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LA Review of Books Reviews "Light, Paper, Process"

Added on by ROSEGALLERY.

by Michael Kurcfeld

Most people think of the photographer’s job as going into the world and documenting the “truth” of what they find before them. Even portrait photographers and studio-bound artists who shoot constructed tableaux fall within the relatively conventional domain of people with cameras aiming at visual phenomena “out there.” In the Getty Museum’s superb, thought-provoking exhibition Light, Paper, Process: Reinventing Photography, curator Virginia Heckert has selected seven photographers who are more concerned with exploring the fundamental nature of the medium, from the inside out.

In works that often rely on the chance effects of chemistry on paper (paper as elemental to photographic art as canvas is to the history of painting), these seven — Matthew Brandt, Marcel Breuer, John Chiara, Chris McCaw, Lisa Oppenheim, Alison Rossiter, and James Welling — extend the antecedent genealogy of pioneers such as Man Ray, László Moholy-Nagy, and Edmund Teske (some of whose works, photograms, and the like are featured here as well). The compulsion to experiment with expired or abraded paper, retooled cameras, foreign chemical solutions, camera obscura setups, hours-long exposures, and other deviations from standard photographic practice has resulted in works that are often astonishingly beautiful, and exhilarating in their strangeness. They provide a visceral sense of the materiality of the medium that, in modernist terms, goes deeper than the frozen-in-time 2-D illusionism that most photography entails.

Most of the artists on view have a background in traditional darkroom techniques, or so-called analog photography, and their love of this “wet” approach to image-making is evident in the ways in which they seem to defiantly revel in hands-on process, tactility, and unfolding accident-driven discovery. Paper as a recording surface is reexamined and coaxed to new purpose, usually involving a keen awareness of the passage of time. Some images are course-grained, some finely etched; some black-and-white, others in saturated color; some are landscapes, either plainly pictorialist or merely suggested, others pure abstractions — compatible with the theory that abstract painting arose out of the distilled geometries of landscape. But all inhabit the horizon line between joyful science and cutting-edge, enduring art.

Source: Los Angeles Review of Books.

Announcement from Hannah Sloan & Rose Shoshana

Added on by ROSEGALLERY.

March 4, 2015

Dear Friends and Colleagues,

I am happy to make you aware of some exciting changes coming our way this Spring. Following a tenure of approximately 10 years at ROSEGALLERY, under the superb guidance of Rose and my colleagues in the arts industry, I will be opening a project space on the Bergamot Station campus. Rose and I are enthusiastic about the creative cross-pollination this move makes possible and we look forward to many fruitful collaborations. The project space, located in the middle of the B Building along Olympic Boulevard, will provide a fun, new context for some of the artists with whom I currently work and a vibrant exhibition space for emerging artists working across disciplines. This opportunity will also allow me to remain connected to the Bergamot community, to Rose, and to the artists I have been devoted to for so many years, while embarking on independent endeavors.

My last full day at ROSEGALLERY is Friday, March 6th, and at 11am Saturday, March 7th, doors open at SLOAN PROJECTS. I encourage everyone to come say hello and make B5 one of your Bergamot Station destinations. I hope it goes without saying that the company I have kept while at ROSEGALLERY is unparalleled in the world of photography and I am honored to have worked with the caliber of artists, curators, dealers and collectors this gallery attracts. I am looking forward to a new chapter that keeps me connected to all of you.

Very Best Wishes,
HANNAH SLOAN
sloanprojects.com