Kari Altmann


xomia-2015-kari-altmann-install-010-cellphone-1000xomia-karialtmann-shot-by-ellisking-001-1000  xomia-2015-kari-altmann-install-004-with-models-1000xomia-2015-kari-altmann-install-013-1000

Kari Altmann

Work from XOMIA

How Do You Remain Elegant About Survival?
Reduce It Down To Skeletal Movements
Make It More Ergonomic
Customize, Decorate To Fit
Stretch, Flex, And Xtend
Use Every Part
Show Up Fresh, Stay Fluid
It Works In Liquid Impressions
Head Toward The Horizon Together
Grip The Ground With TalonFlux
The Best Of Soft-Shell And Hard-Shell
Orca Killer Compression Core
Second-Skin Stimulastine
The Ability To Detach And Reattach
Your Friend Ssaleikha Just Posted A New Photo On Zorpia!
In A Closed But Very Powerful Ecosystem
Not Just A Network, It’s An Attitude
Also Comes In Clay, Clear, Blue, White, Iridescent
Until Everything Is A Mandala
Everything Is A Compass
Everything Is A Virus
Everything Is A Sun
It’s A Big World, Go Run It

Brooks Dierdorff


Brooks Dierdorff

Work from Midnight Sun.

“Midnight Sun responds to the ill-fated true story of the Andree Polar Expedition of 1897, in which three explorers set out to be the first to reach the North Pole using a hot air balloon. After crashing on the arctic ice halfway through the journey, the three explorers survived the next few months in the arctic, continuing to photograph and record their observations of the landscape. These materials and the bones of the men were found on a remote arctic island thirty years later. In the face of death, what was it that urged these three explorers to continue to make photographs? Through reinterpreting this historical event, Midnight Sun investigates the mirror effect between the landscape and the photograph, and how each informs our understanding of the natural world and ourselves. Using photographs sourced from stock imagery, beach towels, Google image searches, and original imagery, I explore how photographs mediate nature in the contemporary context. Exploring cultural, scientific, and personal themes within the story of these three explorers, I question my own perceptions of nature and the ways in which photography becomes an expression of the precarious desire to understand and to communicate.” – Brooks Dierdorff

Hannah Whitaker


Hannah Whitaker

Work from Peer to Peer.

“For an artist to toy with the material qualities of photography is a common device, even at a time when that materiality is becoming increasing anachronistic. The great majority of photographs have been abstracted out of existence, transformed into reams of code. The original, material forms of photography, like film, are now almost solely the domain of artists and photographers with a point to make.

Hannah Whitaker’s Peer to Peer published by Morel Books uses a combination of collage, in camera masking and other forms of manipulation to shatter the surface of her analogue imagery, in the process disintegrating them into many parts. This might seem like a well-worn path, were it not for the way these bits are organised to form distinctive patterns appearing to the viewer like a lost visual code. Indeed even the pictures in their arrangement across the pages seem to hint at some form of cypher, with empty areas occupied with an almost imperceptible varnish which echoes the shape of absent photographs.

The subjects of Whitaker’s photographs (a mixture of portraits, still lives, landscapes and nudes) seem in many cases much less important than the patterns, which dominate and overwhelm the images below. The shapes and forms used create a powerful over-riding mood, with mosaics of dots and squares forming a calm, stable pattern reminiscent of Morse code, while the more anarchic triangular breakdowns prove enticingly aggressive. Vertical lines create the effect of a bar code or zoetrope, and the image beneath takes on a strangely powerful sense of motion.

The result of these experiments then is more than a nostalgic exercise in collage and old-fashioned photography. Instead Peer to Peer is a book seemingly with one foot in the material past, and with the other in the ever more dematerialised present. It is a book that plays with the codes and conventions of photography and abstract art, and does it fittingly enough, with the very material of photographs themselves.” — Lewis Bush

Carmen Winant


Carmen Winant

Work from My Life as a Man.

“My Life as a Man depicts a single collage deconstructing and rearranging its composition. Resolution is sought but never “found.” The book features original text contributions from Matthew Brannon, Moyra Davey, Courtney Fiske, Jim Fletcher, Kenneth Goldsmith, Jonathan Griffin, Geoffrey Hilsabeck, Michael Ned Holte, Sarah McMenimen, Anna Livia, Alexander Provan, Ross Simonini and John Yau. Each book comes with a unique cover image collaged on as well as a folded newsprint poster featuring eighty finished crossword puzzles from the NYTimes by the artist’s mother.” – Printed Matter

Casey James Wilson


Casey James Wilson

Work from Physical Fitness @ Neon Heater.

“Via installation and photographic works, Physical Fitness addresses concerns of image consumption and prosumer commerce within the global marketplace, effectively re-contextualizing appropriated photographs and ready-made exercise equipment intended for self-improvement in order to present a foil for trends in the lifestyle commodity of personal fitness. Mining material from today’s lowest common denominators of immediacy and consumption (ie. google and amazon), products and product photographs are reimagined to new ends which absurdly subvert their original functions in an effort to challenge concepts regarding fitness and physical health lifestyles. Individual works address discreet concerns towards time, commitment, restraint, resistance, injury, anthropomorphic augmentation, and supplement addiction while opening a space for an overarching dialogue of how contemporary images and products provide consumers with identities for purchase.” – Casey James Wilson

Debora Delmar


Debora Delmar

Work from Upward Mobility.

“Working with sculpture, video and installation, Debora Delmar Corp. explores the way in which globalised consumer culture influences our lives and routines. Debora Delmar Corp. creates intricate assemblages that appropriate and reconfigure familiar branded goods and imagery in an attempt to deconstruct the visual language of corporate advertising.

Upward Mobility includes a group of dramatic banners emblazoned with aspirational imagery found on the social media page of a bank in Mexico. These are fenced in by a series of kitchen countertops and garden hedges, creating a maze-like effect which the visitor will need to navigate around to encounter a series of household appliances and objects from the artist’s native Mexico City.

Through this unique and immersive environment, Debora Delmar Corp. invites visitors to consider the implicit messaging within the advertising imagery that surrounds us each day. ” – Modern Art Oxford

Rachel de Joode


Rachel de Joode

Work from Soft Inquiry.

The representation of objects, the consciousness of matter and the exposed and secret nature of things continue to be the main points of departure in de Joode’s latest body of work.

Through an installation of beguiling objects that straddle the realms of sculpture and image, de Joode chooses to focus on depictions and abstractions of basic and primordial materials such as clay (a mainstay for the artist), rocks and the occasional dash of algae. Swaths of skin and passages of boiling mud are images isolated from photographs to form lyrical compositions that nod to the physical and virtual worlds.

Organically shaped, bright and flesh colored clay appear sumptuous to the touch, but closer study reveals an even, smooth surface. All of the seeming tactility is frozen in photographs, which are cut and hung on handmade ceramic hooks. Textural paintings serve as a meditative focal point when descriptions of matter begin to act as new entities, divorced from the material they logically reference. Here, the surface of clay becomes a thing in itself.

As is common in de Joode’s work, questions of perception arise through a truncated, two-dimensional version of these materials (skin made to operate on the same phenomenological plane as mud) which go through an accordion-like process, beginning in full form, compressing, and finally extending into a state imbued with previous iterations.

The tenets of classical sculpture are observed through a process of creating poetic gestures. A cast of de Joode’s pinky toe enlarged and forged in bronze resonates with the aura of inferred grandeur. An enigmatic choice of subject for the historicity of bronze, the toe – the isolated body part – becomes an object in its own right and operates as a whole through the act of its abstraction. Hands enter from the tops and sides of images to lift, smear, or otherwise manipulate materials found within the frame – a narrative of intent that questions how we formulate visual culture through ever more complex systems of media, continuously encountering our origins anew.

Jordan Tate


Jordan Tate

Work from Working From Photographs.

This interview accompanies Jordan Tate’s exhibitions, Working From Photographs, at Denny Gallery in New York City from March 15 to April 26, 2015, and concurrently at Angela Meleca Gallery in Columbus, Ohio. The title of the exhibition, “Working From Photographs,” refers both to
Tate’s background as an artist who has primarily worked in the medium
 of photography and to the photographic origins of much of our experience and knowledge of the subjects of the exhibition. Tate’s works include photographs of objects and objects based on photographs, ancient artifacts as well as modern day tourist photography, and thus he makes deliberately ambiguous the relationship between the artwork constructed by the artist in a studio and the appropriated image mined from vast, heterogeneous sources.

Jordan Tate (JT) interviewed by Elizabeth Denny (ED), March 2015.

ED: Why did you choose to call your second solo exhibition with Denny Gallery “Working From Photographs”?

JT: I view the photographic as the primordial medium of the post-internet era. Given my process, and the modus operandi of visual inquiry and production, I wanted to pay homage to the photograph both as the root of my experience, as well as the expansive governing force in work.

ED: What kind of artist are you?

JT: That is a more difficult question to answer than I would expect. Conceptually and rhetorically, I still very much consider myself a photographer, but materially I view myself as simply as an artist. This is in some way an attempt to have a discursive home in a medium to provide context for my work, thought process, and practice, while at the same time affording me the freedom to wildly experiment with forms and processes that aren’t traditionally considered photographic.
ED: What is the difference between the two sites of Working from Photographs- South America/Rapa Nui (exhibited at Angela Meleca Gallery) and The Levant (exhibited at Denny Gallery)?

JT: There is an important geographical and chronological shift that occurs between the two shows that acknowledges the photographic compression of these entities (8,000 miles and 3,000 years), and while both focus on “ancient” or “primitive” cultures, they, at their core deal with the notion of removed perception. The idea of removed perception to me is essentially photographic, in that the photograph can replace in us the need (or desire) of “having been there,” which may have been crucial to understand the thing.

While the archival photographs from the Met Museum do their best to capture the likeness, presence, or aura of the art objects they depict, they are still not “there”; there is a slippage between what we perceive as reality and what we perceive as the image. This has been my core concern with the photograph for the past decade.

The exhibition at Angela Meleca gallery focuses on 14th century South America and Rappa Nui while the exhibition at Denny Gallery in New York addresses the Levant (contemporary Middle east) circa 2000 B.C.E. to 0. While these two times and places are worlds apart, our perceptions are far less removed than that. The difference here is political – we view the Levant as a highly volatile region that governs (either through religion, history, or energy policy) a great deal of world politics – yet culturally, we group the Mesopotamians, Assyrians, Aztecs, Mayans, and all other so-called primitive peoples in the same group – ignoring the fact that Machu Picchu was constructed in the time of Michelangelo and 500 years after the founding of Oxford University.

And therein lies the rub – we celebrate Isaac Newton as one of the greatest minds in history while ignoring the unquantifiable contributions of cultures not embraced by western history– when the Levant could be considered to be the birthplace of writing, mathematics, literature, the wheel, astronomy, banking, and a code of laws.
ED: Unusually for an artist working with photography, your works have a strong immediacy that cannot be anticipated by looking at the images of the work. In this show, I was most struck by the appearance of printing dots that reveal that some of the images are scanned from books. Why is it important to consider the objecthood of the work and what factors into that consideration for you?

JT: Fundamentally, I was interested in showing the trace (origin) of the images. In a way, this happens in an archeological sense where you can see the “artifacts” of the printing process when translated to a different context. I wanted to acknowledge sources for the images that have the half-tone patterns and in that dialogue begin a discourse with myriad forms of the photograph both in a contemporary and historical context.

ED: You have used images of antiquities and ancient art in your work in the past. What dialogue do you wish to have with these objects? Or is the dialogue with the images, archiving techniques and historical preservation of these ancient things?

JT: Ironically, the sculptural artifacts are where the work gets more photographic. I am interested in the early polemics of the photograph as a medium that is capable of compressing both distance and time through the pursuit of taming the exotic and allowing the viewer, in a sense, to own an experience through the image. In many ways I am trying to point out the disconnect between the photographs, these places, and the objects and histories that have been codified into our understandings of “primitive” cultures.
ED: You openly appropriate or source images from various places, including images of artworks in books and museums’ image archives of their collections. Where do you stand on these issues or what do you find to be interesting about them?

JT: Fundamentally, I see photography existing in two ways, one as the constructed image (i.e. studio shot) and the other as inherently appropriative (assemblage of the visible world). I think this is what keeps me connected to the mind of a photographer – the act of appropriating an image from a museum archive (which is a pallid reproduction of a cultural artifact) or a book to me isn’t inherently different than traveling to Petra to photograph it for myself, as the images of Petra are largely preformed in my mind from the deluge of images in the cultural milieu starting with National Geographic and ending with Indiana Jones.

ED: Where do your source images come from? Are you “faithful” to the quality of the images you appropriate or do you manipulate them to improve their quality or resolution?

JT: The artifacts came from the collections of the Metropolitan Museum of Art and the Antikenmuseum Basel und Sammlung Ludwig. The idea of faithfulness is an interesting and tricky notion, are the images edited? Often. Are they faithful? I would argue, yes. I guess I would argue that I am faithful to the spirit of the law rather than the letter of the law (as the saying goes).

ED: Is the viewer you have in mind for this body of work culturally specific?

JT: No, just culturally aware.

ED: One of the pieces is a virtual reality video that will visually transport the viewer to the environment of the Middle East, where the United States has been at war for much of the past twenty-five years. Will the viewer feel like they are in a military training exercise?

JT: I think if it did look like a military training exercise it would be a very boring and ineffective one given the vastness and openness of the desert I am depicting. The war thing is tricky, and I am using the desert to set the tone and context of the region as a place and lived in landscape. It will be a sort of forced first person perspective.
ED: Militant extremists in the Levant, namely ISIL, have been looting or destroying archaeological treasures of the region in order to fund and fuel their activities. Is it a coincidence that while you were working with the material history of the region, mediated through photographs of its archaeological sites and artifacts, the destruction of such objects would be performed for video broadcast for international viewing?

JT: While the Levant is a historically fraught region, the work wasn’t prescient in the sense that I was directly engaging in the iconoclasm of ISIL. That said, I did want to address the irreplaceable contributions that have historically sprung from the Levant. Also, the notion of iconoclasm (particularly in this region) is one that was imported from Byzantine Christianity. I would also argue that the politics of representation and historical engagement with iconoclasm as a political action inform and historically contextualize the actions of ISIL in Mosul. However, a significant number of the artifacts in museums worldwide (and fortunately in Mosul) are plaster replicas, and the notion of historical “authenticity” and replication is one that I was quite purposefully dealing with.



Rick Silva and Jordan Tate

Work from DRAPE WAVE at New Shelter Plan.

“DRAPE WAVE is a collaborative exhibition by Rick Silva and Jordan Tate that addresses the mutability of the image. Through various surface outputs and rendering processes, the artists explore the malleability of medium and meaning. The works in DRAPE WAVE are fluid, used as entities that obfuscate form while relying on those forms to provide structure. Images gather, fold, drape, and otherwise extend into multiple intersecting dimensions – 2D transferred onto 3D, rendered in 4D, simulated on an ocean wave, seen from a hammock.” – DRAPE WAVE

Oliver Laric

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Oliver Laric

at AR/GE Kunst

“Working mainly in the media of sculpture and video, his practice addresses questions concerning how images are appropriated, interpreted, translated and re-circulated in a number of possible versions or iterations. 
His interest in iconic images, which he extracts from contemporary culture and mythology alike, derives from an attentiveness to the creation and fluctuation of their value and power; a value no longer determined by any uniqueness or truth in the images themselves, but by the collective and often anonymous dynamics that, through distribution, transform them into icons. In this exhibition at ar/ge kunst Laric’s research develops in two complementary directions. These consider anthropomorphism, shape-shifting and forms of hybridization as ways of exploring the relationship of reciprocity and continuity between the human figure and other agents, be they animals or objects; a subject spanning religion, science, folklore, popular and sub-cultures. A new version of the Hunter and His Dog Relief (2014) is presented as a series of bas-reliefs: three copies of the same sculpture by John Gibson (1838), 3D-scanned and hand-cast by Laric himself. The choice of this particular subject, an everyday scene in which Gibson portrayed a boy holding his dog by its collar, derives meaning from its mode of representation, which sets the human figure in a dualistic relationship with the dog. While Laric takes the white marble of Gibson’s detailed neoclassical sculpture as his starting point, he employs a different technique and a different material so as to transform the relationship between the two figures. The man’s former control over the dog becomes a continuity between two bodies, two subjectivities. In his new video Laric further questions this dualistic system of categories (human–animal, human–object, man–woman…), exploring the notion of metamorphosis through a selection of scenes from illustrations and animations from the nineteenth century to the present. As with the sculpture, he chose not to work with the original material and instead commissioned three illustrators to redraw fragments and imagery from Russia, America, Japan and other countries known for their animated films. This act of redrawing isolates, from the original context, the process of shape-shifting so as to visualise the intermediate state of a character’s transformation from one recognisable form to another, a state existing somewhere in-between classifiable states. Laric actively perpetuates this continuous state of ‘becoming’ as a desirable condition that produces a whole range of hybrid subjects freely moving across gender and identities. With a written contribution by Rosi Braidotti. Curated by Emanuele Guidi.”

via Mousse