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Artists on New Topographics, Part I: Mark Ruwedel
October 29, 2009
In honor of our re-staging of New Topographics, we’re doing something special: starting this Sunday and occurring every Sunday through mid-December (except Thanksgiving Weekend), we’ve invited a leading Los Angeles-based photographer to give a tour of the show and share his or her insight into the ways New Topographics opened up possibilities for new photographic engagement with the landscape.
Each Sunday will feature a different photographer. In anticipation of each tour, we’ll whet your appetite here on Unframed with an exclusive interview. First up: Mark Ruwedel. Mark has photographed the topography of the American West for nearly three decades, focusing on nature’s reclamation of the land over time. He has depicted relics of industrial expansion, like abandoned railways, as well as evidence of geological upheaval, such as the impact of prehistoric glaciers. His recent series Westward the Course of Empire surveys the deterioration of the once mighty railroad network forged across the nineteenth-century American landscape.
I recently spoke to Mark about LACMA’s restaging of this important exhibition, which was first seen in 1975 at the George Eastman House of Rochester, New York. The video here offers a sneak peek into Mark’s take on New Topographics, and how it continues to bear influence on photographic practice today, including his own.
The combination of graphic violence and sexually suggestive imagery in some films has been labeled "torture porn" or "gorno"
Born in 1980 photographer and illustrator Agan Harahap from Jakarta, Indonesia, currently works for music magazine TRAX. His latest photography project called ‘Super Hero’ consists of memorable political and wartime scenes from the mid-20th century featuring beloved superheros like Spiderman or Batman in some interesting and funny positions – true juxtaposition in effect. It’s fun to see Superman standing in the Neuschwanstein Castle.
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1. Describe the work itself. Do not try to summarize all of your thoughts on art, the nature of photograph, or why you’re an artist. Be specific.
2. Consider the photographs. What is it that makes them different from the work of other photographers? How do they ask to be considered?
3. Try to speak honestly about your work. Do not try to use unfamiliar language or jargon without researching what the terms mean. Familiarize yourself with the multiple definitions of the worlds that you are using and the different meaning they might convey to others.
4. It may help to begin by writing as much as you can without editing yourself. Follow this by going through your writing to extract the most significant points or phrases.
5. Once you have a preliminary statement: EDIT, EDIT, EDIT. Have someone read your statement and attempt to explain to you what they think you mean.
6. Correct any grammar and punctuation errors. The quality of your writing is important.
7. Avoid quoting dictionary definitions, talking about why you decided to be an artist as a child, and making broad generalizations.
Nobel observers were shocked by the unexpected choice so early in the Obama presidency, which began less than two weeks before the Feb. 1 nomination deadline.
White House press secretary Robert Gibbs said Obama woke up to the news a little before 6 a.m. EDT. The White House had no immediate comment on the announcement, which took the administration by surprise.
The Norwegian Nobel Committee lauded the change in global mood wrought by Obama's calls for peace and cooperation but recognized initiatives that have yet to bear fruit: reducing the world stock of nuclear arms, easing American conflicts with Muslim nations and strengthening the U.S. role in combating climate change.
Canton Palace, Ohio, 1980
I'm a habitual self-interlocutor. Around the time I started photographing at the Natural History Museum, one evening I had a near-hallucinatory vision. The question-and- answer session that led up to this vision went something like this: Suppose you shoot a whole movie in a single frame? And the answer: You get a shining screen. Immediately I sprang into action, experimenting toward realizing this vision. Dressed up as a tourist, I walked into a cheap cinema in the East Village with a large-format camera. As soon as the movie started, I fixed the shutter at a wide-open aperture, and two hours later when the movie finished, I clicked the shutter closed. That evening, I developed the film, and the vision exploded behind my eyes.
- Hiroshi Sugimoto
Art:21 - SugimotoThe study of mathematics is thought have begun in ancient India and China. "Zero" and "infinity" were not so much discoveries as human inventions. The notion of length with no width is very curious indeed, the pencil line I draw being only an approximation of an invisible mathematical line. Endeavors in art are also mere approximations, efforts to render visible unseen realms.
Among the notes Marcel Duchamp left in his Green Box are various mathematical notations. The Large Glass attempted to throw projections of the unseen fourth dimension onto our three-dimensional experience, much in the same way that three-dimensional objects cast shadows onto two-dimensional surfaces.
While not wholly subscribing to the post-Renaissance “rational” scientific regard on the natural world, I especially appreciate those eighteenth- and nineteenth-century optical devices and experimental implements that gave visible form to unseen hypotheses. I have photographed suites of "stereometric exemplars" purchased from the West during the Meiji era (1868-1911), now preserved by the University of Tokyo. The mathematical models are sculptural renderings of trigonometric functions; the mechanical models were teaching aids for showing the dynamics of Industrial Revolution-age machinery. Art resides even in things with no artistic intentions.
- Hiroshi Sugimoto
Charlie White photographs vulnerability. Using a humanoid puppet he calls "complete fragility manifest in a body," White presents human frailty through a fictional character, much as a novelist might.
As White tells Jacki Lyden for Weekend All Things Considered on NPR, his puppet, called Joshua, helps him to explore the themes of male self-image and self-loathing. White places Joshua in a series of vulnerable situations -- at a cocktail party or a lover's house -- and photographs the scene.
Charlie White’s photographs suggest how society makes monsters of everyone; a homunculus named Joshua tries to chat up a blonde.
Summary: A brief overview of the complications and challenges involved in the act of photographing a minor. This text considers the historical and political ramificatios of photographing, looking at, and presenting the image of a minor. Using the life of Brooke Sheilds as example, this text maps the shifting perspectives of youth as both subject and object of cultural interest, and sexual desire.