Category Archives: Photography

Bas Jan Ader, “In Search of the Miraculous (One Night in Los Angeles)” (1973)

Bas Jan Ader (1942-1975)

“In Search of the Miraculous (One Night in Los Angeles) (1973) is a series of fourteen photographs [on paper with text in ink] documenting artist Bas Jan Ader’s walk into the LA night. It was the first part of a proposed three part project, which culminated in Ader being lost at sea attempting to undertake a solo crossing of the Atlantic in 1975. Both works engage with romantic notions of the sublime and reference German Romantic painting…”

“The often indistinct, occasionally banal images that constitute In Search of the Miraculous (One Night in Los Angeles) have a spectral, mysterious quality heightened by the shadow cast by later events; a man walks alone into the night, and eventually the sea. However, the pathos of the images is disturbed by the inclusion of pop lyrics and there is a tragic humor in much of Ader’s work that alludes to the silent cinema of Buster Keaton and Charlie Chaplin.” [credit]

 

Brendan Stuart Burns, Ache (2011), and Artist’s Journal

Brendan Stuart Burns, Artist’s Journal

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“Brendan Stuart Burns’s paintings, drawings and photographs are a direct and physical response to both his walks and his more contemplative moments experienced along particular stretches of the Pembrokeshire coast which he has come to know intimately. Time spent walking, often over the same stretches of the same beaches in all weathers and states of the tide, provides him with the experiences necessary to touch and connect physically and emotionally with the land, its history and deep sense of time, all elements that are ever present in his paintings.

His works present simultaneously a ‘direct’ and ‘sensed’ experience of the landscape, its geology and geomorphology, in addition to the complex psychological effects such places have on the individual. Horizons shift and scale becomes relative as both close-up details and wider perspectives are referenced, often within the same pieces of work, and recreated later in the studio from copious notes and sketch books. Fundamental to Burns’s method is his layered use of oil and wax, building and constructing an equivalent to the experience of surface, form and space.

Each work accordingly sits on the edge between abstraction and representation, reflecting the uneasy balance between the physical and the psychological, intention and accident, the intuitive and the considered. They recreate the entirety of Burns’s experience for us (the transformation of daily and annual cycles; changing climatic and tidal conditions), rather than merely documenting a discrete moment within the traditional confines of naturalism.”

 

Trisha Brown, Man Walking Down the Side of a Building (1970)

man walking down the side of a building

“The work saw a solitary dancer, secured by harnesses, around the hips and waist, attached to a single cable, walk down the side of the building at a ninety degree angle to the wall. Compelled by gravity, but restrained by the harnesses, hoists and straps used to secure him, the performer exerted considerable effort as he performed the normally mundane task of walking. … Man Walking Down the Side of a Building was one of Brown’s series of ‘Equipment Pieces’, which had initially used mountaineering equipment to construct hoists, pulleys and restraints to enable movement in unusual spaces, or in ways, which put the performers’ bodies at odds with gravity. In keeping with the relative simplicity of the equipment used, Brown also had the performer of this piece wear casual clothing and to perform to the ambient sounds surrounding the building.”

“Her intention was not to create a sense of theatricality but to draw attention to the simple and natural act of walking through a situation in an unnatural scenario. A key element of the work was its instructional nature; while all choreography is arguably instructional at one level, the simplicity of Brown’s instructions – to walk down the side of a building – placed the emphasis on the act of movement, rather than on its motivation or any kind of narrative. No particular instructions were given for how the performer should move, leaving them open to focus entirely on their own physical reaction to the duress of walking in this unusual position. This was characteristic of Brown’s work within the Judson Dance Theatre, which she helped form in the 1960s, and beyond, where she focused on everyday movements and their relation to dance through emphasis on individual gestures. Brown’s creation of choreography which focused on simple, singular movements also facilitated its capacity for re-enactment by making clear the integral elements of the work – a single performer walking down the exterior side of a building – but leaving enough fluidity for the transferal of those actions into different times and spaces.”

“By taking the universally recognisable act of walking and creating a scenario in which that act must be performed differently – in this case, at a ninety degree angle to the normal walking position – Brown remained focused not on the specificities of the space in which the performer acted but the precision of the actions which they undertook. Brown framed an everyday action as choreography and, in then re-contextualising it, drawing attention to the specificity of the movement under stress, she re-framed that action as performance, challenging the audience to consider the expansion of the site of dance into the world around them.”

– Acatia Finbow, June 2016

Trisha Brown, Walking on the Wall (1971)

people walking sideways on a wall

Trisha Brown – Walking on the Wall 1971

Walking on the Wall (1971) premiered at the Whitney and was performed again in 2010 during the Off the Wall exhibition at the Whitney. Trisha Brown originally performed the indoor work herself with her troupe, involved mounted tracks, ropes, and harnesses.

two people walking sideways on a wall

Trisha Brown – Walking on the Wall 1971 – detail

Trisha Brown, It’s a Draw/Live Feed (2003, 2008)

an abstract drawing

Trisha Brown “It’s a Draw/Live Feed” 2008

photos of Trisha Brown drawing on the floor

Trisha Brown “It’s a Draw/ Live Feed” 2003

“In these large-scale drawings, realized through performance on a stage, in a gallery, or in the privacy of the studio, signs written on the body through dance training, memory and improvisation, take the form of pictorial signs motivated by gestures traced on the page. In the It’s a Draw series, the ground of drawing, paper, which is horizontal to the floor, becomes vertical when installed on a wall, a situation that recalls conditions Brown considered fundamental when shifting her work to the proscenium stage with its perpendicular and horizontal frames of floor and stage.5 The motivation of matter by physicality echoes in relation to artistic traditions encompassing Jackson Pollock’s “action painting,” Yves Klein’s anthropometries, 1950s–1960s performance, as well as sculpture and video concerned with the body’s phenomenological experience and with process.

Of course, Brown’s singular drawing language depends on unprecedented kinesthetic articulation and memory, as well as a visual ordering that takes into account improvisation and composition that is simultaneously physical and visual.”

“The It’s a Draw drawings deflect form by investigating process, although over time her repertoire of indexical marks have become a versatile, dependable and autonomous visual language, an evolution that reveals the gradual differentiation, repetition, combination and invention of mark-making systems. This is reflected in two recent drawings related to the series, although smaller in scale. The first, made primarily with the feet grasping charcoal and pastel is a constellation of twirls, smudges, dashes and dots made by the “jump” of charcoal across the page. An archive of signs for unrecoverable actions, arrayed like a series of words on a white page with the empty white spaces suggesting the beat of time between drawing incidents or events.

Process, the idea of drawing as a record of the physical act of its making, is moderated by Brown’s inimitable visual intelligence and penchant for structure. Comparing a group of drawings from the It’s a Draw group will underscore how decision-making moderates the random. One recent drawing incorporates a record of procedures and edits as a further layer of (choreographic and graphic) notation such as directional arrows, writing and color. Of course, only the choreographer can read the visual signs of dance that are a presence behind each drawing’s realization, now evaporated, absent.

Technically the It’s a Draw drawings are not “blind” drawing: the eyes are open, although constantly in motion in all directions.”

Credit: “Trisha Brown: The Signs of Gesture” by Susan Rosenberg in brochure for USF Contemporary Art Museum (Brown-Brochure)

Larsen Husby, Long Trace of Minneapolis (2016-18)

//longtraceofminneapolis.com/

Turkeys crossing Stinson Blvd

Larsen Husby “Turkeys crossing Stinson Blvd”

Watch video footage via MN Originals

“On October 3rd, 2016, I [Larsen Husby] decided to walk every street in Minneapolis. The parameters of this undertaking were as follows:

  • I must walk the entire length of every street within the city limits of Minneapolis, with the exception of streets which do not allow pedestrians, such as interstates and private streets.
  • Every walk must start with the intention of being a walk for the sake of the project; intention may not be applied retroactively.
  • I must record the route, length, and duration of every walk; however, failure to record one aspect of a walk does not disqualify it from counting towards the ultimate goal.

Following these rules, I walked 1,315 miles, finishing on June 26th, 2018.

The title, Long Trace of Minneapolis, addresses two crucial aspects of the work. ‘Trace’ refers to the piece as an act of drawing: my feet are a pencil, drawing invisible lines across the city. If one could see them, these lines would add up to form a trace of the entire street network, a map of Minneapolis the size of Minneapolis. ‘Long’ describes the temporal nature of the piece, which is a lived experience, not an object.  Those invisible lines are drawn not only along the ground, but through minutes, hours, and days.

This website is a document of the piece. It contains records of the project in the form of maps, photographs, measurements, and written reflections.”

Bradley Davies “Echoing Movements” 2012

stills from surveillance video

Bradley Davies “Echoing Movements” 2012

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“Bradley Davies’s work is a kind of re-enactment of Vito Acconci’s seminal performance work ‘Following’ (1969). Acconci created a set of instructions which he had to follow to create a work. ‘Following’ saw the artist follow a random individual through the streets of New York until he could no longer do so, at which point he chose another individual at the location he found himself, throughout the day. However, Acconci’s photographs were created retrospectively: they were ‘staged’ rather than documentary images.

Davies’s work is, therefore, a reconstruction of a work which only ever really existed in the artist’s head, and which can only be known through images shaped and edited for our consumption subsequently. Davies’s work is also created for an age in which CCTV cameras are now endemic in urban space: walking in the city is impossible to undertake without being observed almost constantly. Britain, in particular, has more CCTV cameras per head of population than any other nation. Accordingly, any attempt to create ‘Following’ today would be quite different: the artist would be seen hundreds of times by security cameras – and his potentially threatening behavior recorded as evidence throughout the duration of the work. Davies’s work acknowledges this – our point of view being precisely that of a CCTV camera.”

Echoing Movements, 2012, film from Bradley Davies on Vimeo.

“Echoing Movements is a performance/exercise that looks at the gap between an artist, its subjects, and its viewers, from the studio to the public domain.” [credit]

Brian Thompson, various sculptures 2012

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“Brian Thompson has described his work as being “topographical in nature” – concerned with how places become known, understood, named and described. He is interested in the different ways in which we measure, describe and figure the land, and how his experience of walking through a landscape can be re-imagined through sculpture.

He uses a mixture of traditional craft skills allied to new technologies. His works ask us to imagine the formation of landscapes over a long timescale and explores the two- and three-dimensional forms and shapes associated with (amongst other things) walking through a site in order to map it and to unearth its history.

Thompson’s walks, recorded through GPS tracking or tracings from maps and aerial photographs, become the ‘line’ of the walks and the starting point of the sculptures and prints. These ‘lines’ are cut usually by hand and often in wood, with each layer becoming the template for the succeeding layer. Through small increments of size the sculptures evolve, tapering downward from top to base, incorporating errors and corrections; marking layer upon layer, in geological fashion, the history of their making. Sometimes these become ‘patterns’ for fabrication in materials and colors directly relevant to the location or simply have ‘come to mind’ when he makes the walks.

The work seen here combines forms alluding to archaeological and geological understandings of place, and to the imagined objectivity provided by Ordnance Survey mapping. Thompson notes of his three-dimensional works that “the sculptures serve as diaries, records, memories, souvenirs or trophies – celebrations of experiences of particular places”.”

Sophie Calle, Suite Vénitienne (1980)

“At the end of January 1980, on the streets of Paris, I followed a man whom I lost sight of a few minutes later in the crowd. That very evening, quite by chance, he was introduced to me at an opening. During the course of our conversation, he told me he was planning an imminent trip to Venice. I decided to follow him.” – Sophie Calle

photos of a man walking away from the viewer in the city

“Sophie Calle’s urban expeditions might be thought to recall Vito Acconci’s seminal performance work ‘Following’, made a decade earlier in which he tailed strangers chosen at random without their knowledge, up until they left public space for their homes or offices. In Calle’s work however, the relationship between the artist and their public is different. This is not merely because the expected gender roles, where men act as predators and women are vulnerable, are inverted. The artist’s motivations are unknowable, her ultimate goals opaque, and her behavior seemingly contradictory.

If we might imagine Acconci’s role implies that he is dangerous – is a stalker or assailant – Calle’s activities imply she is a kind of private detective or spy in pursuit of knowing more about a person than they do themselves. The presentation of her works as a kind of diary is intentionally alarming. We are meant to feel both a distance from her or repugnance at her behavior and, despite this, a simultaneous sympathy for or intimacy with her. Unlike a normal detective story, Calle’s work leaves us with both ‘who’ and ‘why’ left unresolved.” [credit]

photos and text installed in a gallery in a long line

“She met a man, Henri B., at a party. He said he was moving to Venice, so she moved to Venice and there, she began to follow him. Suite Vénitienne was the resulting book, first published in 1979 …Calle documents her attempts to follow her subject. She phoned hundreds of hotels, even visited the police station, to find out where he was staying, and persuaded a woman who lived opposite to let her photograph him from her window. Her photographs show the back of a raincoated man as he travels through the winding Venetian streets, a surreal and striking backdrop to her internalised mission. The very beauty of her surroundings has a filmic quality, intensifying the thriller-esque narrative of her project. Sometimes her means of following Henri B. are methodical – enlisting Venetian friends to make a phone call on her behalf – and sometimes arbitrary – following a delivery boy to see if he will lead her to him.” [credit]

a sheet of tiny photos and text

Credit: //www.mersytzimopoulou.com/blog/2018/11/28/sophie-calle-suite-vnitienne-1979

 

Roberley Bell, Still Visible After Gezi (2015)

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“In 2010, I began photographing the “Istanbul” trees on my daily meanderings through the city streets. These trees were not iconic symbols of the beauty of nature, but rather trees that had negotiated a precarious position within the urban landscape. I returned in 2105, after the Gezi demonstrations to check up on and again photograph my “Istanbul” trees. I returned to try to find the trees, they had become important to me and I knew seeking them out would reveal something –I just wasn’t sure what that would become. I wanted to go back and see, if working from memory, I could relocate these trees. What emerged was a story, theirs and mine, as I moved through the city retracing my footsteps from memory. For me, the trees of Istanbul are a powerful metaphor and stoic symbol of survival speaking to the humanity of the ever-expanding city. The installation Still Visible After Gezi expresses that set of experiences.

For the installation, I conceived each tree as its own story, creating a turquoise frame. Within the frame the tree as I originally photographed it in 2010, smaller images of landmarks that guided me back to the tree in 2015 then finally an image of the tree as I found it five years later or a void. The empty space representing that the tree was no longer there or perhaps I had remembered the location wrong. Still Visible After Gezi includes 16 tree stories.”

Link to Bell’s Site