Photography

Jessamyn Lovell: Dear Erin Hart at SF Camerawork

Jessamyn Lovell. Following 6 (Fence), 2014; digital print on vinyl; 96 x 133 in. Courtesy of the Artist and SF Camerawork, San Francisco.

From our sister publication Art Practical, today we bring you a review of artist Jessamyn Lovell’s surveillance photography—artwork that has an incredible backstory. Author Genevieve Quick notes, “By leaving the project open-ended, Lovell smartly expands the work beyond revenge and allows viewers to consider its complexities through their own moral codes.” This article was originally published on September 25, 2014.   In Jessamyn Lovell’s exhibition Dear Erin[.....]

Pablo Guardiola: Maintenance Yard at Romer Young Gallery

Pablo Guardiola. Sharks 1, 2014; digital C-print, 10 x 15 in. Courtesy of Romer Young Gallery, San Francisco.

Today from our sister publication Art Practical, we bring you a review of Pablo Guardiola’s Maintenance Yard at Romer Young Gallery in San Francisco. Author Genevieve Quick notes, “Guardiola positions history as an active investigatory process rather than a passive reiteration of fact.” This article was originally published on September 25, 2014. Having lived in San Francisco and currently residing in San Juan, in his native Puerto Rico,[.....]

Fan Mail: Laura Stevens

Laura Stevens. Sofia from the series Another November, 2014; archival giclée pigment print; 60 x 90 cm. Courtesy of the Artist.

Laura Stevens is a photographer whose work blends the elegance of the cinematic with the erudition of the documentary. She shoots her subjects—most often a number of single female figures—in series that detail an engaging range of emotional and psychological states. The action in these images takes place in similarly evocative and highly staged domestic settings: an antique and ornately wallpapered hotel room, a subject’s[.....]

AnnieLaurie Erickson: Data Shadows at Carroll Gallery

AnnieLaurie Erickson. Local Server Series, 2014; installation view, Data Shadows, 2014. Courtesy of AnnieLaurie Erickson and Tulane University. Photo: AnnieLaurie Erickson

Photographer AnnieLaurie Erickson has spent a lot of time lately being watched by law enforcement. In her recent trip this year to Oklahoma, she stood on public property, taking photographs while security guards, local officers, and state police looked on. One might ask, what has she been photographing that requires so much surveillance? The answer is: big data centers throughout the Southern United States, the[.....]

Issei Suda: Life in Flower 1971–1977 at Miyako Yoshinaga

Oume 1977

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Bansie Vasvani reviews Issei Suda: Life in Flower 1971–1977 at Miyako Yoshinaga in New York City. Using a medium-format camera, Issei Suda’s square-shaped black-and-white[.....]

From the Archives – The Culture of the Copy

IW-1

Today from the archives, we bring you an early #Hashtags column on images, photography, and the movement from two dimensions to three. Though this post was originally published on January 24, 2012, the distinction between “real” and “unreal” continue to be germane to both contemporary art and everyday culture. “Cameras are the antidote and the disease, a means of appropriating reality and of making it[.....]

Wynne Neilly: Female to “Male” at Ryerson Image Centre

Wynne Neilly. January 24th 2014-24th Shot, 2014; Fuji Instax Film; 4 ¼ x 3 ¼ in. Courtesy of the Artist and Ryerson Image Centre. Photo: Wynne Neilly.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Shauna Jean Doherty reviews Wynne Neilly: Female to “Male” at Ryerson Image Centre in Toronto. Through a collection of archival documents, personal photos,[.....]