Beate Gütschow

They could be a view into the future where modernistic architecture is a wrecked background with some extant [urban elements]. I wanted to create images which seem familiar to what we know from media, but at the same time it is impossible to recognize the place/site/country or time. – Beate Gütschow, 2005

Beate Gütschow’s panoramic landscapes are digital assemblages of details from the artist’s archive of images of trees, fields, knolls, clouds, people, and shadows. The interface between separate elements is invisible and seamless, however, the colors are eerily saturated and her use of light and shadow often contradictory. Consciously drawing on the history of landscape painting to create her tableaux, Gütschow’s photographs resemble the pastoral scenes painted by artists such as Claude Lorrain, John Constable, and Nicolas Poussin.

In an overlapping series, Gütschow continues to work by montaging multiple image files but the color landscapes have given way to a series of black and white urban settings. Mixing the architecture of many places, she brings together pictures from books and archives, as well as her own photographs from across Europe, Japan, and the United States (Los Angeles in particular). The human figures Gütschow includes in these works are either homeless people or tourists, as placeless as the constructed spaces they occupy. Where the lush pastorals of her earlier work reference idyllic painting, the new series employs view points and subject matter more suited to black-and-white documentary photography, rendering these post-apocalyptic scenes all the more stark and yet all the more familiar.

Gütschow studied at the School of Fine Arts, Hamburg and at the School of Fine Arts, Oslo, Norway. She has participated in one-person and group exhibitions at venues in Germany including Stadtische Galerie, Nordhorn; Produzentengalerie, Hamburg; Kunsthistotisches Institut, Bonn; and Bundeskunsthalle Bonn. Her work is in numerous collections such as the San Francisco Museum of Modern Art; Museum of Modern Art, New York; and the Los Angeles County Museum of Art. She has been the recipient of numerous awards such as a Pixel Award, an Otto-Dix-Prize of New Media, and a Villa Aurora fellowship in Los Angeles. She lives and works in Berlin.

- edited by Kendra Greene

Individual Meetings / Class Updates/ Hido Lecture/ Critique Dates

2/25 Individual Meetings (The three of you missed last week's meeting.)

930 Shawm Chamberlin
1000 Amanda Meyer
1030 Jacquelyne Pierson

2/26

Laura Saunders 12
Kathryn Parker 1220
Adriana Pelligrini 1240
Berner 1
Cambell 120
Coleman 140
Devon Johnson 2


2/27 Class Updates

900 Allison Fiebert
945 Amy Montagna
1030 Maha Patel

2/28 Class Planning Meeting

Reports by Groups (more details in upcoming post)
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Todd Hido Lecture 3/4 at 2pm




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Critiques on 3/5, 3/6, 3/24, and 3/25

Present 2 completely finished prints at these class meetings for critical review. Even if your work is in a completely experimental phase, these prints should represent your best work .

2/19 Cancelled

Hello all,


If you have a meeting scheduled with me today 2/19, it has been canceled. Please make a blog entry updating me entitled 2/19 Meeting. We will reschedule as soon as possible. Sorry for the inconvenience.

Kevin Cooley - Is it Hido the Sequel?

In 2000, Cooley graduated from the MFA photography program at the School of Visual Arts. He has had solo shows at White Columns and Momenta, both in New York City and Ambrosino Gallery in Miami as well as participated in numerous group shows. He received the Rema Hort Mann Grant in 2003, an Aaron Siskind Fellowship Grant, the Paula Rhodes Memorial Award, as well as the David Ruttenburg Purchase Award. He also completed a six-month residency at the Cité Internationale des Arts in Paris.

Meetings and Critique Dates

Tuesday 2/19

Laura Saunders 12
Kathryn Parker 1220
Adriana Pelligrini 1240
Berner 1
Cambell 120
Coleman 140
Devon Johnson 2

Wednesday 2/20

Shawn Chamberlin 9
Allison Fiebert 920
Amanda Meyer 940
Amy Montagna 1000
Maha Patel 1020
Jacquelyne Pierson 1040

Thursday 2/21

Albright 12
Craddock 1220
Noechel 1240
Pugh 1
Ramon 120
Wrisley 140
Devon Johnson 2

Critique Dates 3/5 and 3/6

All students required to submit 3 finished new prints for class review

Pieter Hugo

Hyena Men and Honey Collectors

© Pieter Hugo, All Rights Reserved

Pieter Hugo, an incredible photographer based in South Africa, is having his first NY solo show at Yossi Milo Gallery from Nov. 29 to Jan. 12. The opening is tonight from 6-8pm. The show draws on two amazing bodies of work - Hyena Men and Honey Collectors. The Hyena Men, which was shot in Nigeria documents roaming troupes of animal charmers/performers, who use wild baboons, hyenas and snakes. The Honey Collectors was shot in Ghana and documents men, who don cassava leaves and climb the up into the rainforest canopy to collect and sell the honey. Pieter has produced a number of great documentary series on Africa and is beginning to get much deserved international recognition.


© Pieter Hugo, All Rights Reserved

Todd Hido -- 3/4 Lecture

Todd Hido is a San Francisco Bay Area-based artist whose work has been featured in Artforum, The New York Times Magazine, Eyemazing, Metropolis, The Face, I-D, and Vanity Fair. His photographs are in the permanent collections of the Whitney Museum of Art, the Guggenheim Museum, New York, San Francisco Museum of Modern Art, and the Los Angeles County Museum of Art, as well as in many other public and private collections.

Hido’s work has been featured in solo shows at the Cleveland Museum of Art, and at the Kemper Museum of Art. In 2004, his work was included "Terrain Vague" at the Carnegie Museum of Art in Pittsburgh.



In 2001 an award winning monograph of his work titled, House Hunting, was published by Nazraeli Press and a companion monograph, Outskirts, was published in 2002. His third book, Roaming, was published in 2004.

His latest book—Between the Two—this one focusing on portraits and nudes—was published in 2007.

Website

John Davies -- For Craddock

"John Davies is one of today's most outstanding British photographers, he became famous through his research on the English industrial landscape, observed in vast and detailed views..."

John Davies (born in Sedgefield, County Durham, England,1949 and now living in Liverpool) is internationally known for the lucidity with which he has tackled the rural and urban landscape through his refined B&W photographs. He is very much a narrative landscape photographer, interested, even in his 'purest' landscapes in telling visual stories about process, change, transformation.

Davies began in the mid-Seventies with a prolonged analysis of the "wild and natural" landscapes of the British Isles ( Mist Mountain Water Wind, 1985 & Skylines, 1993 ). In 1981 he began an articulate documentation of urban Britain, concentrating on the changes provoked by the industrial and post-industrial landscape ( A Green & Pleasant Land, 1986 ). These photographs were shown at the Museum of Modern Art in New York, The Pompidou Centre, Paris and in London at the Royal Academy of Art and the Victoria and Albert Museum.

During the mid-Eighties he started working in Western Europe on a variety of architectural and environmental projects (Cross Currents, 1992 ). With three monographs commissioned and published in France (Temps et Paysage, 2000; Le retour de la nature, 2001 and Seine Valley, 2002).

At the beginning of 2000 he started the Metropoli Project, to investigate the major post industrial cities within the UK. The exhibition from this work Urban Dreams concentrates on city centres made from high vantage points to reveal the architectural infrastructure and topography of the city. In 2006 his monograph of The British Landscape was published by Chris Boot with a major retrospective of this work at PhotoEspaña in Madrid and the National Media Museum in Bradford, UK.






Gallery

Anthony Goicolea

Over the past decade, Goicolea's staged, sometimes digitally constructed, often performance based, images, videos as well as drawings have introduced his audiences to a haunting and humorous collection of adolescent caricatures and visions of a natural world in a state pre apocalyptic transformation.



As if being passed a methodological torch from artist Henry Darger, Goicolea shares with his audiences an epic personal mythology revealing the insights and struggles of an artist creatively interpreting the existential and societal dilemmas of his past, the present, and predicted future. His work examines a broad range of topics including but not limited to romanticism, personal identity, mythology, masculinity, ritual, obsession, sexuality, environmentalism and of course, adolescence.



Over the years, the iconic prep school pranksters, of his popular series "YOU and What Army" have matured in front of our very eyes, discarding their collegiate uniforms and graduating, rather surviving, the important socialization lessons of the ivy covered playgrounds of the rich,... the privileged... the elite to whom their futures have been committed - paid for in advance.



Goicolea's most recent work has taken on a menacing and prophetic tone. The work is eerily responsive to the seemingly increasing and ever present threats of war, corporate scandal, government corruption, and nobel awarded warnings of impending environmental doom that the artist and his audiences face and cope with individually everyday. The "little Anthonies" have grown up and are struggling with the realities of a world that is willing to enslave them -- cause harm-- sacrifice their innocence in the name of power, wealth, and greed. At times, they seem incapable of escaping this imprisonment -- slowly falling prey to abuse



- -- but now and then they escape -- stand as one, a united army of red hoods and ski masks .. the artist's army of multiplicity ... organized, strategizing , training, engaging in ritualistic behaviors of a united clan , seemingly poised...








At these times one wonders of their intentions .. Is it

... to incite rebellion in us from a wilderness outside the boundaries of the savagely civilized --- provide a new way of life-- ???



... or ...to teach us to run, to hide, to devise survival skills in a threatening world built upon the remains of an eden forgotten ... discarded by others, being killed by previous generations??





More importantly, are the characters and landscapes of this artist's mythology emblematic of his growing despair towards our shared future or are they Saviors -- protecting his idealism --- providing us a bit of hope?

--- Only the artist himself knows.

Atta Kim

NYT Review

Atta Kim uses photography to create dramatic, large-scale works that reflect his fascination with philosophical questions. The “Deconstruction Series” (1992–95) features disconcerting images of seemingly lifeless men and women whose naked bodies are scattered like seeds in open fields and desolate natural settings. In the “Museum Project” (1995–2002), Atta Kim poses people drawn from a wide range of social types in clear acrylic boxes which he places in a variety of urban and natural locations. These images of what he ironically calls “contemporary treasures” provide an unusual perspective on contemporary approaches to sexuality, materialism, politics, and religion. For the “On-Air Project” (2002 to the present), Atta Kim employs extended exposures, sometimes lasting twenty hours, to create haunting images that suggest the ephemerality of human existence.

Gallery 1

Gallery 2