Blind Spot Lab for Issue 47

We are pleased to invite you to the Blind Spot Lab for Issue 47
A special 20th Anniversary Issue guest edited by Vik Muniz & Barney Kulok

Wednesday, April 16
7-9pm

Griffin Editions
411 Third Avenue
Brooklyn, NY 11215

Featuring presentations by
Barney Kulok, Vik Muniz & Joel Smith

Admission is free.
RSVP

Blind Spot Lab is a series of free public events designed as a live exploration of the artists, images, and ideas in each issue.

Blind Spot | Griffin Editions Project Space

Inaugural Exhibition

Staring at the Sun
April 16–June 13, 2014

Curated by Jodie Vicenta Jacobson

Opening Reception
Wednesday, April 16
7-9pm

Blind Spot and Griffin Editions is pleased to present an exhibition of works by
Lucas Blalock, James Casebere, Moyra Davey, Mitch Epstein, Roe Ethridge,
Charles Griffin, Whitney Hubbs, Barney Kulok, David La Spina, Zoe Leonard,
Miranda Lichtenstein, Vik Muniz, Clifford Ross, Lorna Simpson,
and James Welling.

In celebration of Blind Spot’s new home at Griffin Editions, we are pleased to announce the inaugural exhibition in our new project space. All participating artists featured here have both been published by Blind Spot and have worked with Griffin Editions. Inclusive of this common bond, the works on view here embody light as the subject itself. Roe Ethridge’s all seeing kaleidoscopic eye perches atop the exhibition, refracting the luminous nature of the work in its unsettling gaze. Miranda Lichtenstein’s trompe l’oeil sun warms the space and serves as an axis from which the show orbits. Lucas Blalock, David La Spina, and James Welling expand the notion of light as a maximal entity, and Mitch Epstein blankets us in a veil of sun-infused fog.

Zoe Leonard’s picture of the sun, ‘transgress[es] proscriptions about not looking directly at this brightest of the stars’ emanating a spiritual urgency unique to the subject itself. Liz Deschenes’ solar print oscillates, emitting a distinct aura, like that of its invisible/visible subject. Whitney Hubbs’ image of a canyon in the American west envisions a marked duality, that of darkness and light, the tenuous line of shadow symbolizing a markedly human condition. Moyra Davey’s generous Blue, riffs on the tone of its title and namesake with a distinctly casual beauty. Lorna Simpson subverts the notion of the stare, constructing a self-reflexive infinitely mystifying vision. James Casesbere, Charles Griffin, Barney Kulok, and Clifford Ross intimate delicate qualities of light infusion, while Vik Muniz combines light and water to make a kitty cloud, for our pleasure.

Current local projects for some of the artists in the exhibition include Zoe Leonard’s camera obscura installation 945 Madison Avenue, 2014 on view in the Whitney Biennial through May 25, her work appears courtesy of Murray Guy. Liz Deschenes will open Stereographs a solo exhibition at Miguel Abreau Gallery on May 9. Miranda Lichtenstien’s solo exhibition of Polaroids at The Gallery at Hermes is on view through June 4; her work appears courtesy of Elizabeth Dee Gallery. Lucas Blalock is included in the exhibition Towards a Warm Math, curated by Chris Wiley at On Stellar Rays through June 3, and in Photography Is at Higher Pictures through May 26; his work appears courtesy of Ramekin Crucible. David La Spina’s solo exhibition Fantasy Baseball is currently on view at Prime Time through April. Vik Muniz’s solo exhibition Album is on view at Sikkema Jenkins through May 10.

Blind Spot Exhibitions exists as a roaming venture to give transitory shape to the ever-changing art form of photography, and to reflect the transforming/transformative nature of the medium through exhibitions that arc across its malleable practices. Building on the mission of the organization, Blind Spot Exhibitions will give three-dimensional form to ours and our artist’s ideas, allowing for a deep, meaningful exchange to take place in space.

There will be a limited edition poster of Zoe Leonard’s December 3, frame 3, 2011/2012, which graces the cover of our current 20th Anniversary Issue (47) of Blind Spot, on sale for the duration of the exhibition.

Blind Spot | Griffin Editions Project Space is free and open to the public.
Hours: Monday–Friday, 11am–5pm and by appointment.

For further information, please contact Jodie Vicenta Jacobson.

The opening of this exhibition coincides with the Blind Spot Lab event for Issue 47, featuring presentations by guest editors Barney Kulok and Vik Muniz.

Image: Whitney Hubbs, Untitled (Canyon), 2012. Courtesy of the artist and M+B Gallery, Los Angeles.

Blind Spot Spring Benefit


Please join us for a conversation with Doug Aitken and a
Silent Auction of work by California-based artists, including:

Matthew Brandt, Phil Chang, Reuben Cox, Zoe Crosher, Noriko Furunishi, Todd Hido, Amanda Ross-Ho, Owen Kydd, Anthony Lepore, Torbjørn Rødland, Ed Ruscha,
David Benjamin Sherry, Susan Silton, Chris Wiley, and others.

Friday, April 25
6-9pm

Chateau Marmont Penthouse
8221 Sunset Boulevard
Hollywood, CA 90046

Reservations: $150
Please note: Reservations must be made in advance.
Entrance to the benefit is by guest list only.

Blind Spot Lab for Issue 46

We are pleased to invite you to the Blind Spot Lab
panel discussion on the occasion of Issue 46 — guest edited by Walead Beshty.

Friday, April 26
7:00 pm

Regen Projects
6750 Santa Monica Boulevard
Los Angeles, CA 90038

Featuring
George Baker, Walead Beshty, Joanna Fiduccia, Douglas Fogle, Alex Kitnick

Admission is free.
RSVP

Blind Spot Lab is a series of free public events designed as a live exploration of the artists, images, and ideas in each issue, through the modes of installation, performance, and interaction. This program is supported, in part, by an award from the National Endowment for the Arts.

Whitney Hubbs: The Song Itself is Already a Skip
at M+B Gallery, Los Angeles

Whitney Hubbs, Untitled (Horse), 2012

Whitney Hubbs (Featured Artist Blind Spot Issue 38)
January 19 — March 09, 2013 at M+B Gallery
612 North Almont Drive
Los Angeles CA 90069

Opening: Saturday, January 19th, 2013, 6-8PM.

“Dark, raw, powerful and swimming in sensuality, the work of Whitney Hubbs is at once blunt and lyrical, formal and improvised, recognizable to daily experience and yet totally foreign from it. Full of unlikely visual rhythms, Hubbs’ work creates and provokes with aesthetic force. Her images reside in a reticence of feeling. Through profound light and dark, a specific refusal of continuity or seriality, as well as latent eroticism, Hubbs demonstrates over and over her disinterest in generic narratives. Her work persuasively follows its own internal logic through her willingness to challenge the relationship between photographic immediacy and “authenticity.” This is the point of contact where reality and representation become muddled.

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Congratulations 2012 MacArthur Fellows

Congratulations from Blind Spot to all of the 2012 MacArthur Fellows,
including Blind Spot Alums, Uta Barth and An-My Lê!

Of the twenty-three 2012 Fellows, Barth and Lê were the only two photographers to earn the prestigious “genius grant.” Each artist will receive a “no strings attached” $500,000 award over the next five years, to “provide the maximum freedom [...] to follow their creative vision, whether it is moving forward with their current activities, expanding the scope of their work, or embarking in entirely new directions. There are no restrictions on how the money can be spent, and [The MacArthur Foundation] imposes no reporting obligations.”

Uta Barth, Untitled (2012.LE) from “… and to draw a bright white line with light.”

In addition to being featured in Blind Spot Issues 7, 15, 22, 30, & 32, Barth also recently collaborated with Blind Spot on the production of Blind Spot Series 03: Uta Barth, “to draw with light”. The publication includes work from her series …and to draw a bright white line with light, along with images from Compositions of Light on White and a new series created for the publication of the book. “to draw with light” is available in both a trade and deluxe edition, the latter includes an original print from the artist, Untitled (2012.LE) from “… and to draw a bright white line with light.”

Uta Barth is an artist whose evocative, abstract photographs explore the nature of vision and the difference between how a human sees reality and how a camera records it. In contrast to documentary and confessional modes of photography, Barth intentionally depicts mundane or incidental objects in nondescript surroundings in order to focus attention on the fundamental act of looking and the process of perception. In white blind (bright red) (2002), she investigates both literal and metaphorical modes of perception in ghostly compositions that mimic the afterimages that persist in one’s visual memory after turning away from an object. Her recent series, …and to draw a bright, white line with light (2011), marks the first time Barth has intervened in the staging of her photographs. By manipulating curtains in her home, she created lines and curves of light that expand from a sliver to a wide ribbon across a sequence of large-scale, dramatically cropped images that evoke the subtle passage of time while also highlighting the visceral and intellectual pleasures of seeing. As Barth continues to expand her photographic practice to probe the theme of perception in new and inventive ways, she is encouraging viewers to reconsider the traditional functions and expectations of the photographic image.

Uta Barth received a B.A. (1982) from the University of California at Davis and an M.F.A. (1985) from the University of California at Los Angeles. She is professor emeritus at the University of California at Riverside, where she was a professor in the Department of Art from 1990 to 2008. Her photographs have been exhibited at such national and international venues as the Art Institute of Chicago, the Museum of Modern Art, the Massachusetts Museum of Contemporary Art, the Museum of Contemporary Art, Los Angeles, and the Guggenheim Museum Bilbao.

http://www.macfound.org/fellows/859/

An-My Lê, Offload LCACs and Tank, California, 2006.

Lê was featured in Blind Spot Issues 28 & 39, and was one of 17 artists to donate prints to the 15th Anniversary Blind Spot Editions.

An-My Lê is an artist whose photographs of landscapes transformed by war or other forms of military activity blur the boundaries between fact and fiction and are rich with layers of meaning. A refugee from Vietnam and resident of the United States since 1975, much of Lê’s work is inspired by her own experience of war and dislocation. From black and white images of her native Vietnam taken on a return visit in 1994 to pictures of Vietnam War battle re-enactments in rural America, her photographs straddle the documentary and the conceptual, creating a neutral perspective that brings the essential ambiguity of the medium to the fore. In her series 29 Palms (2003–2004), Lê documents American soldiers training in a desert in Southern California before their deployment to Iraq. She focuses her camera alternately on young recruits and the harsh terrain in which they practice their drills, lending an obvious artificiality to the photographs that invites speculation about the romance and myth of contemporary warfare. Currently, Lê is documenting the U.S. military’s presence at sites around the world where personnel are undertaking training missions, patrolling international waterways, and offering humanitarian aid. An additional series in progress explores the ongoing ties between Vietnamese nationals who have migrated to southern Louisiana over the past twenty-five years and their homeland in the Mekong Delta. Approaching the subjects of war and landscape from new and powerful perspectives, this accomplished photographer continues to experiment and contribute profoundly to the evolution of her medium.

An-My Lê received B.A.S. (1981) and M.S. (1985) degrees from Stanford University and an M.F.A. (1993) from Yale University. Since 1998, she has been affiliated with Bard College, where she is currently a professor in the Department of Photography. Her work has been exhibited at such venues as the Museum of Modern Art, MoMA PS1, the Metropolitan Museum of Art, the Museum of Contemporary Photography, Chicago, and the San Francisco Museum of Modern Art, among others.

http://www.macfound.org/fellows/868/

Blind Spot Lab for Issue 45

We are pleased to invite you to the Blind Spot Lab
for Issue 45 — guest edited by Matthew Porter and
Hannah Whitaker.

Wednesday, September 26 at 7:00 pm

Parsons, The New School for Design
Kellen Auditorium
66 Fifth Avenue at 13th Street
NYC

Free and Open to the Public
RSVP appreciated.

Blind Spot Lab is a series of free public events designed as a live exploration of the artists, images, and ideas in each issue, through the modes of installation, performance, and interaction. This program is supported, in part, by an award from the National Endowment for the Arts.

Book Launch:
Lick Creek Line by Ron Jude

Ron Jude, Lick Creek Line. Published by MACK.

Book launch for Lick Creek Line by Ron Jude (Blind Spot Issues 10 & 35)
@ Dashwood Books
33 Bond Street
New York NY 10012

Tuesday, May 15th from 6 – 8 pm

Ron Jude’s new book, Lick Creek Line, extends and amplifies his ongoing fascination with the vagaries of photographic empiricism, and the gray area between documentation and fiction. In a sequential narrative punctuated by contrasting moments of violence and beauty, Jude follows the rambling journey of a fur trapper, methodically checking his trap line in a remote area of Idaho in the Western United States. Through converging pictures of landscapes, architecture, an encroaching resort community, and the solitary, secretive process of trapping pine marten for their pelts, Lick Creek Line underscores the murky and culturally arbitrary nature of moral critique.

With an undercurrent of mystery and melancholy that echoes Jude’s previous two books about his childhood home of Central Idaho, Lick Creek Line serves as the lynchpin in a multi-faceted, three-part look at the incomprehensibility of self and place through photographic narrative. While Alpine Star functioned as a fictitious sociological archive, and Emmett explored the muddy waters of memory and autobiography, Lick Creek Line finds its tenor through the sleight-of-hand structure of a traditional photo essay.

Marco Breuer: Condition
at Von Lintel Gallery

Marco Breuer, Untitled (C-1178), 2012

Marco Breuer (Guest Editor Blind Spot Issue 36) “Condition
May 10 — June 23, 2012 at Von Lintel Gallery
520 West 23rd Street
New York NY 10011

Opening: Thursday, May 10th, 2012. 6-8PM.

Von Lintel Gallery is pleased to announce a solo exhibition of recent photogenic drawings by Marco Breuer.

For this new series, Breuer worked in and outside of the darkroom, exposing photographic color paper to heat, light, and physical abrasion. Drawing implements included modified hot plates and the guts of electric frying pans. This exhibition presents works ranging from small photographic sketches to heavily burned and distressed 30 by 40-inch prints. Every individual piece constitutes a search, a move away from the given, a test of the materials’ limits. The delicate lines and exquisite surfaces are what make these works so luminous and dynamic.

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Hannah Whitaker: The Use of Noise
at Thierry-Goldberg Gallery

Hannah Whitaker (Guest editor Blind Spot Issue 45) “The Use of Noise
April 29 – June 3, 2012 at Theirry-Goldberg Gallery
103 Norfolk Street
New York NY 10002

Thierry-Goldberg Gallery is pleased to present THE USE OF NOISE, Hannah Whitaker’s first solo exhibition with the gallery.

In this new body of work, Whitaker presents photographs shot in diverse geographical locales: near a Hawaiian volcano, in an ancient Greek marble quarry, and in her Brooklyn studio. Mixing straight photographs with those confused by controlled light leaks, these images put disembodied textures and natural spaces in conversation with more recognizable photographic imagery.

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