918 by Santolo Felaco
Do something funky with your photos! This cheered me up on a dull day. Thanks to Italian artist Santolo Felaco for making me happy. (You might want to turn the volume down a smidgen.)
"The office is the place where many people spend at least a third of their day; where human relationships are established, anxiety developed, and the need to escape created. This photographic project took place in an office and in outdoor spaces adjacent to it. What results is an apparent altered representation of reality because the images do not directly describe the environment but they use a metaphorical language to tell what else lurks in regard to this microworld.
Each quadtych is made up of a combination of minimal pictures that are almost like words, they are linked to each other to compose a message. One of the objectives was to leave the viewer a lot of freedom of interpretation. Many quadtychs are designed and combined to communicate something specific, maintaining a polysemantic feature. I often played on the indoor and outdoor relationship, of what I call "the escape instinct": often you want to escape as soon as possible from the workplace, sometimes even just for a break. The office and the outside world that immediately surrounds it bind almost to form a continuous space.
These and others are the issues dealt with, but I think I've already said too much, if I preferred words to pictures, I would have become a writer rather than a photographer."
In all forms, languages, cultures and creeds love is expansive and transformative. It can be a beginning as easily as it can be an end. Love signifies all sorts. Sometimes it is intimate, literal, and exacting, at other times vague, eclipsing, and abstracted. Talking with Rachel Stern, curator of LOVE 2016, she never wanted love to be a definitive thing, she always wanted this group show to be a way to reign in the new year. And why not? After all love is not limited, it is a vast wonder place for imagery and imagination. The show, LOVE 2016 - currently on display at Columbia University's LeRoy Neiman Gallery - brings together a vast group of image-makers from all over. These makers were asked by Stern to either show old work, new work, or respond to the shows concept in a way to look towards the future. "This is a show I wanted to see." Stern tells me with an excited smile. She is as lovely and accommodating, as one would expect form a curator of a show about love.
Self-Portrait, Los Angeles June 2014 © Hobbes Ginsberg
"Responding to love is like responding to air." Stern is like talking to an intelligently insightful romance poem, she is full of these wonderful isms. The passion is apparent. The show at first glance can almost seem flippant; it is not. The gallery space is instantly atmospheric. The walls - adorned in a not so symmetrical system of lush roses - hit you and suddenly you're in the center of a bull-fighting ring. These icons of exaltation envelope the shows desire, driving its diversity, while also holding its thread. Looking through the show and its images, beyond love, what speaks so clearly is the sense of community. "I'm always constantly wanting to make the most for my community with my community." It is this visual camaraderie Stern shares that engages and binds these works that could easily fall prey to distance from each other. There is an elusive tether; something about them together is almost supernatural.
Untitled (Danny-and-Lawrence) © Marc Swanson
The works themselves run a gamut from portraiture to conceptual - darkroom prints to sculptural and physical objects. They're plural and unexpected; they come from artists of all ages and walks of life. The show is inclusive and there is a sense of equality and identity that speaks to a larger envelope that is not hung up in specifics and titles. These people are the dreamers of dreams, the magic makers and the paupers of a new generation. They are not as bohemian as much as they are willing to experiment with visual language. Pushing at the possibilities and boundaries of photography and its preconceptions. There is as much recollection of history as there is spontaneous contemporaneity. The show is a striking success of awkward unusual bits, always poetic, coy at times, and highly definitive at others. It's clear, LOVE 2016 is what love looked like, looks like, and sets a temperature for the future of its interpretation.
"The show isn't done." Stern tells me with a good amount of restrained excitement. Her eagerness reads in her face, behind those comforting eyes. It reads in the effort and love that's been put into the curation and presentation of the show as well. What's the future? LOVE 2017 hopefully! For now this show will stand. It is an epically created environment, it banishes the notion and expectation of white walls and stuffy spaces. It's reinterpreting history, bouncing off its echo and allowing viewers to be filled with love or sadness, or whatever they want. It has many feels, and maybe the best part is the open-ended ability for individualized interpretation. These ideas stretch - vast not weighted down - and go beyond statements or judgments. There is a brilliantly subtle revolution brewing in the range of this broad show.
LOVE 2016 is on display at Columbia University's LeRoy Neiman Gallery through February 17th.
Checkout LOVE 2016's publication here.
You and Me Final © Kent Rogowski
(Left) Men,Mango Leaves & Dates (Right) Woman & Lychees © Micahel Bühler Rose
Suits © Martin Gutierrez
Family Portrait © T.M. Davy
Every Breath We Drew is a collection of people of all different sizes, shapes, backgrounds, orientations and identifications. Dugan is fascinated by masculinity and capturing what she refers to as "vulnerable masculinity." "I find all of my subjects myself. It's hard to say exactly what it is that qualifies them. Something about my initial reaction to them." The process every step of the way is about this kind of personal intimacy. Dugan is very involved and an integral part of the photographic narrative. She uses self-portraits throughout the body of work; they become a constant. With Dugan as the familiar face throughout the photos she turns into a representation of the identifiable self. Dugan becomes anyone, in this way the viewer is interjected into the narrative through her. Suddenly her subjects are more noticeably looking at you. The conversation evolves, as the viewer is able to take control of the portraits.There is a huge sense of community given the nature of the images. How does a person come into their body while also connecting with others? The source of this inquiry can be open ended; after all, it's highly individualized and deals in the self. The images keep pushing on a desire to seek a genteel masculinity. Dugan stresses that there is a need to redefine; masculinity is more expansive than commonly understood. The self is a starting point, as the subjects allow their comfort to creep in, more information is revealed. Light and pose play into these peoples places. All of Dugan's images are crafted in the subject's home where they could be most susceptible to allowing an authentic moment to play out. Dugan's frames are slow, the thinking and consideration to the environment is evident, and each moment retains a charged emotion.