Wednesday, December 19, 2007

Images to Icons, Icons to Fashion



Throughout the history of photography there are certain photographs that have gained a position of importance that surmount other photographs. It is claimed that this happens because of the power of the reaction it elicits from its audience. Once these images claim their authority, they are used over and over as a surrogate for that experience. As a culture, we tend to go back to photographs when we want to know about our history and our past. These iconic images become explanations for the “that has been,” where we gain our knowledge of who we are and where we came from. Through the inherent reproducibility and repetition of these images they become instantly recognizable and familiar. They become deeply imbedded in the fabric of our culture.
Interestingly enough, graphic t-shirt makers seem to be the harbingers of a phenomenon where by using these iconic images on t-shirts, the fabric of our culture becomes literally the fabric that we wear. These iconic images seem almost ready for this kind of use due to their graphic nature. Iconic imagery throughout history is marked by simple lines and shapes without much extranious information. Thus, these images make perfect fodder for producing graphic t-shirts.
But what does it mean?
David Hickey, in his September 2000 Harper's Magazine article, A World Like Santa Barbara, asserts that, “Objects and events that were once instruments of meaning and value have become sites for adjudicating meaning and value: icons have become art; rituals have become dances; history has bred fiction; and clothing, fashion.”
...or in this case, icons have become fashion...



Tuesday, December 18, 2007

Dawoud Bey is everywhere!!!!


Everything art related that I have picked up in the last month has featured Dawoud. His images are in Aperture Magazine this month, Aperture just published his book, Class Pictures, there is an article about his work on the Chicago Artists Resource website and also one in the Chicago Artists Coalition newsletter.



I was in college in 2000 when I went to the Parrish Art Museum in Southampton, New York to see a show called Representing: A show of Identities. I took home a postcard from that show and put it on my refrigerator. It remained there for a few years. The postcard had three poloroid images of a boy (highschool aged) from slightly different angles and in slightly different positions. The images seemed to communicate that boys anxiety in a way that I had never seen in a static visual representation. The artist was Dawoud Bey. (similar to this image)




In 2004 I was on a tour of the facilities of Columbia College Chicago, where I was to begin my graduate studies in the fall. While in the basement/eatery, my guide introduced me to Dawoud. Being naive as I was, I really didn't do my homework on the faculty at the college and, consequently, had no idea who I just met. I did get the impression that he was important. The second time I met Dawoud, I went to his office with a fellow graduate student, one of his advisees, to pick up some papers he had for her. I left his office with a stack of articles to read on portraiture. I didn't make portraits, nor did I know who he was...still.

When I got my book for my first theory class at Columbia, The Photography Reader ed. Liz Wells, everyone was talking about the fact that the image on the cover was one of the Columbia faculty's work. The image had a familiar look to me. It reminded me of the image on my refrigerator. When I got home I checked the back of the postcard to see who the artist was and found the name Dawoud Bey.

I began to work with Dawoud in my third year of graduate school. My assumption was that he makes portraits and I appropriate explosions. He would hate my work. As it turned out, Dawoud is an amazingly valuable resource for me and I am very lucky to be able to work with him.

Monday, December 17, 2007

END TIMES




LASSO Gallery at the Butcher Shop announces its third show, END-TIMES.

Ok, so I am late with this post and if you are just hearing about this, you have already missed the opening, but it's still worth going to see. The gallery is open saturdays. Stop by and say hello to Carrie and Karin.

What is it?
Plant life growing from a pile of guts? A urine filtration system? A
mysterious box, with unknown contents to be unleashed in the gallery?
These are just a few examples of artworks to be exhibited at
END-TIMES, a group show curated by Zachary Hall, presenting work that
explores the concept of the apocalypse. END-TIMES seeks to examine,
criticize, lament, and/or celebrate our fascination with the end of
civilization and the world as we know it.

ARTISTS: Brandon Alvendia, Jacob Christopher, Joel Dean, Uziel Duarte, Thulani
Earnshaw, Erin Foley, George Gittins, Lisa Hensley, Peter Hoffman, Steve Leach,
Michelle Jane Lee, Scott Lockard, Caleb Lyons, Dylan Mira, Michael
Miles, Katharine Lion, Jameson McShane, Mores McWreath, Aay
Preston-Myint, Michael Thibault, and Ryan Thurber.

END-TIMES runs from December 15th – January 26th.
Closing Reception & Film Screening: January 26th.

Gallery hours: Saturday's 12pm – 5pm or by appointment.
NOTE: THE GALLERY WILL BE CLOSED SATURDAY, DECEMBER, 22ND

Lasso Gallery at the Butcher Shop
1319 W. Lake St., 3rd Floor
Chicago, IL 60607


Guest Curator Contact Info:
Zachary Hall
zacharydavidhall@gmail.com


Lasso Gallery at the Butcher Shop is an exhibition space directed by
Carrie Ruckel and Karin Patzke. The gallery's intent is to engage the
larger art community in contemporary social and cultural issues through art,
lectures and events.