Filtering by Tag: Adam Bartos

Adam Bartos at the Parrish Art Museum

Added on by ROSEGALLERY.

Liminal Ground: Adam Bartos Long Island Photographs, 2009 - 2011

June 24 - September 4, 2012

Adam Bartos, Country Road 80, Southampton, N.Y., 2010

The photographs of Adam Bartos convey a wistfulness for the off-grid, the overlooked, and the unremarkable—images of the places in between that might well go unrecorded were they not framed with his virtuoso camera. Much of his photography gives evidence to the effects of time. Bartos has created a series on such disparate subjects as the moribund Russian space program, the fading modernist glory of the U.N. building, and the changing Long Island landscape, both the built and natural environment.

“Much of my work,” he has said, “involves…some aspect of twentieth-century utopianism.” A native New Yorker, Bartos grew up spending weekends and summers in Huntington, Long Island, and now lives and works in New York City and East Hampton. He attended film school in New York in the 70s but was soon drawn into the burgeoning world of color photography, citing the influence of such early practitioners as William Eggleston and Stephen Shore. Bartos quickly developed a distinctive style that maintains a consistent distance in the photographs where a narrative, if any, is supplied by the viewer.

The exhibition will bring together sixteen of these lush and evocative pigment prints in a large-scale format that nonetheless remains photographic in scale. In his work on Long Island, a telling detail can furnish the tone of the work: the elegant script of the faded word “Florist” on a concrete block wall on County Road 80 in Southampton; the rusted chassis of a derelict pick-up truck in Greenport; a weathered and ramshackle ladder in Bay Shore. In locations from Copiague to Montauk, Bartos is drawn to what we pass without observing and schools our eye to the beauty and evanescence of the everyday.

Image and text courtesy of  Parrish Art Museum

Armory Center for the Arts: Street Sight

Added on by ROSEGALLERY.

Exhibition: 26 June - 11 September, 2011

Armory Center for the Arts is pleased to present a major exhibition of Southern California street photography from the late 1960s through early 1980s entitled, Street Sight. The exhibition, organized by curator Tim B. Wride, will be on display in the Armory's Caldwell Gallery from Sunday, June 26 - September 11, 2011. Exhibiting artists will include Adam Bartos, Darrl Curran, Bevan Davies, John Divola, Judy Fiskin, Robbert Flick, Dennis Hopper, Graham Howe, Grant Mudford, Jane O'Neal, Marvin Rand, Seymour Rosen, Ed Rusha, Julian Wasser, and Terry Wild. The exhibition will be accompanied by an illustrated publication with a scholarly essay by the curator. An opening reception, free and open to the public, will take place on Saturday, June 25, from 7-9pm.

Street Sight takes into account the factors that contributed to the post-war shift in Southern California-based photography from imagery that was picturesque, image-oriented, and anecdotal in nature, to a more conceptually motivated style of representation and object-making that was decisively suburban, process-oriented, and experiential. The artists whose work is included in the exhibition have made a prepositional shift away from the description and distillation of activity and inhabitants that are seen on the street to an emphasis on those elements, extensions, and experiences that are not just of the street, but, of the street that is dominated, defined, and experienced by the automobile.

For artists Robbert Flick and Ed Ruscha, this resulted in a meditative celebration and typology, respectively, of the parking lot. Darryl Curran elevates the conflation of sexually charged imagery with the shapes and icons of gasoline stations into totems of a new potency. The typologies of Bevan Davies, Judy Fiskin, John Divola, and Seymour Rosen overlay economic and architectural accumulations made possible by the car's fluid access to broad geographies. Jane O'Neal's saturated color imagery provides the experience of the street from within the car with carnivalesque garishness, while images by Marvin Rand and Julian Wassar use montage and time-exposure strategies to formally distill the motion of the street. Adam Bartos celebrates the two ends of the spectrum of road quality with his cinematic treatment of a freeway overpass and a hillside overlook. And, for Australian transplants Graham Howe and Grant Mudford the traces, boundaries, and borders of streets themselves elicited formal responses that underpin insightful psychological descriptions of both place and medium.

Street Sight is an examination of the quintessentially automobile-centric Southern California experience of place. This type of experience is distinguished from a "road-trip" sensibility in so far as it is predicated on a day-to-day reliance on getting from place to place by car. For those in the region, the car is an indispensable appendage for accessing the flow of daily life; it is the tool through which they understand the spaces and map the environment in which they live. For artists in the region whose interests veered toward their understanding of "place," this meant a reliance on new ways of contextualizing, cataloguing, codifying and transcribing their experience. Their was a pioneering moment that drew from the emergent sensibilities that informed New Topographics, embraced the unbridled nature of their artmaking community, and seamlessly internalized the unique street culture that cemented the disparate geographies of Southern California. Theirs was a new way of seeing, a different mode of experience, and a conceptually charged means of mapping that created a potent, post-modern approach to street photography.

Text courtesy of The Armory Center for the Arts press release.