Really, it’s not like I know anything about my work….Read More
Evan Garza and I, being gay, not wearing socks, in front of a museum crowd, talking about my work. Is this heaven? No, it’s ICA Boston.Read More
One of the greatest photographers ever in a major show in Sao Paulo.Read More
Well, the short answer is nobody, and if you don't believe me you really need to go see his show OF LENGTH AND MEASURES at Carroll and Sons. These pictures marry the poetics of the sublime with the hard reality of the administration of death. He makes clear the beauty of these landscapes comes at the expense of (and in fact is due to) the luminous presence of the prison complexes that house and administer death in the name of the people. That he is a brilliant technician is well on display in this exhibition but the thing that stays with me is that Tourlentes has used his considerable talents and technical acumen to focus on a part of contemporary life we care not to consider nor do we want to know how we benefit. (Many prisoners are stripped of their voting rights. Some of these complexes house thousands of prisoners, increasing the state's population and thus their political representation. Michelle Alexander probes this in THE NEW JIM CROW.) Pictured is an image of Ardmore, Alabama, Alabama Death House, 2004. Trust me, this cheesy jpg is nothing compared to Tourlentes's actual photos. He was my favorite to win the Foster Prize last time around. This exhibition shows why he is one of the best artists working right now. I'm glad he is really starting to get his due.
I saw a great show at ICA/Boston today (and it's not Eva Hesse STUDIOWORK).
Leslie Hewitt's Riffs on Real Time is an elegant and somewhat haunting revelation. The elements are really simple and laid bare for examination. In a time when so much of photography has a lot to do with digital processes and a hackneyed view of the constructed nature of images, Hewitt's work breathes life into the discussion by a factual presentation of these ideas. Her concrete and centralized compositions of layered photos marry the poetic to the indexical. Exploring image-as-surface, and image-as-support, without without any "scrapbooky" touches of nostalgia or inflection, she creates works that open up spaces for contemplation of history. Their weightlessness belies their origin and the installation conveys the work's relationship to geometric abstract painting. It is a luminous and exciting body of work.
Randi Hopkins's essay on the show is as compelling as her gorgeous installation of Hewitt's photographs. It is writing that does not attempt to take the place of the work and leads you back to the photographs with fresh eyes.
Who knew that the placement of an image inside of an image would still be able to take your breath away?
Well, now I know why Sweeney Todd cut so many throats....