New ideas, musings, and what-if's

So I have been thinking a lot lately about what I want to explore in the coming year and how it might be a good time to do some research for Ph.D apps. One of the ideas I keep coming back to comes out of my MFA work with vernacular photography. Ideas of its memorial nature, its narrativity and physicality come to the fore. While photo theory is dense and difficult, vernacular photography is often an estranged cousin of most photo histories. But what potentials lie in this oft dismissed realm of photography?

While I have been aware of photography's contentious relationship with memory for some time, its narrative and material nature are more recent for me. What connections might I be able to make to a theological approach toward vernacular photography? Could there be potent connections between the narrative interpretations of photo albums and narrative theology, biography, etc? What about portrait photography as iconography? Could either or both be pared with some sort of priesthood of believers? What does a sacramental theology and approach toward the arts have to offer in an engagement with vernacular photography? Given the digital revolution as, what seems to me another step away from the physical and material nature of the photographic object, could a sacramental theology help us re-engage the physicality and materiality of photographic objects. Are there historical arguments in the iconography debates that might lend direction on these ideas?

While these questions are incredibly broad at this point, my hope is to begin to draw a few threads together to refine a better set of questions.

NYC and Barton Benes

During our brief visit to NYC I had to the remarkable opportunity to meet with the artist Barton Liddes Benes. I came to know his work through the UND art department and his connection to the North Dakota Museum of Art. While his work is somewhat transitioning, Barton is widely known celebrity relic pieces. Using traditional religious relic motifs, Benes transforms them with our cultures religious-like worship of celebrity. Bits of celebrity trash and other cultural oddities make their way to Barton through a vast network of friends and into his work. The diversity of relics is astounding from Frank Sinatra's fingernail to Madonna's panties, these little bits of ephemera gain importance via their provenance.

Barton has also done significant artwork on AIDS using his own blood in some pieces, failed AIDS medications, and even curing potion from an African healer complete with text for recitation.

While Barton may be taking a break from some of the relic work, he is still prolific in his work. His current work involves making mandalas out of the world currencies and prayer rugs out of varieties of stamps. UND recently completed a prayer rug edition of 27 for Barton...it is beautiful and bright.

If you are not familiar with Barton's work, a great place to start is his book, Curiosa.

This was my second visit to Barton's home and his hospitality is remarkable. I am thankful for the time I had to spend with him and for his willingness to spend some time with a few North Dakotan fans.

Summer...

Its summer. Finally. But somehow I seemed to have missed spring. I know how I missed it too. And my profound lack in posting shows it as well. Once I finished the MFA show, I jumped into a conference paper that I presented just last week at the College Theology Society. While I knew what I was going to write about, no words had actually been written at the beginning of May. I spent hours reading and writing during that short window between the beginning of the month and when we left for a brief pre-conference holiday in NYC. That which normally takes me a 3-4 months to write, I completed in just under 4 weeks. I will post more on the paper later.

For now, I am busy readying work for a 2 person show at Third Street Gallery that will go up sometime next week. Jessica Christy, my former office and studio mate at UND, and I will be putting up the remnants of our MFA show and some new work as well. So I have been working in the studio since my return from NYC printing a new series of work to be integrated into the show and a new series of small trays. The work will take the form of the small trays but will have prints behind like the larger lots of photos printed in white on white. Originally I printed them in color as a means of replacing the 2 books which I have sold, but I felt they were largely unsuccessful. So, I returned to the white-on-white printing and I am much happier about them. I am also adding plexi to this series of trays. Ive cut the front 1/3 of the top of the tray off and will attach it to the plexi so that the plexi might slide out, thus keeping a sense of functionality and access to the object rather than simple framing, while adding a level of protection not in the others. Ive not yet assembled the new pieces...hopefully today. I will post picts when I get them done.

The Archival Turn...reflections on closing out the MFA

Well, the show has opened and the reception went off well. If you want to see pictures check out the link below.

http://www.facebook.com/media/set/fbx/?set=a.10150164939866574.301637.555701573&l=a16aeaefaa

The past week has been a little surreal. Going through this process as a culmination to a degree program is certain to make me reflect not only on this degree, but also to my BA reception back in 1998. Last week as I was putting the final touches on the show, I was listening to Toad the Wet Sprocket, one of my favorite bands from my time in college. I dont listen to them as much these days but would still list them among my favorites. It struck me as one particular album came up in the rotation that I was listening to the same album as I prepared my BA exhibition some 13 years later (how can it be 13 years ago?).

I have also been thinking about the ephemerality of art and the art show. UND has but one gallery and this time of year...really for the past 2 months, shows are churned through weekly. Roughly 2 BFA shows share a week and ideally MFA grads get one week to themselves which generally means you install the show on Friday afternoon or over the weekend after the last person has torn theirs down. While setting up the show is stressful and time consuming, it is a tremendous relief to see, in my case, the piles of work, transform the space and begin to embody your ideas. The review came and went without a hitch as did the reception. But already I see Monday, the end to this show coming all too quickly. The show represents the culmination of 3 years of work. For many artists, the work spans their last year or two in the program depending upon the speed with which they work and their medium. For me, this body of work was not begun in earnest until January...41 pieces made in 4.5 months. While many have are more minimal I still had to learn significant skills to reach my vision...namely frame-making and book binding. The center pieces to the show were 2 handmade books...something I had never made before.

I've also been thinking about what pushed me down this avenue of work. While there are many reasons, I've come to see the impact of my time in Cyprus with PKAP upon my work. The whole of the archive idea comes my time in the back of museum in Larnaca washing and photographing pottery. Their methods of cataloging and forms of storage (in what in my memory is simple pine trays) became the fundamental construction pieces for the show. My time in those off-limit areas re-affirmed the exclusivity of archives for the trained experts...Something that I tried to bring into the work...and by my own observance in the gallery, it seems to have worked.

Down to the Wire

The title says it all. One week from now I will be at a BFA opening downtown having just escaped my final review and oral examination. Yesterday I fought with wood to make shelves for nearly 8 hours...im still not sure if they will hang. I will find out tomorrow. After that marathon session, I didn't want to think of spending another night in the studio. So I am at home, working on title card formatting (fun) and planning a menu for the reception next Wednesday (actual fun).

Tomorrow I hope to test the hanging capability of the shelves, print my show posters, and finish my last two pieces. Sounds like an ambitious day...but with less than a week to go...they must all be ambitious.

I've attached a copy of the show poster.

Some Wild Ideas from Geoffrey Batchen

One of my favorite books on photography is Geoffry Batchen's Each Wild Idea. The book contains 9 essays wrestling with the histories of photography. My favorite chapter, not surprisingly, is on vernacular photography. Batchen's work attempts to elucidate the "complex matter of photography's conceptual, historical, and physical identity." He continues,

"Morphology is another of those issues that most histories of photography ignore. Indeed, the invisibility of the photograph, its transparency to its referent, has long been one of its most cherished features. All of us tend to look at photographs as if we are simply gazing through a two-dimensional window onto some outside world. This is almost a perceptual necessity; in order to see what the photograph is of, we must first repress our consciousness of what the photograph is. As a consequence, in even the most sophisticated discussions, the photograph itself--the actual thing being examined--is usually left out of the analysis. Vernacular photographies tend to go the other way, so frequently do they exploit the fact that the photograph is something that can also have volume, opacity, tactility, and a physical presence in the world. In many cases, the exploitation involves the the subject of the photograph's intervening within or across the photographic act. These subjects make us attend to their photography's morphologies, and thus to look right at rather than only through the photograph. In this sense, vernacular photo objects can be read not only as sensual and creative artifacts but also as thoughtful, even provocative meditations on the nature of photography itself" (Pages 59-60).

One of the trajectories of this show means to highlight is the physical nature of the photograph. Batchen's text was released in 2001, and since then the digital revolution has only picked up speed further minimizing the physicality of photographic objects. The vernacular photographic objects that I have collected over the past few months and will show intend to highlight the diversity from this relatively young medium. Varying in sizes and processes, the objects mounted in artifact trays, encapsulated in drawers, bins etc intend to suggest the physicality of the photo object. It has been interesting to me in this process the varying sizes, papers, and processes that were quickly cast away as the technology of photography advanced. Fewer and fewer sizes of film and prints were available over time to where we are now, if we print our images at all, have the options of 3.5x5, 4x6, 5x7 etc. Some of my favorite photos that I have collected are the smallest ones that are 2x3ish.

MFA Exhibition

Well it has been some time since my last post on Valentines Day. I have been busy nearly every day since working on pulling this show together. I am now less than 2 weeks from my oral defense (Tuesday 26th) and reception on Wednesday the 27th.

Above is mock-up of my postcard which should arrive tomorrow and hopefully get turned right back around into the mail.

Pictured is one of 10 drawers of thematically grouped photos designed to draw attention toward Modernity's archive methodology.