s Experimental Photography at 50, Los Angeles County Museum of Art, Los Angeles, CA 2014 Me and Benjamin, curated by M+B, Galerie Xippas, Paris, France Aggregate Exposure, George Lawson Gallery, San Francisco, CA Material Object, Curated by Justin Cole, Charlie James Gallery, Los Angeles, CA Tip the Wink, The Institute of Jamais Vu, London, UK Process, Photo Center Northwest, Seattle, WA 2013 Page 179, Artforum, September 2013, Brennan & Griffin, New York, NY Influenced by the Sun, Cohen Gallery, Los Angeles, CA Alchemical, Steven Kasher Gallery, New York, NY Endless Bummer II / Still Bummin,’ Marlborough Chelsea, New York, NY Inaugural Exhibition, Pepin Moore, Los Angeles, CA The Black Mirror, Curated by James Welling, Diane Rosenstein Fine Art, Los Angeles, CA Flicker, Control Room, Los Angeles, CA 2012 Crystal Chain, Invisible Exports, New York, NY Megabodega, Family Business, New York, NY Woman, Laughing, Isolation Room/Gallery Kit, St. Louis, MO 2011 Second Story | New Editions, Pepin Moore, Los Angeles, CA No More Reality, Creatures of Comfort, New York, NY Sing Me To Sleep, Angles Gallery, Los Angeles, CA 2010 Young Curators, New Ideas III, P•P•O•W, New York, NY 2009 Beyond Process, Renwick Gallery, New York, NY The Awful Parenthesis, Cirrus Gallery, Los Angeles, CA Palomar: Experimental Photography, Marvelli Gallery, New York, NY Ooga Booga Reading Room, The Swiss Institute, New York, NY 2008 The World Is All That Is The Case, Hudson Franklin, New York, NY When It’s A Photograph, Bolsky Gallery, Otis College of Art & Design, Los Angeles, CA I Am I A Killer, Sam Lee Gallery, Los Angeles, CA Intersections, Outpost for Contemporary Art, Los Angeles, CA 2006 Best Played With A Straight Face, Hudson Franklin, New York, NY Rose Bowl Flea Market Biennale, CLANCCO and Outpost For Contemporary Art, Pasadena, CA New American Talent: 21, Arthouse at the Jones Center, Austin, TX 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM 2005 Supersonic 2005, Los Angeles Design Center, Los Angeles, CA Shipping & Receiving, Armory Northwest/965, Pasadena, CA FIVE, Scalo Project Space, New York, NY Some Notes On Personal Acts That Other People Perform, Lime Gallery, CalArts, Valencia, CA Crossfade, Teoretica Gallery, San Jose, Costa Rica 2004 After Komoru Shinako, Main Gallery, California Institute of the Arts, Valencia, CA MFA Mid-Residency Show, California Institute of the Arts, Valencia, CA GPS: Cypress Park, Los Angeles, CA 2003 December Test, South La Brea Gallery, Los Angeles, CA November Test, D301 Gallery, California Institute of the Arts, Valencia, CA 2002 Home Series, Grand Central Art Center, California State University Fullerton, CA SELECTED BIBLIOGRAPHY 2016 Roach, Thomas. The Beauty of a Social Problem – Interview with Walter Benn Michaels, Objektiv, August 9 Crow, Kelly. “SFMOMA Stakes Out Photography.” Wall Street Journal, April 28 2015 Taylor, Phil. “Phil Chang. Praz-Delavallade.” ARTFORUM, July 16 2014 Cotton, Charlotte. “Photographer’s File: Phil Chang,” IMA Magazine, Vol 9, August Mizota, Sharon. “The Focus Cleverly Blurs in ‘Soft Target’ at M+B,” Los Angeles Times, August 22 Karapetian, Farrah. "Theatrical Photographs," nonsite.org, May 2 Graves, Jen. “Currently Hanging: The Unveling of Phil Chang’s Photograph,” The Stranger, May 8 Upchurch, Michael. “Photo Center NW’S ‘Process’ is About More Than Images,” The Seattle Times, March 28 Luna, Gina. “Process PCNW Welcomes New Photography Exhibition,” The Capitol Hill Times, March 13 Robertson, Rebecca, “Expired Photo Materials Find New Life in Contemporary Photography”, ARTnews, February 17 2013 Cotton, Charlotte. C-Photo: Photographicness, Volume 7 Aletti, Vince. “Goings On About Town: Art – Alchemical,” The New Yorker, July Diehl, Travis. “The Black Mirror,” Artforum.com, Critics’ Pick, February Ollman, Leah. “Black As Everything and Nothing at Diane Rosenstein,” Los Angeles Times, January 31 2012 Lehrer-Graiwer, Sarah. “Phil Chang,” Artforum, Summer Welling, James. “Associations for Phil Chang,” nonsite.org, April 17 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Michaels, Walter Benn. Meaning & Affect: Phil Chang’s Cache, Active, LA> 2011 Herman, Jane. “Now Selling,” T Magazine, The New York Times, July 27 Kim, Mia. “No More Reality,” The Wild, July Rodo-Vankeulen, Noel. “Books About Photo and Photos About Text,” iheartphotograph, April 13 Tuck, Geoff. “Notes On Looking,” January 5 2010 Lehrer-Graiwer, Sarah. “500 Words,” Artforum.com, May 13 Williams, Sarah Bay. “Three Photo Books and One Book On Photo,” Unframed, May 21 Congyun, Liu. “Phil Chang, Interview,” Photo World, Xinhua News Agency, September Tuck, Geoff. “Notes On Looking,” November 11 2009 Aletti, Vince. “Galleries – Chelsea,” The New Yorker, June 22 Walleston, Aimee. “Photography Wow,” T Magazine, The New York Times, June 5 Curcio, Seth. “Palomar: Experimental Photography,” Daily Serving, June 5 2008 When It’s A Photograph, Catalog, Otis College of Art & Design Biel, Kim. “I Am I A Killer,” Artweek, October Grider, Nicholas. “Interview with Phil Chang,” iheartphotograph, April 29 2007 Balaschak, Chris. “2007 Works” 2006 New American Talent: 21, Catalog, Arthouse at the Jones Center, Austin, TX 2005 Matuk, Farid. “Less So The Man: Chang’s Some Notes On Personal Acts That Other People Perform” SELECTED BIBLIOGRAPHY (VIDEO) 2016 “Phil Chang and Peter Holzhauer,“ The People Radio, Episode 37 https://m.soundcloud.com/insertblanc/ep-37-phil-chang-peter-holzhauer-the-people 2015 “CMP Projects: Phil Chang,” UCR ARTSblock https://www.youtube.com/watch?v=wVeFQHpF6A8 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM CURATORIAL PROJECTS 2014 Soft Target, organized with Matthew Porter, M+B, Los Angeles, CA 2012 Affective Turns?, Pepin Moore, Los Angeles, CA 2009 Seeing Sight, LACE Benefit Art Auction, Los Angeles Contemporary Exhibitions, Los Angeles, CA ARTIST TALKS & LECTURES 2016 Panelist, The Photographic Event, San Francisco Museum of Modern Art Artist Lecture, Broken Windows course, California Institute of the Arts Panelist, “Photography is Magic,” LA Art Book Fair, moderated by Charlotte Cotton, Los Angeles, CA 2015 Artist Lecture, “UCLA-LAMA Art History Practicum Initiative,” Instructors Miwon Kwon and Britt Salvesen Artist Lecture, “CMP Projects,” California Museum of Photography, University of California, Riverside Panelist, “Photography and Philosophy,” Los Angeles County Museum of Art, CA Panelist, “Remembering Forward: Conversations on Photography, LA> 2014 Panelist, Material Object, Charlie James Gallery, Los Angeles, CA Artist Lecture, Department of Art and Art History, University of California, Davis Artist Lecture, Department of Art History, University of Mostar, Bosnia Herzegovina Panelist, Artists in L.A.: The Expanded Field and Photographic Possibilities, photo L.A. Artist Lecture, Program of Photography & Imaging, Art Center College of Design, Pasadena, CA Artist Lecture, Advanced Photography, University of Southern California 2013 Office Hours, LA> 2012 Artist Lecture, Department of Art, University of California, Riverside Panelist, A Discussion On Aesthetics, Affect and Issues of Value in Contemporary Art, LA> Panelist, Exhibition Research Forum, Los Angeles 2011 Artist Lecture, Los Angeles Art Now, Antioch University Los Angeles 2010 Panelist with Britt Salvesen and Patterson Beckwith, Art Catalogues at LACMA, Los Angeles, CA Artist Lecture, Photography Now, UCLA Extension Program 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM 2009 Artist Lecture, Summer Art Institute, Department of Art, University of California, Los Angeles Artist Lecture, Photography Without A Darkroom, The City College of New York, NY 2008 Artist Lecture, When It’s A Photograph, Otis College of Art & Design Panelist, 2008 Resident Artist and Architect Critiques, MAK Center for Art and Architecture Guest Lecture, Professional Practices, Otis College of Art & Design 2007 Artist Lecture, Art Center College of Art & Design, Visiting Artist Course MONOGRAPHS 2010 Phil Chang, Four Over One, Wallis Annenberg Photography Department, The Los Angeles County Museum of Art, May ESSAYS & ARTICLES 2015 Cotton, Charlotte. “Photography is Magic.” Aperture, September Michaels, Water Benn. “The Beauty of a Social Problem: Photography, Autonomy, Economy.” The University of Chicago Press (cover) 2013 “Phil Chang: Cache, Active | Conversation with James Welling,” Aperture, Spring, #210 2011 “Interview with Walter Benn Michaels on Photography and Politics,” nonsite.org, Issue 2 2010 “1 Image 1 Minute,” X-Tra, Volume 12, Number 2, Winter 2010 (Organized by Micol Hebron) 2009 “Dead and Alive,” Words Without Pictures, Wallis Annenberg Photography Department, The Los Angeles County Museum of Art, May 2009 2008 “Conversation With Charlotte Cotton and Phil Chang,” When It’s a Photography, Otis College of Art & Design, November ACADEMIC POSITIONS & APPOINTMENTS 2016 Faculty, The Milton Avery Graduate School of the Arts, Bard College 2007 – Present Visiting Faculty, Department of Art, University of California, Los Angeles, CA 2007 – 2014 Lecturer, Photography Program, Otis College of Art & Design, Los Angeles, CA 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM 2007 Part-time Faculty, Foundation Program, Otis College of Art & Design, Los Angeles, CA COLLECTIONS Los Angeles County Museum of Art, CA San Francisco Museum of Modern Art, CA California Museum of Photography, CA 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM PHIL CHANG Phil Chang (b. 1974, Elkhart, IN) received his MFA from the California Institute of the Arts and his BA from the University of California, Irvine. Recent solo exhibitions include Monochromes, Static and Unfixed at the California Museum of Photography, Riverside and Cache, Active at LA> 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM PHIL CHANG Selected Portfolio 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Installation View of Matte Black Marks, Matte Black Pictures Solo show at M+B, Los Angeles June 29 – August 31, 2017 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Installation View of Matte Black Marks, Matte Black Pictures Solo show at M+B, Los Angeles June 29 – August 31, 2017 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Installation View of Matte Black Marks, Matte Black Pictures Solo show at M+B, Los Angeles June 29 – August 31, 2017 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Installation View of Matte Black Marks, Matte Black Pictures Solo show at M+B, Los Angeles June 29 – August 31, 2017 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Replacement Ink for Epson Printers (Matte Black on Full Sheet 324306) on Hahnemühle Photo Matt Fibre, 2017 signed and dated verso unique archival pigment print 47 x 36 inches (PC.02.092.43) 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Replacement Ink for Epson Printers (Matte Black on 25% Grey 222603) on Epson Enhanced Matte Paper, 2017 signed and dated verso unique archival pigment print 29-1/2 x 24-1/2 inches (PC.02.110.26) 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Replacement Ink for Epson Printers (Matte Black on 75% Grey 212602) on Epson Enhanced Matte Paper, 2017 signed and dated verso unique archival pigment print 29-1/2 x 24-1/2 inches (PC.02.107.26) 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Installation View of A Matter of Memory: Photography as object in the Digital Age, group show at the George Eastman Museum, Rochester, NY October 22, 2016 – January 29, 2017 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Installation View of About Time: Photography in a Moment of Change, group show at San Francisco Museum of Modern Art May 14 – September 25, 2016 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Magazine Tear-Out #1, 2010 unfixed gelatin silver print image size: 9-1/2 x 7-1/2 x inches (24.1 x 19.1 cm) frame size: 19 x 15 inches (48.3 x 38.1 cm) (PC.05.015.19) 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Three Sheets of Thin Paper, 2010 unfixed gelatin silver print image size: 9-1/2 x 7-1/2 x inches (24.1 x 19.1 cm) frame size: 19 x 15 inches (48.3 x 38.1 cm) (PC.05.018.19) 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Installation View of Pictures, Chromogenic and Pigment #2, solo show at Praz-Delavallade, Paris May 30 – July 25, 2015 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Installation View of Monochromes, Static and Unfixed, solo show at California Museum of Photography, Univervisty of California, Riverside May 2 – August 8, 2015 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Untitled (Yellow-Green Monochrome 03), 2015 unique chromogenic print 60 x 48 inches (152.4 x 121.9 cm) (PC.01.018.60) 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Two-person presentation with Dwyer Kilcollin at NADA, Miami December 4 – 7, 2014 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Replacement Ink for Epson Printers (Black 446004) on Epson Premium Glossy Paper, 2014 unique archival pigment print signed, dated and titled verso 60 x 44 inches (152.4 x 118.8 cm) (PC.02.023.60) 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Replacement Ink for Epson Printers (Magenta 172202) on Canson PhotoSatin Premium RC Paper, 2014 unique archival pigment print signed, dated and titled verso 22-½ x 17-½ inches (57.2 x 44.5 cm) (PC.02.045.22) 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Installation View of Pictures, Chromogenic and Pigment, solo show at M+B, Los Angeles September 13 – October 25, 2014 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Replacement Ink for Epson Printers (Cyan and Yellow) on Epson Premium Glossy Paper, 2014 unique archival pigment print signed, dated and titled verso 60 x 44 inches (152.4 x 111.8 cm) (PC.02.001.60) 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Installation View of Pictures, Chromogenic and Pigment, solo show at M+B, Los Angeles September 13 – October 25, 2014 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Replacement Ink for Epson Printers (Black 446004) on Epson Premium Glossy Paper, 2014 unique archival pigment print signed, dated and titled verso 60 x 42 inches (152.4 x 106.7 cm) (PC.02.021.60) 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Untitled (50% Gray Monochrome), 2014 unique chromogenic print signed, dated and titled verso 60 x 48 inches (152.4 x 121.9 cm) (PC.01.002.60) 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Installation View of Pictures, Chromogenic and Pigment, solo show at M+B, Los Angeles September 13 – October 25, 2014 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Untitled (Orange Monochrome 03), 2014 unique chromogenic print signed, dated and titled verso 60 x 48 inches (152.4 x 121.9 cm) (PC.01.008.60) 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Installation View of Studio, Affect, solo show at Pepin Moore, Los Angeles July 7 – August 11, 2012 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Peel on Wood Table, Alternate for Studio, 2012 one one-color stencil prints on vellum, one gelatin silver print, one archival pigment print signed, dated and titled verso image size: 15-1/2 x 21-1/2 inches (39.4 x 54.6 cm) (each) framed size: 36 x 21 inches (91.4 x 53.3 cm) (each) edition of 3 (PC.04.001.36) 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Installation View of Cache, Active, solo show at LA> 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang Monochrome, Exposed, 2011 unfixed silver gelatin print image size: 9- ½ x 7-½ inches (24.1 x 19.1 cm) framed size: 19 x 15 inches (48.3 x 38.1 cm) edition of 3 plus 2 artist’s proofs 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM PHIL CHANG Press and Press Releases 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM FOR IMMEDIATE RELEASE PHIL CHANG Matte Black Marks, Matte Black Pictures June 29 – August 31, 2017 Opening Reception Thursday, June 29, 2017 from 6 to 8 pm M+B is pleased to announce Matte Black Marks, Matte Black Pictures, Phil Chang's second solo exhibition with the gallery. The exhibition runs from June 29 through August 31, 2017, with an opening reception on Thursday, June 29 from 6 to 8 pm. Matte Black Marks, Matte Black Pictures extends Chang’s investigation into what constitutes a picture in an inkjet era. From his Cache, Active series of unfixed and unstable gelatin silver prints, to his monochromes printed from digital files, to his works on paper using inkjet printer ink—each body of work endeavors to reveal the medium’s necessary support structures. By focusing on the forms of production and materiality, Chang is able to call attention to the unique potential of the photographic image to function simultaneously as commodity, artifact for cultural significance and object for philosophical investigation. The new works on paper in the exhibition were made by manually applying matte black inkjet printer ink directly onto the surfaces of matte inkjet paper using foam brushes. The materials used were third-party bottled ink manufactured by Vermont PhotoInkjet applied to inkjet paper manufactured by Canson, Epson and Hahnemühle. Each of the works was hinged on Cool White, acid-free Museum Board and framed under OP3 Acrylic at Art Services Melrose. A variation of marks will be on view including single marks, multiple marks and Chang’s attempts at covering entire sheets of inkjet paper with matte black ink. In several of the works, Chang has manually applied matte black ink to actual inkjet prints that display variations of grey. On close inspection, it is difficult to discern any differences between the results of the printer or that of Chang’s labor due to the absorbing qualities and flat surface of inkjet paper. The exhibition emphasizes the material properties and economic conditions of inkjet media, as seen in the works’ titles, the collision of third-party ink and a dominant brand’s paper product and the choice of solely using matte black ink and matte surfaces of inkjet paper. The works here reflect inkjet printing developments where the goal of achieving dense blacks resulted in the creation of two different black inks, each optimized for a certain type of paper: photo black ink for glossy papers and matte black ink for matte papers. The latter relationship informed the works for this exhibition. Phil Chang (b. 1974, Elkhart, IN) received his MFA from the California Institute of the Arts and his BA from the University of California, Irvine. Recent solo exhibitions include Monochromes, Static and Unfixed at the California Museum of Photography, Riverside and Cache, Active at LA> Location: M+B, 612 North Almont Drive, Los Angeles, California 90069 Show Title: Phil Chang: Matte Black Marks, Matte Black Pictures Exhibition Dates: June 29 – August 31, 2017 Opening Reception: Thursday, June 29, 6 – 8 pm Gallery Hours: Tuesday – Saturday, 10 am – 6 pm For press inquiries, please contact [email protected]. For all other inquiries, contact Shannon Richardson at [email protected] or Jonlin Wung at [email protected]. # # # 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Q&A with Phil Chang June 2017 What is your background in photography, e.g. how did you come to it, what are your theoretical/creative touchstones? I discovered photography based on a fluke in my late twenties. My father at the time was worried about my career prospects and bought me a subscription to Fortune magazine, hoping that it could inspire an interest in business. The subscription came with a promotional gift in the form of a plastic, fixed- panoramic, 35mm camera. I began using this camera and never ended up reading a single issue of Fortune. What initially attracted to me to photography was its ability to reproduce the world in a way that optically resembles the way we see. After taking evening classes in photography, I studied at CalArts in the MFA program in Photography and Media from 2003 - 2005. My theoretical interests have been informed by Marxism, poststructuralism, identity politics, and debates relating to political economy and the consequences of neoliberalism. Creative touchstones have been informed by the history of photography from the 20th century. This includes the formation of American social documentary photography and the development of appropriation as seen in the Pictures Generation. Additionally, institutional critique has informed how I have conceived of exhibiting photographs. You are on the generational cusp that witnessed the obsolescence of analog photography. Can you describe how the ubiquity of postproduction technology, the lightning-fast production of images in the digital era-- how that has affected the medium and your work? The obsolescence of analog photography affected me on economic and theoretical terms. The former made me realize how photography is inevitably affected by changes in technology and market forces. The theoretical outcome was one of witnessing the change from a medium based on light sensitivity to one that is now algorithmic, where the analog indexical sign is now a computational signal, where photographic images are encountered more often on a screen than through a print. The ubiquity of photographic images and the ubiquity of postproduction technology has affected me in adopting a specific relationship both to photography and my work. I think that it’s inarguable that photography excels at reproducing the world in images of the world. However, I think that something else is more accurate of the world that is separate from images themselves. This happens in the way in which we produce, circulate, and consume images. I think this set of social relations is more indicative of the world than photographic images themselves. In your 2014 show at M+B, the works called attention to what constitutes a photograph, but avoided delving directly into that conversation about digital manipulation and representation that so many of your peers were talking about. How do your interests differ from your peers’? My peers have been incredibly successful at articulating the condition of digital manipulation and its effects on representation. Their stakes were something that I wanted to respond to but not in the same way. I have chosen to approach photographic conditions and problems in a more oblique way in order to 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM focus on how we produce, circulate, and consume images. This caused me to focus on material and economic conditions that are embedded in photography, its necessary support structures (e.g. the studio, photo labs, photographic paper, inkjet paper, inkjet ink, the press release, and the checklist), as a starting point to produce unfixed and unstable work, photographic monochromes, and works on paper using inkjet printer ink. What is your overall critical project, starting with the Cache, Active series (or even earlier) to these new Works on Paper? The Cache, Active works have been described as performative, and they also require a different sort of looking from the viewer. The Monochromes and Works on Paper still are about process, and about what photography is, but these works function differently somehow. My overall critical project is using photography as a medium and way of thinking that establishes a critical relationship to capitalism. I know that this might sound like a stretch. However, I do think that photography is emblematic of social and economic relationships, making it an essential metonym for capitalism. And because photography has so many applications and outcomes in today’s world, its place as art makes it unique. Because an art object can be many things at once – a commodity, a form of decor, an artifact for cultural significance, and an object for philosophical investigation – the moment when a photograph can function as art within this condition of multiplicity frees it from its everyday and instrumental uses. What this allows for is the photographic image to have the potential to both circulate as any commodity would while having the potential to critically speak about something at the same time. You make explicit and transparent the material production for your photographic works. What is the work challenging or confirming by doing this? By making explicit and transparent the material production of my works, I have wanted to challenge the tropes of artistic genius, connoisseurship, mystery, originality, and heroic narratives of the artist. I want to confirm that a photographic art object can be perceived and valued by virtue of the conditions that constituted its making, i.e. the labor, the products, and the moment of its production as worthy components that inform the works consumption and meaning. How did you come to make such a simple mark/gesture for these works on paper? And why did you decide on making a varied set of marks for this new show as well as adding the variations of gray backgrounds? I decided to make a simple mark based on ergonomics and as a person who is right-handed. The decision to begin from the upper left of a sheet of paper and then make a mark that proceeded to the lower right made the most “ergonomic” sense. Each sheet of paper that I would mark was pinned to the wall. I had to then make marks while standing. This procedure then was repeated so that each mark followed the same trajectory in order to provide a serial approach to the work in order to avoid some of the conventions that are associated with painting – i.e. gestural abstraction, expression, and the interiority of the artist. 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM I decided to make a varied set of marks for the new show as a way to produce a mark that resembled hash marks – that set of marks used to tally or count something. This counting began with the election of Donald Trump in November of 2016. I decided to add the variations of gray backgrounds as a way to discover how the flat surface of inkjet paper obfuscates any distinction between the results of the printer (in this case, the gray background) and the marks that I have manually applied. An overarching parameter for this show was the use of matte black ink. I chose variations of gray since it could provide some contrast and separation with the black ink. What is the role of abstraction, if any, in your work? Is it just a by-product in the repudiation of image-making and meaning-generation? It seems hard to escape comparisons to the gestural and painting. Do you think those comparisons are pertinent? I think the term “concrete” is a more accurate way to describe the function of abstraction in my work. By “concrete,” I mean to refer to the properties of the work itself – e.g. inkjet media, light-sensitive photographic paper, etc. I also find the “concrete” to be useful in navigating around those tropes that I have mentioned earlier (i.e. originality, genius, interiority, expression, etc.). I’ve found it nearly impossible to escape the comparisons to the gestural and painting and therefore find that these comparisons reveal some of the challenges that photography (or image driven production) faces as art. Because the photograph doesn’t necessarily have to be considered as art, it faces a certain double-standard that other mediums of art do not. Painting and sculpture will always be considered art from the onset whereas specific conditions have to happen for photography to function as art. And because the majority of printed photographic images today result as pigmented prints from an inkjet printer, I wanted to raise the question of what a picture could be in today’s inkjet era (as an extension of the discussion of what a picture was during photography’s former analog and indexical era). This inspired me to manually apply inkjet printer ink instead of using a computer and printer. The comparison to the gestural and painting are inevitable but I have tried to make sure it is not the dominant narrative or interpretation of these works. I like to describe the works on paper as not just a painting but also not just a drawing and not just a screen print, in that the motion of making the mark connects it to these types of art making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to them, art is almost the only place you can fnd it.” Why do contemporary practices in photography interest you specifcally? Or, why is H%&/&.>(H%"#/%<# +./6)$%<#'(9=#/%9=.#/%(/7)#E>(G=#'<#/&#H%&/&.>(H%"#%()#W-)/#B<<=#/%(/#:&>#'&)/#&:#'"#8&&F9=.X(/X(>/#89:9=.#G&>F#/&&#Q/%(/7)#9= ,=E1#H><+9)<8"#B<+(-)<#/%<#H%&/&.>(H%<>7)#+&=/>9B-/9&=#/&#/%<#'<(=9=.#&:#/%<#G&>F#+(=#+&'<#/&#)<<'#(//<=-(/ 256#?%(/#"&-7><#E<)+>9B9=.#%<><#(><#'(9=8"#(<)/%9/<#(B&-/# /%<'#()#9:#/%<"#G<><#(8)&#H&89/9+(8#9))-<)O#6)#9/#&J<>8"#)9'H89)/9+#/&#E<)+>9B<#"&-># interests as “Aesthetic Autonomy vs. Political Autonomy”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into a representation of nothing – that makes the very idea of remainder possible”? And, to paraphrase, that with this renouncement of thingness, with this use of a concrete material as ‘a nothing’ we somehow rehabilitate the material itself for use. How do Phil Chang’s unfxed Cache, Active works rehabilitate or affrm representation by virtue of their slide into monochromes? +./6#!<+(-)<#/%<#N(+%<1#,+/9J<#G&>F)#(><#H9+/-><)#/%(/1#&=+<#"&-# 256#L&#(>/9)/)#89F<#N%(=.#'(F<#9/#H&))9B8<#:&>#&/%<>#(>/9)/)#/&#())-'<#8<))#:>(-.%/#&># +./6#$%(/7)#(#.&&E#;-<)/9&=O#6=)&:(>#()#/%<><7)#(=#9=/<>=(8#8&.9+#(/#G&>F#%<><1#/%<#(=)G<>#'9.%/#(8'&)/#B<#/%(/#G&>F#89F<#%9)1#H>&H<>8"# -=E<>)/&&E1#'9.%/#'(F<#9/#=&/#&=8"#H&))9B8<#B-/#(8'&)/#=<+<))(>"O###$&#B<#9=#/%<#>&&'#G9/%#&=<#&:#/%<#N(+%<1#,+/9J<)#G%98<#9/7)#:(E9=.#9)#(# H&G<>:-8# 256#U&-#+&'H(><#?(8F<>#KJ(=)7#TI,#H9+/-><)#/&#\9`#L<)+%<=<)7#'9>>&> +./6 No doubt there are things you could say about Deschenes in relation to Steiglitz’s Equivalents or Moholy-Nagy but I was drawn to the KJ(=)#B<+(-)<#6#/%9=F#B&/%#%9)#G&>F#(=E#%<>)#(EE><))#/%<#;-<)/9&=#&:#/%<#B<%&8E<>#9=#E9::<><=/8"#> A&><#.<=<>(88"1#6#G&-8E#)("#/%(/#G%98<#"&-#(><#&:#+&->)<#>9.%/#/%(/#/%<#<+&=&'9+#+&=E9/9&=)#9=#G%9+%#(#G&>F#9)#H>&E-+ >/(?-##/(@,"2 71,%#(AB3(ACDE F+-&(*+-(4)&(!,)&:%2:"(5G2-GH("I(5";-,&(7,*(,-"1-&2(5)/(DJ3(%*($%##(;-8"*-(H",-(21):-( *"(-0+%9%*%&'(1+"*"',)1+2(*+)&()&/("*+-,(),*(HG2-GH(%&(*+-(<=4= !"##"$%&'()(&-),#/(*+,--./-),3(KLCM(H%##%"&(-01)&2%"&3(*+-(HG2-GH($%##(+)8-(DJ(')##-,%-2( 21)&&%&'(DM3CCC(2NG),-(I--*(-0+%9%*%&'(1+"*"2OH",-(,""H(*+)&(*+-(1+"*"',)1+/(')##-,%-2( "I(P-$(Q",RS2(5-*,"1"#%*)&(5G2-GH("I(7,*()&;(5G2-GH("I(5";-,&(7,*(:"H9%&-;=(6&(*"1("I( *+)*3(*+-(HG2-GH(+)2(:,-)*-;()(&-$(2*G;/(),-)(I",(,-2-),:+-,2(:)##-;(*+-(T,%*UR-,(@-&*-,( I",(T+"*"',)1+/()&;();;-;()(1)%,("I(,-I,%'-,)*-;(2*",)'-(8)G#*2(I",(*+-(DB3CCC(1+"*"',)1+2( %&(%*2(:"##-:*%"&= V%,-:*",(P-)#(>-&-U,)(2)%;(+-(+"1-2(2G:+(H"8-2($%##(1,"8-(*+)*(1+"*"',)1+/(%2(-8-,/(9%*()2( signifcant as other art forms. “Photography is one of the foundations on which this house is built,” Mr. Benezra said of the 1-year-old museum. “We want to set it up as the equal of 1)%&*%&'(+-,-=W X+-(HG2-GH(#)G&:+-;(%*2(-01)&2%"&(1#)&(2-8-&(/-),2()'"(*"(H)R-(,""H(I",(*+-();;%*%"&( "I(D3DCC($",R23(H)%&#/(1)%&*%&'2()&;(2:G#1*G,-23()H)22-;()&;(#-&*(*"(*+-(HG2-GH(9/(Y)1( :#"*+%&'(I"G&;-,(V"&(!%2+-,()&;(+%2($%I-3(V",%2=(>G*(5,=(>-&-U,)(2)%;(+-()&;(+%2(2*)II(2-%U-;( "&(*+-(:+)&:-(*"(-&#),'-(%*2(')##-,%-2(I",(1+"*"',)1+/()2($-##=(6I(*+-(DJM3CCC(2NG),-(I--*("I( *"*)#(')##-,/(21):-(%&(*+-(HG2-GH3(DCZ(%2(,-2-,8-;(I",(1+"*"2()#"&-= >"),;(:+)%,(@+),#-2(4:+$)93($+"(:"##-:*2(1+"*"',)1+-,2(#%R-([-II(F)##()&;(X+"H)2(4*,G*+3( said, “We need to see photographers as the true artists they are and we need to remind X+-(&-$#/(-01)&;-;(4!56573("1-&%&'( 5)/(DJ(T]6X6^(]_P`\?(?75a4!5657 1-"1#-(*+)*(%*S2(2*%##()&()II",;)9#-($)/(*"(:"##-:*=(X+)*S2(+"$(\('"*(2*),*-;3($%*+(1+"*"2()&;( 1,%&*2=W Walking around the 1 -story museum’s airy new foors designed by Norwegian frm Snohet. *)3(1+"*"',)1+2(1"1(G1()##("8-,3("I*-&(%&(-01-,%H-&*)#(I",H2^(7#%2"&(`"22%*-,S2(H/2*-,%"G2( landscapes comprise smudges and marks left on century-old photo paper she fnds and ;-8-#"123()2(%2=( ust as haunting are Phil Chang’s unfxed photographs, which aren’t fully ;-8-#"1-;()&;(*+-,-I",-(*G,&("8-,.-01"2-;(9#):R()(I-$(+"G,2()I*-,(*+-/S,-(;%21#)/-;=(@",-/( ?-##-,3()(1+"*"',)1+/(:G,)*",3(2)%;(*+-(HG2-GH(9"G'+*(2-8-,)#(2-*2("I(5,=(@+)&'S2($",R(2"( it can occasionally swap in fresh examples. “It’s terrifying to watch his images disappear,” Ms. Kenner said. “He’s turning a photograph into a performance.” The museum also enlisted tech frms to amp up some of its photographic displays, a strategy )#2"()%H-;()*(&G,*G,%&'(%*2(*%-2(*"(4%#%:"&(b)##-/=(cQ)+""S2(:+%-I(-0-:G*%8-(5),%22)(5)/-,(%2( )(*,G2*--=d(X+-(2*G;/(:-&*-,(&"$(%&:#G;-2(21-:%)##/(:"HH%22%"&-;()&%H)*-;(8%;-"2()9"G*( 2"H-("I(4)&(!,)&:%2:"S2(1%"&--,%&'(1+"*"',)1+-,23(I,"H(_);$-),;(5G/9,%;'-(*"(@),#*"&( F)*R%&2= T+%#(@+)&' F"H)&3(4%**%&'3(ACDD P-),9/(2%*2()&(7;"9-.;-2%'&-;(;-8%:-(*+)*(#""R2(#%R-()(DeBC2(8%;-".),:);-(')H-(9G*():*G)##/()##"$2(1-"1#-(*"(),,)&'-(2H)##("9f-:*2( "&()(*)9#-O*+-(:"&*-&*2("I(*+-%,(1":R-*23(2)/3(",(1G,2-2O9-I",-()(:)H-,)(%&(*+-(H):+%&-(2&)12()&;(1,%&*2()(2"G8-&%,(1+"*"("I(*+-( objects and the person arranging them. Chad Coerver, the museum’s chief content offcer, said the “parlor game” is intended to take the museum selfe a step further. “It’s a chance for people to compose something beyond making a face and saying ‘cheese,’ ” he said. 4)&;/(T+%##%123(*+-(HG2-GHS2(2-&%",(:G,)*",("I(1+"*"',)1+/3(2)%;(+-,(*-)H(21-&*(H"&*+2(1%&1"%&*%&'()&;()&)#/U%&'(*+-(:"##-:*%"&S2( 2*,-&'*+2O&)H-#/3(%*2(+"#;%&'2("I(De*+()&;(AC*+.:-&*G,/(F-2*-,&(#)&;2:)1-2(9/(),*%2*2(#%R-(7&2-#(7;)H2()2($-##()2(1"2*$),([)1)&-2-( street photography by artists like Daido Moriyama. After that, curators set out to fll in gaps. They’ve since added at least 1, photos *"(%*2(1-,H)&-&*(:"##-:*%"&3(IG-#-;(9/('%I*2()&;(1G,:+)2-2= These include Edward Weston’s classic portrait of a nude woman, “Nude on Dune,” and Dorothea ange’s landscapes. Curators took *,%12(*"(5)#%(*"(9"#2*-,(*+-%,(+"#;%&'2("I(7I,%:)&(1+"*"',)1+-,23()&;()(1,%8)*-(I"G&;)*%"&(%&([)1)&(')8-(*+-(HG2-GH(2-8-,)#(+G&;,-;( 1%-:-2(9/(:"&*-H1",),/([)1)&-2-(1+"*"',)1+-,2= @G,)*",2(G&-),*+-;(+G&;,-;2("I(DeLC2.-,)(1+"*"',)1+2(*+)*(+);(9--&(;"&)*-;(9/(*+-(F",R2(T,"',-22(7;H%&%2*,)*%"&(*+)*(+);(&-8-,( been studied or shown as well as , little-seen photos taken during the 197 s, Ms. Keller said. They included some “amazing experiments” by artists like Sonia andy Sheridan who used photocopiers in their art but aren’t widely known yet, she said. All this research informs “About Time Photography in a Moment of Change,” the eight-gallery rehanging of the permanent collection. \&2*-);("I()(2*,)%'+*(:+,"&"#"'/3(:G,)*",2(fG0*)1"2-;(%H)'-2("#;()&;(&-$(*"(-01#",-(+"$(1+"*"',)1+-,2($,-2*#-($%*+(*%H-(%&(*+-%,( $",R()&;(G2-(%*(*"(*+-%,(:,-)*%8-();8)&*)'-=(5)2*-,1%-:-(-0)H1#-2(%&:#G;-([G#%)(5),'),-*(@)H-,"&S2(De*+(:-&*G,/(#)&'G%;(1",*,)%*("I( )(2#--1%&'(9"/3(5G/9,%;'-S2(H"*%"&(2*G;%-2("I()($)#R%&'(&G;-($"H)&()&;(]),"#;(_;'-,*"&S2(I)H"G2(H%#R(21#)2+= >G*(*+-,-S2()#2"(&-$-,($",R(#%R-(X,-8",(T)'#-&S2(*%H-.#)12-(%H)'-2("I(2G,8-%##)&:-(2)*-##%*-2(),:%&'("8-,(*+-(2R/()9"8-(Q"2-H%*-( )&;(5)**+-$(>G:R%&'+)HS2(),:+)%:(2#%;-2+"$(1,"f-:*",(*+)*($%##(2+"$()(2%&'#-(2+"*("I()(9,"&U-(2:G#1*G,-("I()(V)&%2+($),,%",(%&( @"1-&+)'-&OG&*%#(+-)*(I,"H(*+-(1,"f-:*",(9#)&:+-2(+%2(2#%;-($+%*-= PRAZ-DELAVALLADE Pressrelease Phil Chang PHIL CHANG 30.05.2015 - 25.07.2015 Replacement Ink for Epson Printers (Black 446009) on Epson Premium Glossy Paper, 2014 unique archival pigment print 152,4 x 111,8 cm - 60 x 44 inches ENGLISH Praz-Delavallade is pleased to announce Pictures, Chromogenic and Pigment, #2, an exhibition of photographic monochromes and works on paper by Phil Chang. This will be the artist's first show with the gallery and his first solo exhibition in Europe. Like the recent exhibitions of his artwork and the group show that he has organized, Pictures, Chromogenic and Pigment, #2 continues Chang's interest in using forms of production and materiality that allow his photographic work to function only in the context of contemporary art. Chang's interest is in eschewing the plurality that is specific to photography in order to occupy a plurality specific to art itself, namely art's ability to function as decor, as an object of discussion, as an artifact, and as a commodity. This exhibition is the second iteration following an exhibition from 2014 at M+B and is the first to pair a series of purple monochromes with black works on paper. 5, rue des Haudriettes - 75003 Paris T: +33 (0)1 45 86 20 00 - F: +33 (0)1 45 86 20 10 [email protected] Page 1/3 PRAZ-DELAVALLADE The monochromes in the exhibition were made using a digital file that measures 14,400 pixels x 18,000 pixels and constitutes 777 MB of information. Each monochrome on view was printed in Los Angeles at the fine art photo lab and community darkroom, Contact, using an Océ LightJet 430 to expose Kodak Endura Glossy photographic paper. The paper was developed and bleach-fixed using a Kreonite KMIV RA4 color processor. Each of the works were mounted on aluminum by Pro Image Service and framed under Optium Museum Acrylic by Atelier Tetragone. The works on paper were made by applying inkjet printer ink onto inkjet paper using Quickie brand sponge mops in lieu of a computer and inkjet printer. Each work consists of bottled ink manufactured by Media Street that has been applied to glossy inkjet paper manufactured by Epson. Like the photographic monochromes, each of the works were mounted on aluminum and framed under Optium Museum Acrylic. Phil Chang received his MFA from CalArts and his BA from the University of California, Irvine. Solo exhibitions include the California Museum of Photography at UCR ARTSblock; M+B, LAXART and Pepin Moore, Los Angeles. Chang's work has been included in group exhibitions at Marlborough Chelsea, Renwick Gallery, The Swiss Institute, Otis College of Art and Design, Control Room, and LACMA. His work has been written about in Artforum, The New Yorker, The LA Times, nonsite.org and has appeared in Aperture, Blind Spot, C-Photo, and IMA. Chang's publications include Four Over One, an artist's book published by the LACMA in association with Textfield, Inc. Chang's curatorial projects include Soft Target, a group exhibition that he co-organized in June 2014. He is currently visiting faculty in the Department of Art at UCLA and a lecturer at Otis College of Art and Design. Phil Chang lives and works in Los Angeles. FRANÇAIS Praz-Delavallade est heureux de présenter Pictures, Chromogenic and Pigment, #2, une exposition de photographies monochromes et d'oeuvres sur papier de Phil Chang, dans ce qui constitue la première exposition de l'artiste avec la galerie, ainsi que sa première exposition personnelle en Europe. A l'image des expositions récentes de son travail, ainsi que des expositions de groupe qu'il a organisées, Pictures, Chromogenic and Pigment, #2 poursuit la réflexion de Phil Chang sur une matérialité, une forme de production qui permet à ses travaux photographiques de se mesurer au contexte de l'art contemporain. Chang s'interdit cette pluralité qui est spécifique à la photographie pour s'inscrire à l'inverse dans une logique propre à l'art, autrement dit : la capacité de l'art à fonctionner en tant que décor, sujet de discussion, artéfact ou bien de consommation. Les monochromes proviennent d'un fichier image de 777 Mo d'une taille de 14 400 x 18 000 pixels. Ils ont été imprimés à Los Angeles au laboratoire photo Contact. Le papier photographique (Kodak Endura Glossy) a été exposé sur une Océ LightJet 430, avant d'être développé et fixé dans un appareil de traitement couleur Kreonite KMIV RA4. Chaque oeuvre a été montée sur aluminium par Pro Image Service et encadrée sous une plaque d'Optium Museum Acrylic par l'Atelier Tetragone. Pour les oeuvres sur papier, au lieu de se servir d'un ordinateur et d'une imprimante, Chang a appliqué de l'encre pour imprimante jet d'encre sur du papier brillant (Epson) à l'aide de balais-éponge de la marque Quickie. L'encre a été fabriquée par Media Street. Tout comme les monochromes, chaque oeuvre est montée sur aluminium et encadrée sous Optium Museum Acrylic. Phil Chang a obtenu son MFA à CalArts et son BA à l'University of California, Irvine. Ses expositions personnelles se sont tenues au California Museum of Photography - UCR ARTSblock; M+B, LAXART ou Pepin Moore, Los Angeles. Page 2/3 !"#$% !&$'()&"*+ !"#$%&'(#)#((#&' *+,-.+/.0+12-/,3.44.0 526+789:-;6+<* :-;6+=>?+<8=* @6+!A3;+B26;C, Photography seems increasingly diffcult to delimit as it dissolves into an undifferentiated mass of imagery. By contrast, Phil Chang’s work in and around photography is insistently precise and deceptively simple. or the present exhibition, two bodies of work face off across the gallery, crossing digital and analog modes of photographic production and reproduction. One of these, a group of fve untitled purple monochromes from 1 , is the result of a printing process that enables digital image fles to be produced as traditional chromogenic photographs. The monochromes progressively increase in chromatic intensity along one side of the gallery, with the modulation of color values resembling exposure bracketing, a photographer’s convention that highlights the image as a function of light. Opposite, four works on paper titled “Replacement Ink for Epson Printers on Epson Premium Glossy Paper,” 1 , each feature a single sweeping streak resulting from black ink applied with a sponge. BA.+2,4304D0+E2F-2;+G.04-,.+30+E2/.+E.HA2F3H2;+4A,C-GA+,.I.4343CF0+4A24+E3E3H+4A.+E2,J3FG0+CK+2+I,3F4.,+04-44.,3FG+20+34+,-F0+C-4+ of ink. There’s an intriguing parallel with rank and illian Gilbreth’s motion-study photographs for the scientifc management of labor, but here action is subsumed into a trace that is its own fnal product. Chang’s work is divorced from the camera but explicitly linked to the supporting services and technologies that produce photographic objects for the art world. His materialist investigations occupy equivocal sites from twentieth-century painting the monochrome and gestural abstraction in order to test some of the ways photography is made to function and what it is made of. By limiting each group of works to a single gesture, a pictorial space is opened for the technological substructures and protocols by which photographs circulate. 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM 3834 Main Street California Museum of Photography Riverside, CA 92501 Sweeney Art Gallery 951.827.3755 Culver Center of the Arts culvercenter.ucr.edu University of California, Riverside sweeney.ucr.edu cmp.ucr.edu artsblock.ucr.edu PRESS RELEASE For Immediate Release California Museum of Photography at UCR ARTSblock presents CMP Projects Phil Chang: Monochromes, Static and Unfixed May 2-August 8, 2015 Gallery talk: Saturday, May 16, 5pm Public reception: Saturday, May 16, 6-9pm FREE AND OPEN TO THE PUBLIC CMP Projects presents a solo installation by artist Phil Chang. The project is suspended on the border of photography and non-photography, demanding that the viewer consider the medium’s inherent qualities. The exhibition will feature a selection of photographs from Chang’s recently conceived untitled series of monochromes (2014-ongoing). These photographic prints are made without the use of a camera or film, thereby pushing our understanding of the medium as it abandons the analog for a decidedly digital age. Additionally, one unfixed photographic work will be featured in the exhibition. An evolution of his highly acclaimed body of work “Cache, Active” (2012), Monochrome, Exposed (2015) is a new unfixed photograph that will be exposed over the course of its own exhibition’s first hours, effectively rendering it, too, a monochrome. Monochrome, Exposed will be unveiled and the artist will offer public remarks in the gallery at 5pm on Saturday, May 16. Works included in the exhibition Phil Chang Monochrome, Exposed, 2015 Unfixed gelatin silver print Phil Chang Untitled (Orange Monochrome 04), 2014 Untitled (50% Gray Monochrome), 2014 Untitled (16% Gray Monochrome), 2014 Untitled (Yellow-Green Monochrome 01), 2015 Untitled (Yellow-Green Monochrome 02), 2015 Untitled (Yellow-Green Monochrome 03), 2015 Unique chromogenic prints All works courtesy of the artist and M+B Gallery, Los Angeles Phil Chang (born in Indiana in 1974) is an artist currently based in Los Angeles. His work has been the subject of solo exhibitions at M+B, LAXART, and Pepin Moore (all Los Angeles). His work has also been included in exhibitions at The Swiss Institute, Marlborough Chelsea, Brennan & Griffin, Invisible Exports, PPOW, and Renwick Gallery (all New York); at Otis College of Art and Design, and Control Room (both Los Angeles); and at The Institute of Jamais Vu (London), among elsewhere. His work has been reviewed in Artforum, The New Yorker, and The Los Angeles Times, and has also appeared in Aperture, Blind Spot, IMA Magazine, and C-Photo. In 2010, Chang produced Four Over One (published by the Los Angeles County Museum of Art in association with Textfield, Inc.). His curatorial projects include co-organizing the group exhibition Soft Target (M+B, Los Angeles, 2014). Chang earned his MFA at The California Institute of the Arts, and his BA at University of California, Irvine. He is currently visiting faculty in the Department of Art at UCLA, and a lecturer at Otis College of Art and Design. CMP Projects is the first solo museum presentation of his work. http://www.philchang.com CMP Projects is an ongoing series of solo presentations curated by Joanna Szupinska-Myers, CMP Curator of Exhibitions at the California Museum of Photography, part of UCR ARTSblock. Past exhibitions have featured work by Zoe Crosher, Claudia Joskowicz, Ramón Miranda Beltrán, and Heather Rasmussen. The series is partially supported with funds provided by UCR’s College of Humanities, Arts, and Social Sciences (CHASS) and the City of Riverside. Additional support for Phil Chang: Monochromes, Static and Unfixed has been provided by M+B, Los Angeles. page 2 of 6 AT LARGE Untitled (Orange Monochrome) 2014 Unique chromogenic print + © Phil Chang; courtesy M+B Gallery, Los Angeles Untitled (Orange Monochrome) 2014 Unique chromogenic print X I © Phil Chang; courtesy M+B Gallery, Los Angeles Curated by Matthew Porter Phil CHANG hang s practice is an ongoing dialectic cen tering on photography s main principles: longevity, depiction, and material. While his intention is often to expose the medi um s fraught nature, his exhibitions bring Ca beautiful equanimity to these problems. His attention shifts easily from an unfixed gelatin silver print s inevitable self effacement to the monochromatic possibilities of col or printing. For Chang, the concern is less with what the COMPILING A LIST OF FIVE ARTISTS IS EASY. It s an exiguous grouping that allows you to slash and pictures depict, or the meaning found within them, and burn, to cut with efficacy, and excuses you from oversight. Expand the list to twenty, and cuts are unnecessaryÛ now you have more about how we think of their material properties and plenty of capital to make your point. But eleven is a cruel number, the April of list making. You have to kill off ideas to bring life commodification. To understand Chang s way of thinking, to the project. So the following list is incomplete, and it s also too long. It does however, at the time of writing, bring together a consider how pictures are ranked in an online image search, group of artists, all born in the early to mid seventies, most of whom probably didn t fully integrate computers and the Internet and the invisible coding, or what he calls algorithmic real into their lives until after college. Now, they take what they need from the digital, virtual, and binary world of bits, while keeping ism, that determines those positions. Maybe if Boris Groys themselves rooted in traditional means of picture making. To be relevant, contemporary art doesn t require the exclusive use of the technology of its timeÛ making art is also a practice of utilizing the materials left behind by innovation. made images, they would look like Phil Chang s. m atthew porter 46 47 FOR IMMEDIATE RELEASE PHIL CHANG Pictures, Chromogenic and Pigment September 13 – October 25, 2014 Opening Reception Saturday, September 13, 2014 from 6 to 8 pm M+B is pleased to announce Pictures, Chromogenic and Pigment, Phil Chang’s first solo exhibition with M+B. The exhibition runs from September 13 to October 25, 2014, with an opening reception on Saturday, September 13 from 6 to 8 pm. Pictures, Chromogenic and Pigment will include photographic monochromes and works on paper. The exhibition expands on Chang’s interest in aspects of process, duration and materiality. The works on view reflect how Chang’s production is structured by the question of what strategies must be enacted so that the work can solely function in the context of contemporary art. The monochromes in the exhibition were made using a digital file that measures 14,400 pixels x 18,000 pixels and constitutes 777 MB of information. Each monochrome on view was printed at the fine art photo lab and community darkroom, Contact, using an Océ LightJet 430 to expose Kodak Endura Glossy photographic paper. The paper was developed and bleach-fixed using a Kreonite KMIV RA4 color processor. Each of the works were mounted on aluminum at Finishing Concepts and framed under Optium Museum Acrylic at Art Services Melrose. The works on paper were made by applying inkjet printer ink onto inkjet paper using Quickie brand sponge mops in lieu of a computer and inkjet printer. Each work consists of bottled ink manufactured by MediaStreet that has been applied to various finishes of inkjet paper manufactured by Canson, Epson and Museo. Like the photographic monochromes, each of the works were mounted on aluminum at Finishing Concepts and framed under Optium Museum Acrylic at Art Services Melrose. Phil Chang (b. 1974) received his MFA from The California Institute of the Arts and his BA from the University of California, Irvine. Solo exhibitions include Cache, Active at LA> Location: M+B, 612 North Almont Drive, Los Angeles, California 90069 Show Title: Phil Chang: Pictures, Chromogenic and Pigment Exhibition Dates: September 13 – October 25, 2014 Opening Reception: Saturday, September 13, 6 – 8pm Gallery Hours: Tuesday – Saturday, 10 am – 6 pm, and by appointment For press inquiries, please contact Jeanie Choi at (310) 550-0050 or [email protected]. For all other inquiries, contact Shannon Richardson at [email protected] or Alexandra Wetzel at [email protected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blurs or reconfgures the lines between fgure and ground, inside and outside, nature and artifce or any other opposition you can ;()R/'9F $(@9-+@91#+-S1#&#=+-9'&=#1(B-)9113#&1#+)#.<&@#J/-)&@S1#@/'A"#+@&09# (B# @9&1/'+)0# -((=1# 1;&--9'9<# ()# -%9# 0'(/)<# ('# $%&))()# T>)9'S1# 7)1-&==&-+()#?+9L#(B!"#$%!&'()*%#&-#*I!3#U(1#.)09=91 >=/''9<#;=(19:/8#(B#-%9#=9--9'#.#()#&#=+0%-9<#1+0)F V'0&)+,9<#>"#J%+=#K%&)0#&)<#*&--%9L#J('-9' Elsewhere, it’s the idea of camoufage, as in Andrea Galvani’s photograph of a motocross biker so covered with mud it’s nearly impossible to distinguish fgure from ground. Conversely, Dan Torop pokes fun at color targets and camoufage by holding a red piece of paper behind some red fowers. It’s unclear (and immaterial) which red is the “right” one. David Goldes’ elegant black and white photograph of sugar crystals forming in a glass explores the line between foreground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sha Schechter photographed a beautiful, opalescent abstraction made from strips of flm, a piece of a jigsaw puzzle and a !"#$%!&#$'!())*+,'-./'"0'/1+'/"/*+')")#2/'/+**'3&.'/1"4,'3&.'5&.*)'#+6+7'8#&59':#)';"<1(7)'=(*)"<&//24'/"#3,'4/7"8"#$*3'7+)..?/(!&4+4'('4"@!*+,'$+&@+/7"<'!1&/&$7(@'5"/1'"/4'<./&./'!(!+7'#+$(/"6+9'A/24'('5&#)7&.4*3'4"@!*+'@++/"#$'&0'&->+ =1(#$'(#)'B&7/+7'1(6+'<.7(/+)'/1"4'41&5'(4'(7/"4/4'5&.*),'/7(<"#$'6"4.(*'(#)'<&#<+!/.(*'/1+@+4'/17&.$1')"4!(7(/+'5&784' without the beneft (or encumbrance) of historical context or artist’s intention. C.7+*3,'#&/'(**'&0'/1+'"#<*.)+)'5&784'&!+7(/+'4&*+*3'5"/1"#'/1+'07(@+'"#'51"<1'/1+3'(7+'!7+4+#/+)'"#'DC&0/'E(7$+/,F'-./'/1(/'"4' *(7$+*3'/1+'!&"#/9'E1+'41&5'+@!1(4"G+4'/1+'"@!&44"-"*"/3'&0'+6+7'(<1"+6"#$'(#'+?( M B, 1 N. Almont Drive, .A., ( 1 ) - , through Aug. . =*&4+)'C.#)(34'(#)'I&#)(34 5559@-(7/9<&@ 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM File 05 ー Phil Chang Photographer’s file Replacement Ink for Epson Printers (Cyan and Yellow) on Premium Glossy Paper, 2013 連 載 シ ャ ー ロ ット・コ ット ン の フ ォト グ ラ フ ァ ー 最 前 線 フィル・チ ャン BIRTH OF YEAR／1974年 PLACE／ロサンゼルス EDUCATION／カリフォルニア大学、カリフォルニア芸術大学 WEBSITE／http://www.philchang.com/ 175 File 05 ー Phil Chang Replacement Ink for Epson Printers (Cyan 131901) on Museo Silver Rag Paper, 2013 Replacement Ink for Epson Printers (Red and Yellow 1722) on Epson Premium Luster Paper, 2014 Replacement Ink for Epson Printers (Green and Cyan) on Premium Glossy Paper, 2013 Replacement Ink for Epson Printers (Yellow and Red) on Epson Premium Glossy Paper, 2013 Replacement Ink for Epson Printers (Black 04) on Premium Glossy Paper, 2013 Replacement Ink for Epson Printers (Red and Yellow) on Epson Premium Glossy Paper, 2013 Replacement Ink for Epson Printers (Cyan) on Premium Luster Paper, 2013 Replacement Ink for Epson Printers (Yellow) on Epson Premium Luster Paper, 2013 コンセプトを極限まで簡素化した作品が 浮き彫りにする現 代 写 真 の 本 質への 問 い 翻訳＝宮城 太 Translation: Futoshi Miyagi Paper Paper 要 と と 真 か 為 き ひ の さ し よ 代 な 抱 れ 示 え 品 と る か 見 と 親 見 置 に 持 れ に な の の ト 類 そ け ラ 類 印 る ン オ し 論 に プ 観 代 考 り 性 ト す を る の 定 の ま て 写 か 見 と し し 表 。 を る と 意 れ み う に の え ま チ す 、 の い こ な 失 い 絵 和 せ く は っ ぞ 値 技 ひ 素 ル と れ の シ の 刷 と セ を ロ ょ を お ロ る 写 察 と や を 。 取 べ 概 し 世 す の 真 た る フ す 、 て 現 『 時 つ 義 る で な お で る ャ る 読 え 性 る ロ 、 て す 巧 と Works on Paper 取 し 主 う と か っ 画 れ 材 と 色 ぞ 驚 で イ 用 感 プ 訪 サ う 産 け セ 者 真 を 制 決 も そ る き 念 、 界 。 本 と ち と ィ る い そ の 代 を や 時 す 不 い す 課 ン の 」 る も 抽 サ 現 印 る 性 塗 」 り た み 題 写 で っ て は で の が し 、 れ く 一 ン 顔 じ ト シ ね ン 。 む る ス を の 土 作 断 と し べ な は 問 を 私 質 い で す ル の か の 境 入 に 自 、 代 。 協 て 。 題 「。 は で 解 と 真 、 た し 、 作 も 見 象 ン 代 さ 線 で が り 工 て 用 の ほ 本 ク 料 ま は ゼ ひ 写 を 促 特 台 を 力 に て き の 写 題 鋭 た 的 う は ぐ ・ か に よ 界 塗 動 写 に イ 和 、 イ に 、 す 品 ら 絵 ゼ 絵 皆 の リ 、 れ 現 き し の 変 こ ま 私 な れ は し 業 付 紙 作 ど か ジ を し す ル と 真 経 し 性 と 進 を 、 、 か か 真 提 く ち な 媒 あ に チ 、 シ う 線 る で 真 写 ン 音 こ メ 対 次 。 で れ 画 ル 画 ょ 無 動 ー 制 る 代 や 、 本 換 と っ た く て 熟 的 け の 品 シ 二 ェ 使 た で ス つ に た ま に す め 持 し 熟 を 、 作 起 洞 を 問 体 り 理 ャ ど ン な を と 処 の 真 ク を れ ー 峙 の も ま シ ス 、 う で 作 な ら ブ に ン 本 ッ い 。 に ズ 作 に ★ つ 彼 す 注 る て っ っ 考 チ そ 品 す 察 取 い と ま 解 意 の す 物 質 す に た ち 、 い 考 の ン の プ 問 飛 い 理 ピ 作 ジ 生 ら ジ す よ な す ー で 特 ま （ あ に も れ ラ は プ の ト 、 作 ほ を 中 あ い の 。 意 彼 い て か さ ャ れ と る し り か の せ で 味 ア い 理 的 る 目 も が 明 さ の よ ル い び う す ク 品 ェ み の が る う い 。 ン 盛 に す も る お の て ン 、 ル 線 用 さ 品 ぼ 見 の る 指 て 作 考 を の き 、 り れ ン と し 写 た 巻 け 関 ん き と ー か 的 な 媒 を の 写 「 ら れ ち 「 針 作 う な か 越 身 る セ を ッ だ 作 氾 こ に Works on の り 彼 こ い た 』 が で お ド イ な を 紙 ま は 完 Works on 彼 、 品 え 向 作 ま 彼 と た は も て 真 上 く か 係 が る は ト た に 特 体 向 や 真 か 、 と 品 に 行 け え で 体 こ ル 作 ト す 品 濫 と 語 文 上 が ） ろ と て あ り 名 ン も 引 の ざ 、 成 と の 深 は 抜 け 品 す は し コ 問 別 作 に で イ ら 性 、 直 し 為 を る は 何 的 と ひ る が の が す が 創 っ ち 目 徴 で け 、 表 に 脈 が 拠 。 信 ん も 、 る 、 が ク の い 上 ま 単 し き ス な 遠 、 か る は 。 ゆ た ン う の り つ 、 メ 始 に 作 接 作 た を 前 手 、 な な が と こ 多 か ど る 好 作 て で に を あ さ 気 現 写 と り 点 そ 念 、 特 華 こ 写 タ の で た に な 色 て 、 タ る な 現 れ よ 、 知 っ 方 セ の 方 上 い チ ー ま つ 家 的 り ら 必 提 段 写 の 行 で つ と 用 楽 の 時 き が く 提 見 作 る せ 付 で 真 の を を こ を そ 筆 美 と 真 イ 種 す だ ブ 種 の い コ ジ で 議 代 た う 現 的 く 向 プ で 法 げ て 仮 ジ り い と な は 。 、 「 く か と 真 み の 写 ン 索 手 に ア セ 対 な よ す き 事 現 力 で れ り 言 築 何 写 お 作 に の を て い 道 現 質 能 存 き ト と ら ト を よ 響 て タ 焦 象 を イ れ を の 論 ま 対 真 は す を 生 や ル 的 る う チ 」 る 実 代 を あ が だ 及 す が 真 い チ 品 見 技 避 自 ま を 代 の か の る レ を え レ 宣 っ 意 力 多 イ 点 的 改 ン る 考 で に す 話 の 簡 る 加 み イ 単 な 点 と ャ の か 写 失 り 手 す し る 写 の て ャ を え 術 け 動 す 占 美 簡 」 定 の ー 主 ー 言 て に 用 ト は な め ク ら 識 Charlotte Cotton の え き 邪 。 の あ 潔 作 え だ ン 位 普 は す ン か ら 真 っ 、 作 顔 て の 真 物 写 ン 作 、 。 と か ト 題 、 合 さ ル 、 作 て る 的 的 う 術 素 義 ジ れ シ す 的 ロンドンをベースに活躍するキュレーター で る る 魔 彼 中 り で 家 る す ク で 遍 、 る が を 写 に て 写 業 料 い か と 理 真 は る か 写 に チ 上 に 化 い か 」 フ と ョ る ア わ れ も 隠 品 提 性 「、 ェ る な 兼ライター。ヴィクトリア&アルバート美 す 機 か さ の に 方 明 が こ 写 ジ 編 性 彼 同 、 突 真 お い 真 で イ ま と し 的 の 「、 の た 質 真 行 ャ で お を っ ら ォ し ン 彼 ー さ て な さ 群 示 術館写真部門キュレーター、ロンドンの 。 会 た れ 作 新 を 白 多 と 真 ェ 集 や が 世 現 を け ま が 描 ン す い て Works on Paper で た 写 ト て ッ こ 透 り い い れ を し き な あ ち を 媒 わ ン も け 通 解 ト や の ト フォトグラファーズギャラリー企画主任、 を ち ず 品 た 持 な く で 表 ッ を 安 作 代 代 ★ 解 る す 持 か ク 。 う 扱 す 、 真 〞 扱 と 明 ま る 、 た 通 ま 詰 性 り に 直 体 れ は 時 る し 勇 放 を プ 広 作 作 ロサンゼルス美術館のアネンバーグ写真部 私 で 、 は な っ 作 い 新 現 ト 行 定 り の 写 放 物 。 つ れ の 彼 写 わ 。 と い は 性 す 素 現 主 し す た 、 実 、 議 て 品 る た に 印 う 感 だ 作 真 め す 質 ま 無 た 線 が 真 れ 質 方 落 接 の る 、 宜 写 た 敢 す い 作 ロ 告 品 品 。 材 代 題 て 。 門総括の経歴を持つ。2012年のテグフォ て だ を と 的 デ 撮 機 に 真 問 る な あ と は で と ち 写 際 慣 論 、 が 一 な さ 刷 ソ で す 家 を る 的 た 限 固 は 連 の る な う る が セ の 写 や 、 チ トビエンナーレのメインエキシビション い け 主 し 且 フ 影 械 か 媒 題 こ り 誤 、 あ 簡 に 真 に 例 を 現 提 方 表 ま が フ す 作 た 再 こ ・ 、 の 有 、 続 本 も 写 媒 こ ら ス 純 真 哲 観 ャ 「 Photography is Magic! 」や今年のフォト 与 と 見 的 持 代 示 、 現 ざ 自 ト 。 品 ち 定 る と 技 チ 複 の そ し 質 の で 題 込 つ ォ や に な 体 提 真 と 体 と と ま っ イ る 素 粋 に 学 る ン 、 せ 化 エスパーニャで「スペイン現代写真展」の え は る な ち 美 す チ を ま 動 ウ ピ の と 義 の が 術 ャ 製 も れ て に を な と 」 ん 、 ル 編 よ っ の 起 の は を は 〝 素 て ラ こ な お 的 者 の キュレーションを務めた。 て 何 こ 写 込 術 る ャ 模 な 的 ェ ク 絶 異 し で で 的 ン 能 の ぞ 作 も 構 く し に だ 目 ト 集 っ て 軌 は 本 可 既 で ス 材 ん と ス と に 影 い な の 印 、 、 、 。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ofnkjet paper. Each work is titled with the type and colour of the ink and the brand name of the paper stock, reminding us of the in- ?.0*'6&(#&.*%)'0%68#)A#8%)*)/'&8%69#>&*+'6&(0B#G%+#+H8+'6+,9+#)A#*%+0+#0*'6D6,/#:)'D0#?60*6(0#&,?#A)9.0+0#).'#*%)./%*0#),#*%+#.,?6(.*+?# affect of contemporary photography’s ubiquitous materials without the smokescreen of an ostensible photographic subject or a philo- 0)8%69&(#*6*(+B##G%')./%#*%+6'#?+(6=+'&*+#*'&,08&'+,9"#&,?#06>8(696*"C#*%+0+#:)'D0#?+9(&'+#*%+6'#0*&*.0#&0#&'*#&,?#9).(?#,)*#=+#>60*&D+,# A)'#)'#'+8.'8)0+?#&0#6((.0*'&*6),0#)'#&?@+'*60+>+,*0B#G%+#;.+0*6),0#*%&*#%&@+#?'6@+,#$%&,/70#+();.+,*("#8&'+?#?):,#6,*+'')/&*6),#)A# 8%)*)/'&8%69#8')8+'*6+0#&'+#&88)06*+#A)'#*%+#9.''+,*#&'9#)A#8%)*)/'&8%"#:6*%6,#9),*+>8)'&'"#&'*C#08+9.(&*6,/#),#:%+*%+'#6*#60#8)006=(+# to make a ‘straight’ photograph using the inkjet process as both material and subject and take the medium outside of its established defnition. Chang circumvents the automated layers of photographic capture and post-production in order to create a direct and tan- /6=(+#+H8+'6+,9+#)A#*%+#?+A&.(*#*+9%,)()/69&(#8')8+'*6+0#)A#*%+#>+?6.>B 5%6(#$%&,/70#&9*6@+#9%)69+#A)'#KF)'D0#),#5&8+'7#*)#:)'D#:6*%#0.9%#&,#+9),)>"#)A#>+&,0#,)*#),("#08+&D0#*)#*%+#>&*+'6&(#8')8+'*6+0# of photography but also to the idea of what can constitute a photographic object. His apparently simple repetition of the stripe of pig- ment ink through each unique and hand-rendered gesture removes the medium’s infnite reproducibility. It’s signifcant that Chang’s single gestures are without artistic fourish; reducing the possibility of being read as virtuoso gestures (although they are thoughtful, of course, and read as determined markings) in the terms set out in contemporary painting and in particular the current vitality of ab- 0*'&9*#8&6,*6,/#9.''+,*("#6,#$%&,/70#%)>+#96*"#)A#J)0#-,/+(+0B#M.,9*6),6,/#&0#,+6*%+'#8&6,*+'("#)'#)=@6).0("#8%)*)/'&8%69C#%60#KF)'D0# ),#5&8+'7#'+>6,?#.0#)A#:%&*#:+#A)'/+*#*)#0++#&,?#:%&*#/+*0#()0*#6,#8%)*)/'&8%69#?+869*6),B##L,#0)#?)6,/C#$%&,/#>&D+0#8%)*)/'&8%"70# essential character - as a medium of translation - a subject on its own tangible and legible terms. As Chang states, “I’m happy to but up against the creative problems of now. I really enjoy the discontent that this creates in the working process in an age of image ubiquity. What does it mean to make pictures in an inkjet era? And to use the physical gesture of brushing, now the automated way to navigate photographic pixels? ‘Works on Paper’ relies on these active precedents as a way to transgress photography and work out how simple a gesture needs to be and how close to denying the material technological fact of contemporary photography. “ F%&*#?60*6,/.60%+0#$%&,/#A')>#>&,"#)A#%60#9),*+>8)'&'6+0#:%)#&'+#'+9&(6='&*6,/#9),*+>8)'&'"#&'*#8%)*)/'&8%"#60#*%+#A.,?&>+,*&(# stability of the objects he creates. While we are seeing many fertile artistic practices that subvert, weaken and version the automated outcomes of pixel based software and the conventions of inkjet printing, Chang starts a new thread for our contemporary discourse about the idea of photography that circulates around his simple and defnite works. Without the distraction of conventional photo- graphic perspective and a subject in ‘Work on Paper’, Chang invites us to consider the idea of photography as something that we are 9&8&=(+#)A#*'.("#0++6,/B## 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM !"##$%&'()*+%,-%,.)/0$)1%2$-'-%,)34)50-')!0+%,67)503&3,#+89)+%:);&7)<-7+==$+#+%>$9) /3%-,0&9)?-&0)?3#:7)@()A$@$>>+)B#3C% !"#$%&$'()* +#$,-.$/0"1-2 !"#$%&&&$34-$5600-.3$70869$-:4;<;3;8.$"3$34-$=4838$>-.3-0$?@$;.$ 58AA-A80"3;8.$8B$34-$)CD34$#-"0$2;.5-$34-$"..86.5-A-.3$8B$ 34-$E"76-0083#9-&$;2$"$2-0;-2$8B$-:9-0;A-.32$;.$E;BB-0-.3$F"#2$38$ A"G-$9;5360-2H$I4-#$5".$<-$5"A-0"J-22H$I4-#$5".$<-$<60.-E$8.$ ".E$3408674$<#$34-$26.H$I4-#$5".$<-$-:5--E;.7J#$3-A980"0#&$J;G-$ =4;J$>4".7K2$9;-5-$F;JJ$<-$F4-.$;3K2$6.1-;J-E$38.;743$<-B80-$".$ "6E;-.5-&$ F;34$ 0-"E;.72$ <#$ "634802$ L-<-55"$ +08F.&$ L-<-55"$ +0;E7-&$".E$ME"A$+8-4A-0H$N.3;J$38.;743K2$-1-.3&$>4".7K2$9;-5-&$ B0"A-E$ 8.$ 34-$ 7"JJ-0#$ F"JJ&$ 4"2$ <--.$ 581-0-E$ 81-0$ F;34$ His unfxed gelatin silver print photograms go directly from the E"0G088A$ -"2-J$ ;.38$ "$ 2"B-J;743$ <8:$ ".E$ 34-.$ "$ 7"JJ-0#$ B0"A-$ 5J834-E$F;34$"$ R"#$4-JJ8$".E$788E<#-$38$>4".7K2$9483870"94$38.;743H 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM !"#$%&'($)*+",%,-&$."/ !"#$%&$%'() *#$+",,"-$.","/012"3 En route through medium specifc investigation in an era of collective and performative action in the art world, some photographers have taken a turn for the Minimal. Not only do many of the works in question correspond aesthetically to certain affects of Minimalism, but they behave as did Minimalist works as well performing for their viewers, dependant upon their viewers, and in general inverting the conventional relationship between the subject and the photographic window. What does this instinct mean, forty years after painting made something like the same theatrical turn? How is it of consequence to photography and what photographic practices led up to it? Why might it happen now, in the context of artmaking at large? our vertical rectangular panels hang on a wall at the 1 Whitney Biennial. They seem stained but shimmery, like rusty galvanized sheet metal. They are each ten feet high and together take up seven feet of width, but the panel on the left is double the width of any of the three to its right. They are spaced evenly apart on the wall. If they seem designed or destined for this space, it is because their tonality somewhat rhymes with that of the fagstone foor. If they engage with the space, it is because they refect it somewhat. They are a few mm thick iz Deschenes, Red Transfer (diptych), and stand off the wall. They recall pieces of factory-fnished material Carl Andre might have arranged on a foor in the 197 s. They are, however, made by iz Deschenes in 1 , and they are, actually, cameraless photographs. They are not raw material, positioned a la Andre; the phenomena on their surface is both pictorial and material, the result of light and chemistry’s interaction on photosensitive paper. Realizing that they are photograms, and knowing that photographs are often mounted to metal and that Deschenes’ work has a history of self- refexivity, it’s possible to imagine a reference in this surface to the idea of the picture’s support an image of or like metal mounted to metal. In this case, though, the prints are mounted to Dibond, a substrate of aluminum and polyethylene, and so, no Deschenes’ photograms do not depict metal or any other material; they are a material and they act as such (if assisted in this role by their substrate, which enables them to lie fat). Deschenes has arranged this material as Andre might have arranged the material at his disposal. The difference is in the nature of the material it is not raw – a form with a given surface – but, rather, it is worked – a form with an intended fnish on its surface. Every photograph has a worked surface, but these make issue of the fact. That these prints are cameraless and that chance is a part of this as it is a part of every photographic process does not detract from the fact that the surface is invented rather than found. A picture is here. The picture refuses the nomenclature of the pictorial insofar as it is allover and refers to no noun, but it is in fact an image. Photographic pictures are conventionally read with respect to their referent a photographic picture of a line invokes as much of a question of how the line came to be as does a photographic picture of a cheerleader. Deschenes’ pictures, here, can be explained – and are, in press materials – but more than begging their own origin story, they simply exist in real space and time. Part of what lends them this authority is the repetition of the panels’ forms like the iterative nature of Minimalist sculpture, they beg questions of relations between their own parts, of relations between those parts and the space in which they are installed, and between their parts and the viewer(s) that stand before them, slightly refected in their surface. What does it mean to arrange a photograph as if it were a material? If the photograph, laden with signifcation such that anything it looks like it must refer to, is asked to lie on a wall and look like metal but adamantly not be so, with which facts and which fctions does it play? Also, does it perform as an art object other than in real space and real time? Does it, in other words, require of its viewers the activity of Minimalism, or even if possible the activity of viewers of more contemporary performative work, such as that which surrounds the Untitled piece at the Whitney Biennial 1 ? 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM iz Deschenes has been working with photography and against depiction throughout her career. Her green screen photograms of the frst decade of the 1st century function at once as green screens and as representations of green screens. They suggest an interest in the apparatus of photography both through their color and the postures in which they are installed. Some are tacked to the wall and fow onto the ground seamlessly, as would a backdrop in a commercial shoot. Some, however, picture green screens in commercial situ. This project, then, marks a transition in the treatment of a print as window onto an event in which an object is pictured and, alternatively, as object itself, to be viewed – and potentially acted upon or with – by an active subject. Other works of Deschenes’ prior to the work at the Whitney Biennial similarly assert their lack of depicted referent but admit less overtly to the photographic postures to which they refer than do the green screens. Some of her dye transfers, for example, are two monochromes framed next to one another on the wall – subtly sculptural in their doubling, but not transparently so. It is possible and valid to read them, in other words, as two pictures next to one another, framed, even if those in the know understand that there is a logic to the doubling that has to do with how dye transfers are made. The sculptural nature of these prints – their pairing, their existence in space together – is available to all photographs two photographs can be shown together and augment one another, compositionally or conceptually. One print can be rotated, disturbing the effects of the photographic fction. This is true of Deschenes’ dye transfers and also of her moir s, which are optical experiments, almost to the irrelevance of their physical realization, except in that their signifcance relies on being viewed – a physical relation iz Deschenes; Blue Screen Process, series 1- . between the work and its affecting subject. It is really the green screens that pave the way for the assertion of the theatrical body of the print that is the accomplishment of her work since 9, especially in tilt swing, shift rise, and the Untitled work at the Biennial. Deschenes’ green screens, and especially the ones that exist in real space, have a sculptural logic that does not belong to all photographs they have a specifc scale – big enough for a person to stand on, immersed – and a specifc height at which they are hung, a specifc distance of the ground that they traverse. The logic of the size and scale of the green screens is fxed, at least at its minimum. At the angen oundation in 11 and again at the Art Institute of Chicago in 1 , she situated a black, mounted photogram in a corner its shadow shed behind it, describing both the absence of sculptural or architectural stuff behind the print and the presence of a back to the print at all. Here again the nature of the print as material, rather than picture, is asserted. Material has a back; pictures don’t. Here again the specifc scale of the print is important it must reach from one wall to the other and therefore has a minimum width, plus it must not be taller than the distance between foor and ceiling and therefore has a maximum height. If Deschenes could have gone bigger or smaller in one or the other direction, still, the specifcity of the scale becomes a question as it does not for most photographs. Here, we do not speak of the relatively short width of the piece as being intimate nor the relatively tall height as being ambitious we see that there’s a ft, and that’s architecturally-respon- sive – the room as a frame. It is not site-specifc – we overuse that term; this piece can be moved – but it does delineate a phenomenon of the space of the room in which it is situated as would, say, Richard Serra’s Delineator of 197 -7 (installed at the Museum of Modern Art in New ork just after the 1 Biennial came down.) In 9 and 1 , in two versions of a piece called tilt swing ( feld of vision), Deschenes playfully deployed mounted photograms in a degree circuit from foor to ceiling; the prints in this piece behave like the seats on a carousel, abstracted into planes. They also, however, behave like a Donald udd, dependent as they are on the presence and position of their viewers for their specifc realization. If the title of the piece refers to the phenomenon of large format photography used frequently to correct parallax divergence, often in architecture, Deschenes’ work here inverts this possibility, creating of her prints an architecture of their own, necessarily viewed in perspective. Another piece of Deschenes’ shown at the Whitney is a dyad of two photograms, both refective, which are housed at angles in their frames. That these boxes are modeled after the windows of the Whitney’s Marcel Breuer building is the piece’s intended nod to architecture, but, more essentially, the relations of the prints to the boxes in which they are housed and the relations of one box to the other inscribes the sculptural and performative reality of the prints even more deeply into the Minimalist tendency towards real space and real time. If her earlier diptychs – the moir s, the dye transfers – could be read as two pictures next to one another, these read as two material actions, making the space of the frame one space in which the meaning of the piece plays out. Here is a relation of picture to support that radicalizes the notion of frame recognizable in an Elad assry union of pictorial color with frame color or in a eff Wall lightbox. The print does not just extend into or depend on its frame; it interacts with it, and that is all. 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Deschenes then begins to build into the logic of each of her photographs a specifc quality – scale, frame, posture, and sometimes color. This is what abstraction means, in case we have forgotten a work of art does not “look abstract” and it “is” not “an abstraction.” A work of art abstracts a specifc quality. Sometimes such qualities derive from observation a subject can be abstracted, but that does not mean that it is rendered blurry or otherwise stylistically abstract. It has seemed, throughout photography’s history, that the abstract potential of a photograph is understood to be housed in the pictorial rendering of a subject. In general, when we speak about the photographic print as bearing imagery, we presuppose a subject, but of course that subject can be constituted of abstract concerns. The concerns of abstraction have changed radically for photography over the years they have moved, literally, through the window that is the surface of the print. If they begin in an object that looks abstract – photographs of distressed surfaces – and move to include abstraction in terms of the way, say, an artist handles color or the focus on a camera, they soon become about the way the content of an image is staged, the way the physical print circulates in society, and how the print is made, perhaps cameralessly. In any one of these phases of concern, part of what is abstracted is the idea of photography itself and of what it does, in terms of action verbs the photograph contains an abstract picture, then photograph affects the abstraction of a picture, the photograph makes abstraction in a picture, the photograph is an abstract picture. Deschenes’ work includes the physical behavior of a print in a room in this can- on of abstract concerns the photograph behaves abstractly. Moving through these phases of abstract focus is a natural condition of the pictorial, as has iz Deschenes. Tilt Swing ( feld of vision, version 1), 9. been modeled by painting. Key, though presupposing a performing body for unique silver toned black and white photograms – various the print does not necessitate a hostility to imagery; on the contrary, in this era dimensions. Overall dimensions H 1 19 W inches of overwhelming numbers of pictures, it is existentially healthy to try to make a good picture, however little it may picture and however much it may perform. In her work, iz Deschenes does not neglect to address, at once, two very important qualities of photography photographic prints can manifest and bear imagery, and they can create and occupy space. The frst of these realities photographic prints do in a way no other materials can; the second of these realities photographic prints do in a way other materials can do as well, if differently. Artists working in mediums other than photography borrow the frst of these realities when they appropriate the photograph they borrow images, and the investment viewers have in the veracity of images or the circulation of images. Critics refer to the frst of these qualities when they tie photography into a history of painting and also when they locate the majority of photography’s relationship to sculpture in the photography of sculpture. The second of these qualities is less frequently tended to, but is important for the sake of the argument of Deschenes’ work prints are objects that exist in space and are affected by it, no matter how shallow their third dimension nor how well-protected their surfaces by glazing or frame. What Deschenes does, increasingly, is to build the second of these qualities into her work abstractly, through orientation, placement, and scale. Objecthood becomes the abstract proposition of her work. What iz Deschenes does not do that some photographers might be tempted to do, given this focus on the performative nature of the physical print, is forget that her photographic bodies have faces, and that the logic of the photographic body in space depends upon what is on that face – referential or, as is the case with her, not. 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Even when the surface of her prints is decidedly monochromatic, the particulars of the colors she chooses matter. The green screen is green because green screens are that particular green. The dye transfers are particular in their shades. The blacks she uses are occasional and describe space in the way a Serra drawing does, though more typically rectangular than irregular. The rough blur of the metallic surfaces or the strangeness of the moir each of these two-dimensional decisions reads intentionally, unemotionally, and logically with respect to how the prints are deployed. It is nothing new to expect that the print have a body. Wolfgang Tillmans’ paper drop pictures (in which a curling paper is pictured) and ighter pictures (in which the paper in real space is folded or bent) are concertedly and abstractly about objecthood. Tillmans’ work, though, does not account for the dual nature of the photographic print, linking with any particular logic the folded, dropped body of the photographic paper and the monochromatic image on its surface. Mel Bochner certainly happened upon the body of the print in the 197 s, in his work with the grid, and pursued a kind of system as far as why certain of these prints were silhouetted (cut out around their images) before being mounted to the wall. Photograms in which folds determine imagery, like those of Simon Dobbroe M ller, Markus Amm, and Walead Beshty, build the body of the print abstractly into its pictorial sphere. Photograms in which the paper support infuences pictorial information otherwise than through folding are the province of Marco Breuer, especially. A difference between this work in photography and Deschenes’ current work is the way her pieces stand up for themselves amongst the Biennial’s many more obviously performative artworks. Her photograms describe themselves – abstractly, as well as in the terminology of press releases – as as performative a set of objects as anything else in the show. This is one reason why they are being shown now. Another reason this work is being shown now is its irony. To use a photograph as a Minimalist object could be an ironic gesture even though Deschenes is using the photograph as a material rather than to refer to a material, the work refers to a prior discovery about the way material, deployed, can delineate space. This is quotation, whether the artist intends it to be so or not, and quotation of this kind lends itself to irony. The literal rendering of a Minimalist object in a language other than that of the raw material in which Minimalist objects were originally rendered suggests that the location of difference is in the material. That difference inverts the literal meaning of the reference. In Charles Ray’s Ink Box (19 ), the essentializing tendency of the Minimalist cube is rendered less privately signifcant through the use of an everyday material ink. In Deschenes’ work, the photograph could be seen as as everyday a material as ink; unfortunately, this is a stretch. Ink arrives from the factory as readymade as does steel; photographs as Deschenes uses them are, again, invented, and yet we usually see them as artifacts of events outside of the real space and time in which they are seen. It is this quality of inventedness that again distinguishes her contribution to the idea of how photographs behave as material the irony is not in an inversion of expectation re Minimalism, but rather, re photography. To use a photograph as a material in a quasi-Minimalist manner is, in itself, ironic. It is also not necessarily a new thing for photography to try to participate in the affects of Minimalism – Charles Ray; Ink Box; 19 ; painted aesthetic or conceptual. In 19 , Allan McCollum showed his Glossies, a number of inks and watercol- steel box and ink; x x inches ors on paper, with self-adhesive plastic laminating flm; these were, depending on the show, exhibited in a pile in a display case or on a table or affxed to the wall, sans frames. They are not photographs, but they perform as such in the gallery. In 1997, Alvaro Perdices produced a series of Black Photographs at 7 x inches, which are mostly black, but have fickers of light in them, where traces of cigarettes had fitted across his frame. Perdices claims to have been firting with Minimalism from a queer perspective, and hangs the photographs very close to the foor so that they seem very much like doors, especially given their dimensions. Despite the fact that the photographs enter the space of the gallery because of the way they are installed and despite the monochromatic mimicry of Minimalism, the pieces still refer specifcally (via large vinyl wall labels) to the place at which they were taken, and therefore do not decry the photographic imperative to refer to a space before and beyond the real space and time of the gallery. They purport irony in the way they appro- priate Minimalist affect and subvert it with cigarette butts, but do not insist on their literal presence in the room. 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM They did not have to; in 1997, the abstract concerns of photography did not lean towards the performative objecthood of a print as they do in some circles now. Across the country from the Whitney Biennial in 1 , at A ART in os Angeles, hang Phil Chang’s Cache, Active twenty- one black rectangles inside of white rectangular mattes inside of black frames. They are hung in three rows of seven and are evenly spaced. Shiny, the prints and or their frames refect the room in which they are hung. If arriving to the exhibition just as it is hung, an observer would have seen pictures in the frames instead of black photographic paper. The pictures were of many subjects, none of which were of particular consequence, especially in combination with one another. The paper was unfxed, meaning that after the picture had been exposed, the paper had been developed, development had been stopped, and observers could see the picture, but that the paper would continue to be subject to the effects of light, because it had not been put into a fxer bath hence, after a set period of time, black paper. The project reads (to those who know that Imagery Was Here) as existentially averse to the contemporary situation of being mired in a plethora of imagery; this position rhymes with the randomness of the variety of images set to fade to black. They reject all imagery and discover nothing if nothing matters, nothing matters, they propose, as opposed to Tillmans’ “if one thing matters, everything matters.” They are a performance of exhaustion, like a post-post-Pictures generation sigh. The story associated with the black rectangles, though carried on in the oral history of those in the know, is phenomenologically unavailable in the prints. Knowing that story, though, and knowing that there used to be an im- age other than the monochromatic one now visible, creates a sense of inte- riority to the photograph, as if it had an under or inner painting – as if it had an inside, like the hollowness of the Minimal object or the shadowy space in back of a silhouetted Mel Bochner or a corner piece by iz Deschenes. This, along with the language of performance used to describe the piece in its press release and in the essay by Walter Benn Michaels that accompa- nied its unveiling, suggests the theatrical postures of the Minimalist object the performance of the piece represents a death, and therefore a life. Min- imalist photographs beg their own anthropomorphism. The stories of the objects live in the minds of the viewer, and the viewers therefore collectively sustain the signifcance of the piece; without them – or the oral history – the piece would be a simple monochrome series. Unlike Allan McCollum’s Surrogates, Chang’s Cache, Active, does not reference the dense display style of a nineteenth-century salon. The black rectangles, iterated across a white wall, refecting those who regard them and who sustain their mean- ing, reference Minimalism and the rejection of the illusionistic abstractly in Phil Chang; Cache, Active; 1 operation therein. A particular character of this work is that it doesn’t make it feel as if it matters. Since the images redacted by the piece’s performance are of no apparent consequence, we don’t have an erased DeKooning drawing or a mauled poster of a dictator; we have a sense of nothingness, erased, creating a sense only that the photograph can behave as a Minimal object rather than a depicting thing – because it wants to and can. 4-25$ is similar, if different in tenor, to Tillmans’ forty-two black rectangular prints exhibited in the corner of the UC A Hammer Museum in or the ictims of Organized Religions could, for all we know, depict the same things as did Chang’s Cache, Active, but Tillmans’ piece purports to matter in its rejection or memorialization of specifc imagery. In general, Tillmans looks like he loves pictures – they’re everywhere and of all kinds in his shows – and so when he departs from that strate- gy, it is clear that he is treating the other more physical experiments not as replacements for images – not as negations thereof – but as their own constituent photographic argument. Similarly, Walead Beshty’s folded paper photograms exist among his oeuvre of investigations of the imagistic “processes through which we produce meaning.” They are not negations of images; they are objects unto themselves. Chang’s black pictures are not objects unto themselves; they are performing objects, and with or without having seen their performance, that is their mean- ing photographs perform. They do not discover a phenomenon; photographers know that their pictures, if unfxed, will fade to black. They do not reject any specifc kind of imagery, as did Tillmans’ black pictures; not do they reimagine or reclaim any specifc kind of imagery, as did the Pictures’ Generation’s Cindy Shermans or Richard Princes or the post Pictures generation Elad assry’s. They do not use their frames or mattes sculpturally, interacting with them like a piece by assry or Wall or Deschenes, except insofar as they rely on their frames and mattes to emphasize their iteration. 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM The consequence of a performative photograph on photography at large is that it enables the medium to more clearly enter the working space of other mediums in the 1st century it moves the work through the conventional photographic window and into the space of invented objects that function in real space and time. No longer an artifact of another space or time, the photograph acts out any number of verbs as much as a material could enact any verb on Richard Serra’s erb ist Compilation Actions to Relate to Oneself (19 7-19 ). How does a photographic print – monochromatic or lacking in recognizable referent – prove more meaningful than a piece of construction paper when deployed in space? It draws on the attachment of years of belief in the photographic artifact these pieces are only ironic or suggestive when they activate our received understanding of the photograph as a marker of an event, even if that event takes place here and now, in the neo-Minimalist space of the gallery. As the 1 Whitney Biennial includes more collectives and collaboratives than ever before as well as more performance, distributed more organically throughout the rest of the show’s artwork, it is no wonder that the photograph should aspire to performative, interactive presence. A challenge for the photograph as it undertakes these postures, then, is to investigate what it means to perform, what kind of picture should engage in such behavior, and, of course, why. Wolfgang Tillmans; or the ictims of Organized Religions; 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM !"#$%&'()*+,+(-.,&%$./0(1$2'(3&4(5$6&($2(7+2,&8#+%.%9()*+,+:%.#*9 !"#$%#$& '()*+,+--.)*/,+012/3 45)6/7+)89)/3+):.().3:)1;/8<;1=)>5)2;/8?:);.@+),++3).)-/[email protected]/0=AB)2.(2)9;/1/<0.9;+0)C?D2/3)*/22D1+0E)F5)1;/8<;1=) >G;D3<2).0+):D2.99+.0D3<=).3:)5)6.31)1/)73/6).,/81)1;+HEAB G;.1)6.2)D3)"!!I=).3:)1;+)2D?@+0)<+?.1D3)9;/1/)H.1+0D.?2)*/22D1+0);.:)82+:)2D3-+)1;+)$J%!2)6+0+),+ “It looked to me like a graphite drawing,” Rossiter says in her Manhattan studio. “A completely fnished abstract drawing. I couldn’t believe it. rom that moment on, I knew that there was something to go fnd in old, unused photographic papers.” Rossiter began hunting for expired paper online, collecting boxes of forgotten brands with exotic names such as Gravalux and elox. Developing them, she discovered tones ranging from rich coffee to inky black, on paper that was velvety or slick. There were sheets with mirroring around the edges like tarnish, where the silver in the paper had oxidized. On some sheets, she found traces where fngerprints or mold had disturbed the emulsion, and faint marks where light had 2?/6?()?+.7+:)1;0/8<;)1;+)9.-7. Rossiter titled each sheet with the brand of the paper as well as the date it expired and the date she developed it, describing a fnite span of time that alludes to the looming end-date of the silver gelatin process itself. If the history of 9;/1/<0.9;()D2).)28--+22D/3)/L)1+-;3/?/ */22D1+0)D2)/3+)/L).)<0/6D3<)38H,+0)/L).01D212)82D3<)6;.1A2)73/63).2).3.?/<)9;/1/<0.9;(M9;/1/<0.9;2)H.:+)82D3<) light-sensitive paper and flm as their subject, rather than as simply the means of reproducing an image. In part, this interest in the materiality of photography refects the massive shifts brought on by the digital age, which has made 10.:D1D/3.?)9;/1/<0.9;D-)H+1;/:2)D3-0+.2D3 In response, artists are looking to the history of pre-digital photographic processes with a fresh interest in experimentation. They are recycling and breaking down analog materials, pushing them in unintended and unexplored directions, and HD3D3<)/?:)23.92;/12)L/0)3+6)H+.3D3<2E)P;D?+)1;D2)6/07)D2)83.,.2;+:?()0//1+:)D3)1;+)9;(2D-.?=)1;+)-+310.?)Q8+21D/3)D1) prompts is often conceptual what is photography today? 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Recent gallery shows such as “Unique” at on intel Gallery and “Alchemical” at Steven Kasher Gallery, as well as museum exhibitions such as “Surface Tension” at the Center for Photography at Woodstock, New ork, in 1 and “What Is a Photograph?” on view through May at the International Center of Photography in New ork, are working to make sense of the growing interest in materiality. Carol Squiers, the ICP show’s curator, says she wanted to explore F6;.1)D1)HD<;1)H+.3)L/0)1;+).3.?/<)+0.)1/)+3:)D3)9;/1/<0.9;().3:)1;+):D What Squiers found was a sort of anarchic esthetic in which artists rebel against the prescribed uses of their materials. She writes in the show’s catalogue that “the more the digital seems to triumph, the more artists seem to turn away from it.” Using processes ranging from C-prints to tintypes, they break photography down “into its technological layers and 1;+3)0+-.21)D1)D3)1;+)H.1+0D.?D1()/L)1;+)9;(2D-.?)6/0?:EB The demise of flm is the subject in Brea Souders’s series “ ilm Electric.” She photographs fragments of her own flm and prints she has cut into tiny pieces. Souders began the project while cleaning out her archives in preparation for a move. F5)6.2)-811D3<)1;+)9D+-+2)89)2/)3/,/:()6/8?:)1.7+)1;+H)L0/H)1;+)6.21+),D3=B)2;+)0+-.??2E)C?2/)D3)1;+)10.2;)6.2).3).-+1.1+) negative sleeve, a long plastic envelope used to protect flm. When she pulled it from the bin, slivers remained attached 1/)1;+)9?.21D-=);+?:),()21.1D-)+?+-10D-D1(E “Some of them fell and others stuck, and I just thought that was really beautiful, the way my memories were clinging together. It was a metaphor for flm trying to hold on, literally,” Souders says. She photographs arrangements of these pieces in poetic, airy forms against a pale background. Cut from negatives and contact sheets, each fragment is recognizable, at least to her. Pointing to a shard of flm, “This is Belize, I can tell by the shape of those palms,” she says in her sunny studio in her Brooklyn apartment. “I think we all experience memory in a similar way, with little bits and pieces of things colliding in unexpected ways. We all remember things in snippets.” Souders, who recently completed a residency at the Camera Club of New ork where she will have a solo show opening ebruary , continues to shoot occasionally with her Hasselblad to make new raw material for the project. She shoots mostly digitally. Still, she admits, “I do miss flm.” '0+3:.3)R/6?+0A2)?.0<+)L0.H+:)90D312).?2/)-/H,D3+)L0. K.11;+6)'0.3:1).?2/):+210/(2);D2)9D-180+2)D3)1;+)90/-+22)/L)-0+.1D3<)1;+HE)R/0);D2)2+0D+2)FT.7+2).3:)*+2+0@/D02=B)'0.3:1) 10.@+?+:)1;0/8<;/81)1;+)P+21).3:)-/??+-1+:)2.H9?+2)L0/H)1;+),/:D+2)/L)6.1+0);+)9;/1/<0.9;+:E)'.-7)D3);D2)T/2)C3<+?+2) studio, he submerged the large C-prints in the water they depict until the paper disintegrated into a rainbow of lurid colors as its layers dissolved. In Wilma ake CA 1, , the edges of a rocky landscape have been eaten away by water, the 27();.2)1803+:)H.<+31.=).3:)1;+);D??2).0+)0+:).3:)(+??/6E 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM “There’s only so much control you can get out of water,” says Brandt, who has nonetheless learned what to expect from !"#$%&'(#))*$+,-$,$.#/0#$!"#1$)'/2345$-'&$.'45#&6$,$24'7$3!8)$5'345$!'$9&#/2$:'74$!'$!"#$;#..'7$'&$7"3!#$./;#&*$,-$,$!/2#$3!$' ?'&$@&/4:!6$!"#$7'&2$3)$('44#(!#:$!'$!"#$"3)!'&;$'-$AB!"C(#4!<&;$%"'!'5&/%"#&)$7"'$&#('&:#:$!"#$D#)!6$)<("$/)$=31'!";$ O’Sullivan. He also references diminishing water supplies, and by extension, disappearing photo technology. “Sometimes ,$)3!$/$./2#6$/4:$34$!"#$)<11#&$!"#$7/!#&$3)$/.1')!$5'4#*$,$.32#$(/%!<&345$!"')#$1'1#4!)6$9#345$/$73!4#))$!'$!"#)#$ falling water lines, and then thinking of that in relation to the dwindling C-print process,” says Brandt. “Pretty soon I won’t be able to make these. It is defnitely getting more diffcult to get the paper.” D"3.#$@&/4:!$!/2#)$"3)$%&34!)$' or ohn Cyr, the disappearing tools of analog photography are his subject. Since 1 , he has been photographing the developer trays used by black-and-white photographers ranging from Aaron Siskind to Sally Mann to Eddie Adams (a book of the images will be published by powerHouse next month). Some are scrubbed clean while others are stained black with silver salts, refecting the habits of their users, living and dead. The curved edges of the basins, shot against /$9./(2$9/(25&'<4:6$530#$!"#$%./)!3($/4:$1#!/.$!&/;)$/$1'4<1#4!/.6$-<4#&#/.$/3&* Anne Collier also used an image of a developer tray in her 1 photo installation on the High ine in New ork. rom a billboard overlooking the elevated park, the artist’s eye stared out from a liquid-flled tray. Tinged with a look of anxiety or sadness, the eye watched over its viewers through a disappearing medium. Where Cyr considers himself a photographer, Collier’s approach takes a wider aim at the art world. E/&('$@&#<#&8)$7'&2$1/;$"/0#$9#5<4$/)$&#/(!3'4$!'$"3)$)!&3(!$%"'!'5&/%"3($#:<(/!3'4$&/!"#&$!"/4$!'$!"#$/%%&'/("$'-$ digital, but, he says, “for me the interesting part is the friction, interacting with a material in an unauthorized fashion.” He became interested in challenging the limits of photo materials after studying photography in his native Germany in the late 19 s and early ’9 s, when digital photography was only a rumor, he says. At the time, the technically precise Becher School (“you know, the Ruffs and the Gurskys” students of Bernd and Hilla Becher at the Kunst- akademie D sseldorf), was the de facto offcial German school of photography. +,$!"'<5"!6$!"#&#$"/)$!'$9#$/4'!"#&$7/;$'-$7'&23456>$@&#<#&$)/;)6$/4:$"#$)#!$' “I placed objects on black-and-white paper in the dark room, and then I set them on fre, so the object would illuminate itself,” the artist says from his studio in Hudson, New ork. The next logical step was to eliminate the object entirely. “If it’s just me and the paper, how can I extract images out of this material? So I got into sanding and scratching and scraping /4:$"#/!3456$/4:$/..$!"#)#$'!"#&$-'&(#)*> 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM '0+8+0)L/83:)1;.1),()21.01D3<)L0/H)1;+)2DH9?+21)H.1+0D.?2=)F(/8)-/8?:)-.0@+)/81)(/80)/63)29.-+=).3:)1;+0+)6.2)21D??) discovery possible.” Since then, he has continued to work with the basic elements of photography, making photograms or disrupting the paper directly to create beautiful, rigorous abstractions, which he shows at ossi Milo Gallery in New ork (where Brandt and Rossiter also show). Since 199 , Breuer has also collected snapshots, a passion he shares with a number of artists. The ones he likes most are those that have been altered because of some dissatisfaction. “People go in and write on photographs, or they cut a person out,” he says. What interests him is the “liberty taken with this object. Once you start taking the 2-D22/02)1/)D1=)(/8);.@+)1/):+.?)6D1;);/6)D1)-80?2).3:);/6)(/8A0+) or Garrett Pruter, part of the appeal of old photographs is the access they grant to an otherwise private past. or a recent project, he bought a box of slides on eBay that depict the life of family in Indiana. “It’s very strange to have .--+22)1/)1;+2+)H+H/0D+2=B);+)2.(2E)F51).?H/21)L++?2)833.180.?=),+-.82+)1;D2)D2)3/1)1;+)6.()6+)?D@+).3(H/0+EB)SD2)2;/6) last year at Charles Bank Gallery (now udith Charles Gallery) in New ork incorporated the images in a number of L/0H2E)R/0);DH=)/?:)L.HD?()9;/1/2)/LL+0).)0+-/0:)1;.1)6D??),+)?/21)6D1;)1;+)26D1-;)1/):D CH/3<)1;+)6/072)D3);D2)2;/6)6+0+).)2+0D+2)/L)H+?.3-;/?()H/3/-;0/H.1D-)9.D31D3<2)D3)H81+:)9D372).3:)+.01;)1/3+2=) made from scraped photo emulsions. rom the box of , slides, Pruter selected a few and made around , :08<21/0+)9;/1/)?.,)-/9D+2E)S+)-/??+-1+:)1;+)+H8?2D/3)D3),/6?2=)H.7D3<).)2/01)/L)9;(2D-.?).@+0.<+)/L)+.-;)DH.<+E)FR/0) each image, you basically have a different fat color that emerges. Some paintings are a single image,” he says, while /1;+02)-/H,D3+)2+@+0.?=)10+.1D3<)+.-;)9;/1/).2).)7D3:)/L)9.D31,082;E)G;+)0+28?1)F.?H/21),+-/H+2).)H/38H+31)1;.1A2) composed of all these thousands of images,” says Pruter. “It represents the complete decay of this moment,” from +.-;)/0D *+,+--.)*/,+012/3)D2)9;/1/)+:D1/0)/L)C*G3+62E 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM GOINGS ON ABOUT TOWN: ART “ALCHEMICAL” July 2013 The critic and curator Kevin Moore has organized a smart, seductive show of photographs that don’t just record phenomena; they embody them. Most of the pictures concern the effects of light, whether it’s glinting off a building in Tokyo like a prismatic wand in Roe Ethridge’s misty cityscape or exploding in buttery rays in James Welling’s view of Philip Johnson’s Glass House. In images by David Benjamin Sherry, Ryan McGinley, Hannah Whitaker, and Elena Dorfman, monochromatic washes of color turn nature theatrical. Artifice and mystery combust in Phil Chang’s geometric photograms— all four have faded to coppery brown since being exposed to light at the show’s opening. Through Aug. 10. (KASHER, 521 W. 23rd St, New York, N.Y. 212-966-3978) – Vince Aletti 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM !"#$%&'()*%+,--.-/% !"#$%&$'()*+(),-. /'(0$&123(42"56 (05"(786235"9(#6&:;(<&:"(8<(&(=6&%9"(>6&33($"?9"$3(@12"A3B($8C&?D2:(&?9("C8D28?&6ED58%>5(D523(D886 (more accurately refects the viewer’s projections. In “The Black Mirror,” what you see is what you see. (This is an exhibition of black stuff and it’s possible to see nothing else. et a sustained look can produce (a show more variegated than it initially appears. The viewer frst encounters Matthew Brandt’s George (/%35(F&$;+(G8%3D8?+(0H+(),,IJ--+(&(C8?8:5$8C"(C&9"(8<(5&?9C&9"(7&7"$(&?9(:5&$:8&6(<$8C(A889 (found at its namesake, refective only insofar as it indexes that site. Right away, this work offers twin ($"&93(8<(D523(@9&$;B("K52#2D28?L(&3(&?(2?:8?3"M%"?D2&6(<8$C&6($8C7+(&?9(&3(&(38C#"$(78"C(8?(D5"(7&D583 .8<(D5"(2?9"K(&?9(8<($"7$"3"?D&D28?(2?(>"?"$&6 (Still, several works make dull use of blackness. In Dead Day I , , Barnaby urnas deploys “black” to (blot out a colorful canvas. arrah Karapetian’s ramed Monochrome (Real Estate), 1 , a “for sale” sign (made of a blackened photogram, confuses overexposure with the housing market. et similar indexical (:&"3%$&3(#'(/$&?9D(&?9(Phil Chang whose unfxed prints Woman aughing; Upright og, Studio; and (Man Sitting, all 11, are not black but the eggplant-fesh gray of photochemical entropy question (how an artwork might ever represent a complex subject. Meaning becomes a function of the viewer’s (refection, as with Eban Goff’s sphincterlike Twin, 1 , where black wax and polished metal polygons (are shaped to receive a body; or Rodney McMillian’s three identical photos of a faking foam bust painted (black. Black allows contrast, or the grays of photographic grain, as in the shimmering stream and blotchy .rich foliage in Whitney Hubbs’s 9 photo Untitled (Refection) blown-out and antipicturesque ( ohn Szarkowski’s 197 MoMA survey “Mirrors and Windows” plotted photographs on a continuum of (subjective refection and objective transparency. Never mind the index for what role does it play after (representation? What game is this? Why, it’s the photographic game one we recognize post-Szarkowski (as distinctly subjective. Sure enough, in “The Black Mirror,” there is much of cocurator and photographer ( ames Welling for whom the photograph represents the photographer above all. Welling’s tiny, slippery (silver chromaprint ock, 197 , depicts a two-by-four angled against the back of a door. The piece hangs (across a small room from a glossy black ohn McCracken plank two leaning, pathetic blacknesses, .refecting one another, propping each other up 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Media contact: For further information, images, or to arrange an interview, please contact Amanda Hunt E: [email protected] T: 310.559.0166 F: 310.559.0167 LA> Phil Chang, Double (Exposure 3), 2007-2009 archival pigment print, courtesy of the artist and LA> Phil Chang: Cache, Active LA> Panel discussion to be held on the occasion of the closing of the exhibition April 14 at 2pm at LA> Cache, Active includes twenty-one photographs that expose and fade in the light necessary to view them. These photographs are produced by using expired photographic paper; the types of photographs include abstraction, appropriated imagery, portraits, still lives, and landscapes. Each photograph is not subjected to darkroom chemistry, allowing for a durational process to occur. Because the expired paper’s sensitivity to light has been greatly diminished, the photographs on view will expose in five hours of continuous exposure time, gradually transforming to a reddish- brown monochrome. Each photograph is presented in a custom picture frame with removable backing that allows for a replenishing of a photograph during the exhibition of the work. Cache, Active seeks to raise questions along the lines of value, reception, intention, and the conditions of an exhibition site. The work also addresses the efficacy and viability of contemporary artworks within the larger context of the present day recession. These questions hinge on a formal and durational operation where the photographs on view will fade precisely because of the physical conditions particular to the exhibition site: placement on the wall, the lights of the gallery, and the act of viewing the work. Walter Benn Michaels has contributed an essay as a supplement to the exhibition, entitled “Meaning and Affect: Phil Chang's Cache, Active”. About the Artist Phil Chang received his MFA from The California Institute of the Arts and his BA from the University of California, Irvine. His work has been exhibited in group shows at Pepin Moore, Renwick Gallery, Angels Gallery, and The Swiss Institute. His work has been written about in Artforum.com and The New Yorker. In 2010, Chang completed "Four Over One," an artist’s publication that is published by the Los Angeles County Museum of Art in association with Textfield, Inc. In addition to his project with LA> ABOUT LA> Founded in 2005, LA> LA> LA> 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM !""#$%&'%#(")*#+),-%.)/-&(0 !"#$%&'()&*+'* ,-&./012&31%%$45 67$89#:2&4981;&31&<$47%-=1#&8>1/71#&89&3/%81#&,144&?$@>/1%:2&?1/4$45&/47&!==1@8;&A>$%&B>/45:2&B/@>1)&!@8$C1&=9#& @9481D8E F&G/48&89&28/#8&H-&$48#97I@$45&8>1&$71/&9=&J$4>1#148&C$@1EK'&&F4&8>1&%/45I/51&9=&$42I#/4@1)&J$4>1#148&C$@1K&$2&8>1&4/8I#/%& 814714@-&9=&/4&9HL1@8&89&21%=M7128#I@8&=9#&49&/""/#148/294E&N>1&$4>1#148&C$@1&9=&5%/22&9#&0/#H%1&9HL1@82)&=9#&$428/4@1)& $2&8>/8&8>1-&@/4&@9%%/"21&/8&/4-&090148O&8>1&0/81#$/%&$2&28#I@8I#/%%-&I428/H%1E&P9#&">9895#/">-)&/47&"/#8$@I%/#%-&=9#&@9%9#& ">9895#/">-)&8>1&$4>1#148&C$@1&9=&8>1&">9895#/">&$2&8>/8&$8&$41C$8/H%-&8/#4$2>12)&49&0/881#&>9G&>/#7&G1&8#-&89&2%9G&$8&79G4E* F:7&%$<1&89&0148$94&QI$@<%-&8>1&49G&5$5/48$@&$47I28#-&$4&/#@>$C/%&"#121#C/8$94&9=&">9895#/">$@&0/81#$/%2E&B>/45:2&G9#<& 2I551282&8>$2;&49&941&G/482&8>1$#&">9895#/">2&89&=/71&$4&8>1$#&%$=18$01E&&N>1&81#0&J/#@>$C/%K&$2&/449I4@17&94&8>1&H9D&9=& 8>1&"%/28$@&"/51&"#981@89#2&F&HI-&=#90&R8/"%12E&N>1&"I#"%1&5%I1&28$@<&F&HI-&=#90&S?&$2&49G&/@$7M=#11)&$E1E&/#@>$C/%E&&F=&F&G1#1& 89&@>/#8&8>1&#$21&9=&8>1&$481#128&$4&/#@>$C/%&"#121#C/8$94&=#90&8>1&%/81&'T(+:2&94)&F&G9I%7&28/#8&G$8>&8>1&3$%>1%0&F0/5$45& F428$8I81:2S&5#9I47H#1/<$45&28I7-&9=&8>1&/@@1%1#/817&/5$45&9=&@9%9#&">9895#/">2E&U F4&>$2&81D8)&3/%81#&,144&?$@>/1%2&7$2@I2212&B>/45:2&I21&9=&8>1&">9895#/0E&,I8&0/4-&9=&8>1&@90"94148&I4$82&9=&B/@>1)& !@8$C1&/#1&498&">9895#/02&HI8&">9895#/">$@&@948/@8&"#$482E&R9&G>/8&$2&8>1&7$==1#14@1&H18G114&/&">9895#/0&/47&/&@948/@8& "#$48V&!&">9895#/0&$2&0/71&G$8>9I8&/&">9895#/">$@&"92$8$C1&9#&415/8$C1E&!4&9HL1@8&2>/79G2&8>1&2142$8$W17&2I#=/@1X"/"1#& 89&"#97I@1&/4&$0/51E&!&@948/@8&"#$48&$2&@#1/817&G>14&8>1&2142$8$W17&2I#=/@1X"/"1#&$2&"I8&$4&@948/@8&G$8>&/&">9895#/">$@& "92$8$C1&9#&415/8$C1EY&N>1&J@948/@8&"#$48K&$2&=#1QI148%-&9""9217&89&"#$482&0/71&G$8>&/&">9895#/">$@&14%/#51#&H1@/I21& @948/@82&/#1&2>/#"1#&8>/4&"#$482&0/71&H-&14%/#510148E&&!2&G1&G$%%&211&$4&/&090148)&2>/#"4122&$2&498&8>1&94%-/294& @948/@8&"#$48$45&$2&10"%9-17&=9#&@1#8/$4&">9895#/">$@&"#9@12212E R901&9=&8>1&1/#%$128&">9895#/">2&I217&/&2142$8$W17&2I#=/@1&8>/8&C$2$H%-&7/#<1417&G>14&1D"9217&89&%$5>8E&&Z49G4&/2&/& "#$48$45M9I8&"#9@122&[A\A])&8>1&A\A&10I%2$94&G/2&29&2%9G&8>/8&8>1&1D"92I#1&>/7&89&H1&0/71&I471#&28#945&I%8#/C$9%18& %$5>8E&!=81#& '^^+)& /& J=/281#K& 2142$8$W17& 2I#=/@1& G/2& 71C1%9"17E& _1C1%9"$45M9I8& "#9@12212& [_\A]& G1#1& 9"8$0$W17& =9#& exposure using artifcial light. After developing-out paper was exposed to light, an invisible, “latent image” formed and 8>$2&$0/51&G/2&0/71&C$2$H%1&H-&/&@>10$@/%&71C1%9"1#E !%8>9I5>&B>/45&$2&I2$45&_\A&"/"1#&=9#&B/@>1)&!@8$C1)&>1&$2&1D"92$45&$8&/2&/&A\AE&N>/8&$2)&>1:2&1D"92$45&8>1&_\A&"/"1#& 89&H#$5>8&%$5>8&/47&0/<$45&/&A\A&"#$48&94&$8E&&R9)&$8&2>9I%7&H1&49817)&8>/8&$4&9#71#&89&@#1/81&8>1"#12148/8$94/%&"/#82&9=& B/@>1)&!@8$C1)&B>/45&411717&89&@/#1=I%%-&8>$4<&8>#9I5>&8>1&"#9@122&9=&0/<$45&8>1&G9# 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM !&QI$@<&/2$71&>1#1;&?$@>/1%2&/47&B>/45&0148$94&8>/8&8>1&">9895#/">$@&"/"1#&$2&J1D"$#17K&$4&B/@>1)&!@8$C1E&3>14&/""%$17& 89&">9895#/">$@&0/81#$/%2&J1D"$#17K&@/4&H1&/&H$8&$4/@@I#/81E&Z97/<&"I82&/4&1D"$#/8$94&7/81&94&$82&0/81#$/%2&89&81%%&-9I&8>/8& they may not perform perfectly after the expiration date. et, as photographers, we all know that expired paper or flm 09#1&9=814&8>/4&498&G9#<2&1D/@8%-&/2&$8&2>9I%7&2901&-1/#2&/=81#&$82&1D"$#/8$94&7/81E&F=&1D"$#17&"/"1#&G1#1&8#I%-&J1D"$#17)K& /2&$4&J71/7)K&49&$0/51&G9I%7I%8E&&F&794:8&<49G&>9G&9%7&B>/45:2&"/"1#&$2)&HI8&8>1#1&$2&28$%%&149I5>&@>10$@/%&"98148$/%& 289#17&$4&89&"#97I@1&/4&$0/51E&A1#>/"2&8>1&$71/&9=&1D"$#17&"/"1#&/%29&/772&89&8>1&/==1@8&$4>1#148&$4&8>1&G9# N>1&498$94&9=&0/<$45&/&">9895#/">&8>/8&1C148I/%%-&8I#42&/&H%/@<)@/%%2&/&"/"1#&8>/8&"9#8#/$8&">9895#/">1#2&I217&$4&8>1& 19 ’s and 19 ’s. Kodak Studio Proof was a printing out paper that was intentionally left unfxed by photographer so the client’s picture would darken after a few hours. And the client would then have to buy prints that were properly fxed. FϲH1#&G/8@>$45&8>1&"#99=2&9=&0-&>$5>&2@>99%&-1/#H99<&">9895#/">2&8I#4&H%/@<&$4&8>1&/=81#4994&2I4E !&=1G&-1/#2&/59&F&8>9I5>8&9=&@I#/8$45&/&2>9G&9=&JH%/@ .921&!%C/#9&A1#7$@12 !"#$%&'()*)+)&'TT( c$W&_12@>1412 ,-"*&.&/0-12)&*++T 3/%1/7&,12>8-:2 ,3#1+4#351$-5+)&*++T !%%/4&?@B9%%I0:2 6")++-5+)&'T^+ ?/#@9&,#1I1# 7#*835&)9&*(5&'51$-")&*++T ,#1I1#&I212&/&2>118&9=&0/D$0/%%-&1D"9217&/47&"#9@12217&">9895#/">$@&"/"1#&[$E1E&H%/@<&"/"1#]&89&@/#1=I%%-&2@#/8@>&%$412& /8&7$==1#148&71"8>2&89C1/%&@9%9#17&7-12&H1%9GE&P9#&,#1I1#)&A>$%:2&G9#<&G9I%7&H1&/&28/#8$45&"9$48)&498&/4&147&"9$48E P$4/%%-)&F:7&%$<1&89&0148$94&8>#11&G9#<2&0/71&H-&B>/45:2&"11#2&8>/8&F&/229@$/81&G$8>&B/@>1)&!@8$C1; Erika ogt’s Action Unrestricted, , a flm that unspools onto the exhibition foor, thereby hastening its destruction. ?/8>1G&,#/47:2&c/<12&/47&d121#C9$#2)&*+'')&G/81#%95517&@>#909514$@&"#$482&G$8>&8>1&10I%2$94&"/#8$/%%-&7128#9-17 Evan Holloway’s, Negative alue Drawing, wherein the value of the work decreases (by fat) each time it is sold. 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM e9%%9G/-:2&7#/G$45&=9@I212&94&C/%I1&$4C1#2$94&$4&8>1&/#8&G9#%7E&F4&8>1&/#8&0/#<18)&8>1&9%71#&8>1&8>$45&$2)&8>1&5#1/81#&$82& value. Holloway fips this around and forces the frst collector of the work to agree to sell it at a lower price in six months. !47&29&94&=9#&8>1&41D8&"I#@>/21#E&N>$2&$2&$4&%$41&G$8>&8>1&1@9490$@2&9=&7$5$8/%&81@>49%95-&G>1#1&41G&71C$@12&/#1&"#$@17& >$5>1#&8>/4&9%7&9412E&,1@/I21&9=&$82&$4>1#148&C$@1)&">9895#/">-&9@@I"$12&/&2901G>/8&=#/I5>8&"%/@1&H18G114&8>121&8G9& "92$8$942)&/47&8>$2&21102&89&H1&8>1&@#ID&9=&0/881#&$4&B>/45:2&B/@>1)&!@8$C1E d6P6d6`B6R 1. I began my talk by mentioning that I do association not theory. *E&&!%%&/4/%95I1&9#&@>10$@/%&">9895#/">$@&"#9@12212&0/<1&I21&9=&8>1&814714@-&9=&2$%C1#&@90"9I472&89&7/#<14&G>14&1D"9217&89&%$5>8E Thomas Wedgewood and Humphrey Davy are often footnoted as the inventors of photography. In the frst decade of the 19th century they created photograms on salted paper. However they were unable to fx the images they made, so the work eventually turned black. F:C1&9=814&G9471#17&G>/8&>/""1417&89&8>121&$0/512E&F:7&%9C1&89&211&941E&B9I%74:8&8>1&H%/@<14$45&H1&@>10$@/%%-C1#217&9#&H%1/@>17& H/@<&89&7$2@1#4&/4&$0/51V In 1997 Sandra Goldbacher made “The Governess,” a flm about the invention of photographic fxer. Minnie Driver plays a destitute -9I45&G90/4&G>9&$2&=9#@17&89&>$71&>1#&.1G$2>&$7148$8-&$4&9#71#&89&G9#<&/2&/&8I89#&=9#&/&G1/%8>-&R@988$2>&=/0$%-E&_#$C1#&=/%%2&$4&%9C1& G$8>&8>1&0/7M2@$148$28M$4C1489#M>1/7M9=M8>1M>9I21>9%7)&N90&3$%<$4294&G>9)&%$<1&31751G997&/47&_/C-&7$2@9C1#17&/&">9895#/">$@& process but could not fx his images. Driver is deeply moved by a fading photograph of a bird’s wing and she embraces the quest to 0/<1&8>1&$0/51&"1#0/4148E&R>1&8/<12&8>1&"$@8I#1&H/@<&89&>1#&5/##18Ϟ&/47&H15$42&89&@1%1H#/81f$4&21@#18f&8>1&A/229C1#&R171#E& Driver accidentally splashes salt water on the print and this fxes it. rom there the romance goes south when Wilkinson takes the @#17$8&=9#&8>1&/%%M$0"9#8/48&7$2@9C1#-E&&_#$C1#:2&@>/#/@81#&%1/C12&R@98%/47&G$8>&8>$2&21@#18&<49G%1751)I#42&89&c94794&/47&2I@@1172& as a masterful portrait photographer. . http www.wilhelm-research.com about us.html UE&&R81">14&R>9#1&218&>$2&^g'+&@9%9#&@948/@8&"#$482&/8&%9G&"#$@12&H1@/I21&>1&/48$@$"/817&8>/8&8>1-&G9I%7&=/71E&N>$2&"#$@1&28#I@8I#$45& may have been the result of Wilhelm’s research into image permanence. . The printing plates in offset lithography are exposed by contact using a U light source. hE&&F48#97I@17&$4&'^T*)&7$2@948$4I17&$4&'T^()&Z97/<:2&R8I7$9&A#99=&"#$48$45M9I8&"/"1#&G/2&8>1&%945128&@948$4I9I2%-&0/4I=/@8I#17& photographic paper. About the Author James Welling's books include Glass House (2011); Light Sources published by Steidl/Mack (2011); Flowers (2006); Photographs 1974- 99 (2000); Wolfsburg (1994); Usines de Dentelle (1993); and Les Voies FerrÈ es/St. Etienne et La Plaine du Forez (1990). In 2004, Welling produced the feature flm Easy which screened in Dramatic Competition at the 2004 Sundance Film Festival. 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM !"#$"%&'%()$*+',$-+./0$.#$1!2!34 !"#$%&''(&')*' +,&-%"#./&!01.2" 3%.2.P&3%04&5%"/6(&Q5"$%:(&@$20K:Q&0/82"44"20./&K0:=H&5#:E02P&&?@A@BC(&?.8&@/6:4:8H 3%04&5%"/678&8902:&.;&'*&<%.2.6#"<%0$&=.#>8&"2&?@A@BC&4..>&40>:&84"D8&.;&.4E&F04>&$%.$.4"2:&2%"278&G982&"D.92&2.&29#/&=%02:H&I"$%&=.#>&08& "$29"44,&"&<0:$:&.;&:J<0#:E&<%.2.6#"<%0$&<"<:#&:J<.8:E&=02%&:02%:#&"&/:6"20K:&.#&K"#0.98&.DG:$28&<4"$:E&E0#:$24,&./&2. Each however, has a rather evocative title like “Sea ” and “Woman, aughing.” Searching for traces of these images is a bit like looking at "/&@E&B:0/%"#E2&D4"$>&<"0/20/6&M&"&#"2%:#&:J082:/20"4&:J<:#0:/$:&"8&,.9&8:"#$%&;.#&F0/92:&K"#0"20./8&0/&2%:&E"#>/:88H&5%"/678&=.#>&E0E&D#0/6& a smile as I searched in vain for some evidence of something as simple as “Three Sheets of Thin Paper.” But the chocolate refused to give "/,2%0/6&9 N/&2%08&8:/8:(&2%:&:J%0D020./&08&D.2%&2%:&";2:#F"2%&.;&2%:&=.#>&"/E&"/&0/2:6#"4&<"#2&.;&028&F">0/6(&"&<"#"E.J&2%"2&<.0/28&2.&2%:&2:/80./&D:2=::/& making art and exhibiting it. Does viewing complete the piece? And conversely, can a work be said to be fnished if no one ever sees it? By D49##0/6&2%:&40/:&D:2=::/&F">0/6&"/E&:J%0D020/6(&5%"/678&:/06F"20$&8%.=&#:F0/E8&98(&O902:&82"#>4,(&2%"2&2%:&$./E020./8&9/E:#&=%0$%&=:&4..>&"2& "#2&4"#6:4,&E:2:#F0/:&=%"2&=:&8::(&"/E&=%:2%:#&=:&#:$.6/01:&02&"8&"#2&"2&"44H 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Phil Chang | Studio, Affect | Pepin Moore | Los Angeles | 7 July - 11 August 2012 6/21/12 12:00 PM FOR IMMEDIATE RELEASE Phil Chang | Studio, Affect 7 July - 11 August 2012 Pepin Moore | 933 Chung King Road | Los Angeles | California | 90012 Opening reception: Saturday, 7 July 2012, 7:00 - 9:00 pm Gallery hours: Wednesday - Saturday, 12:00 - 6:00 pm Pepin Moore is proud to present Studio, Affect, an exhibition of new works by Phil Chang, on view from July 7th through August 11th 2012. A reception for the artist will be held Saturday, July 7th from seven to nine in the evening. As his third and final project that examines the various implications of affect, Phil Chang includes works in Studio, Affect that obliquely address the role of the studio in contemporary culture. Studio, Affect includes various depictions of artist's studios - http://campaign.r20.constantcontact.com/render?llr=xd8uqxdab&v=0…IdnurG1tFcx7mdbOIb9Q4IjU9Zmv_Xcb_XFafKMBQUh5xJK3eKh56WQXBG0fe5ht Page 1 of 2 photographs of book pages depicting Francis Bacon’s disheveled space, Giacometti in his studio studying his wife, Richter sitting on an office chair – alongside images from catalogs that rely on tropes of the studio. Also included are images Chang has produced which depict his own production. These include photographs of laser prints that have served as studies, and the running sheets (offset prints) from the production of his artist book from 2010. In total, Studio, Affect relies on an array of images presented in an array of formats – chromogenic prints, silver gelatin prints, laser prints, pigment prints, stencil prints, and offset prints – that are hinged within frames. This decision has to do with a desire for “looseness” in presentation that formally and structurally addresses the political and economic implications of the studio. Phil Chang (b. 1974, Elkhart, Indiana) received his MFA from the California Institute of the Arts, Valencia, and his BA from the University of California, Irvine. His two previous projects on the implications of affect were exhibited at Pepin Moore (Affective Turns?, 2012 – a group exhibition organized by Chang) and LA> For more information please contact the gallery at +1 213 626 0501 or [email protected] image: Phil Chang, Laser Prints & DWR, 2011, chromogenic print and laser prints, 40 ½ x 30 ½ inches, edition of one !"#$%&"'()*%+,-.#/0%12234,5%!36#(%7//83%9'$$38:0%;515 !"#$%&'(%)*') +$%,-./01230%4-5#0$ N/2#%,/-35(%N00#%73%-%477>%I-:#0F%,7"1.08$%N0<23%Q7710%R-##01$ 67"5#-8%9"0:#01(%./0%;73;0<."-#28.%=2./%-%577>%/0-1.%-3>%-%8/-1<(%/"351$%?23>(%8-2>%?-3$%@"7.-:#0%./2358%23%./0%$0-18% /0%=-8%-;.2A0(%B17?%./0%'CD*8%./17"5/%'CE*8F%+".%./0%730%@"7.0>%?78.%7B.03%28%./28G%HI/0%=71#>%28%B"##%7B%7:J0;.8(%?710%71% #088%23.0108.235K%L%>7%37.%=28/%.7%->>%-3$%?710FH%90%=28/0>%.7%->>%2>0-8%-3>%<7882:2#2.208%238.0->(%<10803.235%./080%./17"5/% .$<0=12..03%#0..018%71%>7;"?03.-1$%252.-#%;-?01-8(%#-801%<123.018%-3>%./0%L3.0130.(%=2./%2.8% A2>07%:-3M8%-3>%87;2-#%30.=71M8F%L.%=-8%-#87%:0B710%2?-508(%>7;"?03.8(%-3>%-##%./021%A-127"8%<01?".-.2738%:05-3%.7%800?% -8%7A01=/0#?235%-8%./2358F%N/2#%,/-35O8%0P/2:2.273%-.%N0<23%Q7710%R-##01$%./17"5/%S"5"8.%''%8.1->>#08%./28%A01$%<17:#0?G% 4/2;/%28%?710%7<<10882A0T%I/0%0P;088%7B%./2358%71%./0%0P;088%7B%23B71?-.273T Called Studio, Affect, Chang’s exhibition is his third this year to fxate on how one thing affects another. The frst, a group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appears in each print. The frst is an archival pigment print, the second a gelatin silver, and the third a composite of one- ;7#71%8.03;2#%<123.8%73%A0##"?F%\7"%>73O.%>7":.%B71%-%?7?03.%./-.%./080%%-3>%.-8.0B"##$%;7?<780>%=2./% 8/->7=8%87%12;/%./0$%10;-##%L1A235%N033O8%8.2##%#2B08(%-10%7:J0;.8]./0$%.-M0%"<%10-#%7%$7"%>7":.%./-.%./0$% 52A0%23B71?-.273(%8"5508.235%./0%?"#.2.">0%<7882:2#2.208%-A-2#-:#0%.7%-3%2?-50U?-M01F%+".%./0$%>73O.%->>%.7%./28%?"#.2.">0F% L38.0->(%./0$%2?<780%73%2.%87?0%80?:#-3;0%7B%;73;28273%-3>%8":.#0.$(%=/2;/%28%37%8?-##%B0-.F 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Review of Phil Chang, 'Studio, Affect' at Pepin Moore Gallery by Andrew Cameron "The importance of the studio should by now be apparent; it is the first frame, the first limit, upon which all subsequent frames/limits will depend." -Daniel Buren, "The Function of the Studio" In his solo show titled 'Studio, Affect' at Pepin Moore in Chinatown, Phil Chang presents a series of works related to that space whose "extinction" Daniel Buren so ardently theorized nearly forty years ago: the artist's studio. All bounded by the same elegant black frames, the works in 'Studio, Affect' seek to provide depictions of studio space, remnants of work accomplished in such spaces, and a metaphor for their function all at once. By composing the photographs in their frames the way one might compose images on a pegboard, Chang presents each piece as a forced context in which to consider images of drastically different intention and function, but whose appearance together in an artwork provides access to terms outside of the reach of any individual photograph. Hung near a window in the larger gallery, the piece Amanda, Annette, Giacometti, 2011, presents two overlapping photographs floated from the black background of their single mat. The top image, printed in color and oriented as a 'portrait', is an extremely angled view of an open book turned to a black and white photograph of the artist Alberto Giacometti at work on a sculpture while his wife, Annette, stares into the camera from the background. The bottom image, printed in black and white and oriented as a 'landscape,' is an image of a smiling young woman sitting in what appears to be a modernist chair and looking at the camera's lens. Taken together, the photographs provide a picture of the problematic figure of the muse in the artist's studio. When one considers the fact that the top image is of an open book belonging to Chang himself, the bottom image is a kind of 'screen test' which Chang used for other work, and that both photographs were taken in Chang's studio, the frames and limits Buren describes in the above quote begin to expand and contract. One might even say that what those frames are opening and closing upon is the possibility of an affective relationship between photographer, subject, and viewer, somehow impossibly mediated by the photograph. The six smaller works in the show, presented in more traditional mats and framed individually, approach this problem structurally, and with a subtlety matching the best examples of the larger work on view. Each hung as a triptych, these two sets of work function almost as perceptual primers for the rest of the show by presenting three qualitatively and processually different prints of the same photograph. One set is an image of a corner of a sheet of photographic paper laying on a wooden table and curling up towards the lens, and the other is an oblique view of a framed photo hanging on the studio wall, but both images are similar in their presentation of the concrete conditions for sight as much as the necessary role of context for visibility. In the piece 'Peel on Wood Table, Alternate for Studio,' 2012, the shiny sheet of paper laying on the table reflects the light needed to see it into the camera's lens, and in doing so registers its own qualities as pictorial surface as much as the wood surrounding it reminds us that even figureless and concrete abstraction ultimately rests on a ground. Similarly, the oblique view of the dark photo hanging on the wall in the piece 'Reflection of West Wall, Studio,' 2012, prevents us from seeing the framed photo itself, and instead provides a reflected glimpse of the rest of the studio omitted from both the depicted and actual frames. All of this is complicated by the fact that the prints in each triptych were made using three different imaging processes: traditional silver-gelatin, inkjet, and risograph, which is a high tech stenciling process designed for high volume printing. Were these mere juxtapositions of various means of obtaining a photographic print, the results might be less interesting, but Chang has chosen his images wisely, and here provides a structural lesson on the material basis of photographic vision even as he points to the ever more elusive and expanding frames which corral and contain that vision as sight. Ultimately, this may be the main thrust of 'Studio, Affect'; that while Buren's point about the place of production affecting the means of appearance is well taken, so too should we consider that what does or does not appear, and how it does or does not do so, affects the place of production as much as anything else. And when we consider Buren's original goal of proceeding from the studio's extinction, we should rightly see it in light of the studio's ubiquity as attitude, mindset, and affective space of creative production so prevalent in our late capitalist moment, which is perhaps the same light productively illuminating the photographs of Phil Chang. !"#$$%&'()%!*+,-./0 !"#$%&'()&'*+' ,-&."#/01&231"14 50631&!77#0&*89*89+':*;9*<9+' &=%0& >3??0#01$0& @04A001& "??0$4& "1>& 0??0$4)& "B& A0CC& "B& 4%03#& $7##0$4& "66C3$"4371)& $"1& 7?401& 43/0B& 4#36& " &60#B71&D69&E7#&4%0�$7#>&F%7A0G0#�>D$43G0HI&=7&0??0$4&3B&47&$"DB0&"&>3#0$4�BDC4)&"1>&47&"??0$4&3B&47 &infuence. This discrepancy, and to a greater degree the conjectural implications of affectation-at-large, &are the subjects of the astute and musing “Affective Turns?” curated by the os Angeles–based artist &Phil Chang. The show has a necessarily loose thematic center, as each piece questions and refers back &to the power of its own creative or political infuence––realized or unrealized––without being pedagogic &or overt. It’s an interesting parallel As benefts a successful art practice, affect deals in the ineffable 9production of hypothetical meaning and experience &The show features eleven artists working across video, photography, sculpture, and works on paper. Erika & ogt’s sculptures Instrument and Guide, both 1 , are made from wood and latex paint, among other &materials. Both pieces are narrow and elongated, and are constructed as notional, nearly functioning &objects––simultaneously awkward and elegant. Arthur Ou’s Untitled, 1 , is a nine-by-twelve-inch &silver gelatin print of roughly pressed particleboard. The dark, cropped rectangle at the top right of the &print has all the proportion of a nationalist fag turned clockwise on its side. Erlea Maneros abala’s & 11 “Exercises on Abstraction Series III,” each made with India ink on offset paper, are particularly &remarkable inasmuch as the three pieces continually shift in appearance between wood grain, marble &facade, and proteinous cross sections. True to form, this series, along with the other strong work in this 9show, operates in suggestion rather than confrmation 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM !"#$$%&"'('%)''*+%,-.%/-$%)''*%'-%&"'(' !"#$%&'(%&')*+'),*, -&'.%"%/'-%&'0#11#%23 456(573'0%11#3'58898:9";'=;"%?/&'@9?%">298>'/%3'?A:1#3/9$'B=A"' :==C3'#8'>/9'1%3>'&9%"'>/%>'/%D9'=89'>/#8;'#8'E=22=8F'#8'>/9#"'=G8'#8$#D#$A%1' ways, they communicate our relationship to very specifc moments from the frst 1 years of photographic history. H81&'=89'=B'>/9'B=A"+'E=#8E#$98>%11&' >#>19$'!=A"'HD9"'H89+':&'='9I?1#E#>1&'9I?1="9'%' world dealing with digitization and obsolescence in photographic processes. 58=>/9"+' 0="$3' 0#>/=A>' <#E>A"93+' 9$#>9$' :&'519I' J19#8+' #8E1A$93' ?=#8>9$' essays discussing online images and digitization. The other two books, The Sun as Error, by Shannon Ebner, and Bananas for Moholy-Nagy, by <%>>9"3=8' -9ECG#>/+' %"9' 3=' 8=>' %:=A>' $#;#>%1' ?/=>=;"%?/&K3=' 3>99?9$' in analog flmic processes that their obvious footing across the divide becomes part of the message. L>73' /%"$' 8=>' >=' G"93>19' G#>/' >/9' >=?#E' =B' $#;#>%1' ?/=>=;"%?/&' #8' >=$%&73' conversation about photography. I recently attended a two-day slap fght of #$9%3'D9";#8;'=8'D9":%1'?A;#1#32'%>'>#293K>/9'3&2?=3#A2'ML3'=;"%?/&' Over?” hosted by S MOMA in April. ou could probably count the minutes =8' >G=' /%8$3' N2%&:9' >/"99OP' :9B="9' >/9' G="$' M$#;#>%1Q' ?=A8E9$' =8>=' >/9' 3E989' %8$' :9;%8' >=' :9' "9;A1%"1&' ?9??9"9$' >/"=A;/=A>' >/9' $%&37' E=8D9"3%>#=83'%3'%'?%>/'>='%8'%83G9"+'=81&'>=':9'RA#EC1&'%:%8$=89$'B="' more interesting fodder. It’s not breaking news that digital has changed >/9'G%&'>/%>'G9'>%C9+'D#9G+'$#3392#8%>9+'>/#8C'%:=A>+'>%1C'%:=A>+'?"=E933+' “ID 17 APERTURE . HEIGHT 1 CM PPI E=119E>+'E=22=$#B&+'%"E/#D9+'?"=>9E>+':91#9D9+'$#3%33=E#%>9'=A"391D93'B"=2+' PASSES SI E 7 .1 MB” from our Over manipulate, research, and relate to photography. But has digital strangled H89+':&'=;"%?/&'>='$9%>/+'1%33=9$'G#>/'>/9'1%"#%>'=B'%':#8%"&'S9"=T'5EE="$#8;'>=' County Museum of Art, 1 ), p. >/9'>/#">998'?%891#3>3'=B'ML3'=;"%?/&'HD9"QK%">#3>3+'EA"%>="3+' academics, and authors probably not. Or at least the players creating photographic art in the hereafter (or is it just art?) are looking quite spry. The books mentioned above will continue to explore what it is that’s “going on” with photography. Phil Chang’s monograph !=A"'HD9"'H89'#3'?%;9'%B>9"'?%;9'=B';98>1&'3/%$9$':A>'2=8=E/"=2%>#E'?"#8>3'>/%>'3/#B>'1#C9'>/9'G9%>/9"'B"=2'=89'#2%;9' to the next. inding an explanation for this seemingly subject matter-defcient presentation takes a bit of detective work. Other than a production note on the second-to-last page (“The photographs in this publication were made using an i s Digibook C book scanner and Kodak Kobachrome II RC photographic paper”) and a list of specifcations in place =B'%'1#3>'=B'?1%>93+'>/9"9'#3'=89'398>98E9':A"#9$'G#>/#8'>/9'%EC8=G19$;9298>3'>/%>'3?9%C3'>='>/9'>/929F'!=A"'HD9"'H89' is “ a project that centers on economy and obsolescence .” I guarantee this is one of the most unusual books you will ever come across. 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM Art: Art: The New Yorker http://www.newyorker.com/arts/events/art/2009/06/29/090629goa... Art: Art: Thethrift New shops. Yorker Because people rarely enter Ulrich’s frame, there’s a pervasivehttp://www.newyorker.com/arts/events/art/2009/06/29/090629goa... sense of abandonment and loss. In the window of a furniture store whose interior has been stripped bare, a sign boasts “Over 100 Years.” Façades with ghosts of former signage, empty parking lots, a sea of unused plastic hangers—this is the new economic landscape, and it’s depressingly bleak. Through July 3. (Saul, 535 W. 22nd St. 212-627-2410.) “THE EDGE OF VISION: ABSTRACTION IN CONTEMPORARY PHOTOGRAPHY” The critic and curator Lyle Rexer draws from the most recent work in his excellent history of photographic abstraction, “The Edge of Vision: the Rise of Abstraction in Photography,” for this shrewd survey show. The nineteen GOINGSphotographers ON ABOUT here represent TOWN a wide variety of approaches, some of which are based in sly subversions of representation (Barbara Kasten, Roland Fischer, Penelope Umbrico). But most of the artists use unusual and ARTdeliberately accident-prone processes to turn out unique prints. These include Charles Lindsay’s alarming sci-fi eruptions; Ellen Carey’s hard-edged, imageless Polaroids; and Ilan Wolff’s explosive encounters between the elements JUNEand photographic 29, 2009 paper. Through July 16. (Aperture, 547 W. 27th St. 212-505-5555.) ! “PALOMAR:MUSEUMS ANDEXPERIMENTAL LIBRARIES PHOTOGRAPHY” Sensing a trend toward anything-goes experimentation (think Wolfgang Tillmans, Eileen Quinlan, Liz Deschenes), the galleryMETROPOLITAN pulls together a tight,MUSEUM terrific show of six young artists who use photography in unconventional ways. They haveFifth little Ave.in common at 82nd except St. (212-535-7710)— nerve and formal grace,“Afghanistan: expressed in Hidden modestly Treasures scaled work. from Perhaps the Nationalthe most elegant Museum, is Kabul.” ThroughPhil Chang, Sept. who 20. echoes | “Francis Tillmans Bacon: in two quasi-abstract A Centenary images Retrospective.” of curling paper. Through But Mariah Aug. Robinson,16. | “The Tamar Pictures Halpern, Generation, 1974-1984.”Asha Schechter, Through Talia Chetrit, Aug. and2. | Nancy“Roxy de Paine Holl also on themake Roof: strong Maelstrom.” showings with Through layered, intriguing Oct. 25. |pictures “The Modelthat as Muse: Embodyingdeserve solo follow-up Fashion.” shows. Through Through Aug. June 9. |27. “Pen (Marvelli, and Parchment: 526 W. 26th St. Drawing 212-627-3363.) in the Middle Ages.” Through Aug. 23. ! (Open Tuesdays through Sundays, 9:30 to 5:30, and Friday and Saturday evenings until 9.) Short List – Vince Aletti ! PETERMUSEUM BEGLEY: OF MODERN Zarre, 529 ARTW. 20th St. 212-255-0202. Through July 24. ZARINA HASHMI: Luhring Augustine,11 W. 53rd531 W. St. 24th (212-708-9400)— St. 212-206-9100.“James Through Ensor.” July 31. Opens PAULA June HAYES: 28. | “CompassBoesky, 509 inW. Hand: 24th St. Selections 212-680-9889. from the JudithThrough Rothschild Aug. 15. DOROTHY Foundation IANNONE: Contemporary Kern, 532 Drawings W. 20th St. Collection.” 212-367-9663. Through Opens June Jan. 25. 4. |CHRIS “Projects MARKER: 90: Song Dong.” ThroughPeter Blum, Sept. 526 21. W. 29th| “Looking St. 212-244-6055. at Music: Through Side 2.” July Through 31. STEPHEN Nov. 30. SHORE: | “Aernout 303 Gallery, Mik.” 525Through W. 22nd July St. 27. (Open Wednesdays212-255-1121. through Through Mondays, July 18. BASIL 10:30 WOLVERTON: to 5:30, and Friday Gladstone, evenings 515 untilW. 24th 8.) St. 212-206-9300. Through Aug. 14. “THE FEMALE GAZE”: Cheim & Read, 547 W. 25th St. 212-242-7727. Opens June 25. “SLOUGH”: Nolan, 527 W. 29thGUGGENHEIM St. 212-925-6190. MUSEUM Through June 27. Fifth Ave. at 89th St. (212-423-3500)—“Frank Lloyd Wright: From Within Outward.” Through Aug. 23. | GALLERIES—QUEENS “Intervals: Julieta Aranda.” Through July 19. (Open Fridays, and Sundays through Wednesdays, 10 to 5:45, and Saturdays, 10 to 7:45.) “PIG” The motto of this carnivalesque summer group show could be cribbed from the title of Paola Pivi’s rhinestone- encrustedWHITNEY gate: “If MUSEUM You Like It, OFThank AMERICAN You. If You Don’t ART Like It, I Am Sorry. Enjoy Anyway.” At first, the point seems to beMadison that sight Ave. is not at the 75th only St. sense—take (212-570-3600)— a whiff of“Dan Pivi’s Graham:stuffed ox standingBeyond.” in aOpens mound June of fragrant 25. | “Claescoffee beans, Oldenburg: or Early Sculpture,drop a quarter Drawings, into one of and the goofy Happenings motorized Films.” sculptures Through by the artAug. collective 30. | “Claes Gelatin Oldenburgand tool around and the Coosje gallery. van But Bruggen: Theegalitarian Music politics Room.” lurk Through beneath the Aug. free-for-all 30. | “Sadie atmosphere. Benning: A Peter Play Max-bright Pause.” wallThrough text by Aug. Pivi 30.reads (Open “Free Wednesdays, Tibet,” Thursdays,and Gelatin titlesand weekends,one of its vehicles 11 to 6, “Henry and Fridays, Moore for 1 tothe 9.) Poor.” Through Aug. 9. (Deitch Studios, 4-40 44th Dr., Long Island City. 212-343-7300.) BROOKLYNTo get more of TheMUSEUM New Yorker's signature mix of politics, culture and the arts: Subscribe Now 200 Eastern Parkway (718-638-5000)—“Yinka Shonibare MBE.” Opens June 26. | “Gustave Caillebotte: Impressionist Paintings from Paris to the Sea.” Through July 5. | “Patricia Cronin: Harriet Hosmer, Lost and Found.” Through Jan. 24. | “Light of the Sufis: The Mystical Arts of Islam.” Through Sept. 6. | “Reflections in the Electric Mirror: New Feminist Video.” Through Jan. 10. (Open Wednesdays through Fridays, 10 to 5, and Saturdays and Sundays, 11 to 6.) AMERICAN MUSEUM OF NATURAL HISTORY Central Park W. at 79th St. (212-769-5100)—“Extreme Mammals: The Biggest, Smallest, and Most Amazing Mammals of All Time.” Through Jan. 3. | “Climate Change: The Threat to Life and a New Energy Future.” 4 of 4 6/22/09 8:47 AM Through Aug. 16. (Open daily, 10 to 5:45.) ! 612 NORTHAMERICAN ALMONT FOLK DRIVE, ART LOS MUSEUM ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM 45 W. 53rd St. (212-265-1040)—“Kaleidoscope Quilts: The Art of Paula Nadelstern.” The Bronx-based quilting virtuoso does for fabric what mirrors do for a kaleidoscope, turning scraps of colored cloth into prismatic optical 1 of 4 6/22/09 8:47 AM !"#$%"&'()*+,&-%,./"#(!0$/$1&"+02 !"#$%&'#()*+,- .)/%#01#2334 ()**%/&5"# -/# 6,%7# 8&# 98*6%55,# :855%*"# ,/# ;%7# <-*=# (,&"# ,># &'%# %?',@,&,-/# A85-B8*C# D?E%*,B%/&85# A'-&-F*8E'"G# H'%# %?',@,&,-/# +-/&8,/>#E'-&-F*8E',+#7-*=>#@"#I#8*&,>&>#,/+5)J,/F1#A',5#('8/F1#H85,8# ('%&*,&1#;8/+"#J%#K-551#H8B8*#K85E%*/1#98*,8'#L-@%*&>-/1#8/J#M>'8# $+'%+'&%*G#N',5%#&'%#%?',@,&,-/#,>#,/+*%J,@5"#J,6%*>%#,/#&'%#68*",/F# &%+'/,O)%>1#8EE*-8+'%>1#>,P%>#8/J#Q-*B8&>#%BE5-"%J#@"#%8+'#8*&,>&1# the work is all united by a soft-spoken conceptualism that defes the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orks Chris Balaschak Ami, Fogging Double (Exposure A Window, McArthur 6), 2007, 16 x 20 Park, Los Angeles, inches, Digital 2005, 30 x 40 inches, C-print C-print In her 1977 essay “Notes on the Index,” Rosalind Krauss Phil Chang’s work has evolved to question this basic defned contemporary art as indexical. Te work that premise of photographic meaning. Te object of Chang’s fascinated Krauss was that which indicated an elsewhere, work appears to always disappear, to be just beyond the that is, work that was proof or evidence of what was not moment of exposure, as if the photograph is only a hint apparent in the work itself (such as documentation of of what was intended to be captured. Reason and efect earthworks or performance art). Most notably, this term are moved to the periphery in an image like Ami, Fog- “index” has been applied to photography, as photogra- ging a Window, McArthur Park, Los Angeles (2005), where phy, like no other art, purports to index what it captures. a woman, leaning in to breath on a plate glass window, Krauss’s contention, however, was problematic. Her leaves an ephemeral mark the camera is challenged to defnition of the photographic index relied on a certain depict. A similar motive drives Chang’s recent series qualifcation: the parasitic attachment of the caption was Double (Exposure) (2007). Here photographic paper, a what created the photographic index. Te photograph digital scanner, and the efects of photographic exposure, alone, without such a qualifer, has a more problematic all collapse beneath the fatness of a single photographic relationship to its indexical ambition. image. Chang’s photograph witnesses a process with an outcome just beyond the horizon of exposure. Like all of his work, this cleverly titled series imparts the supreme lack of photography – it’s uncertainty as a direct witness. 612 NORTH ALMONT DRIVE, LOS ANGELES, CALIFORNIA 90069 TEL 310 550 0050 FAX 310 550 0605 WWW.MBART.COM