26th ANNUAL INTERNATIONAL LOS ANGELES PHOTOGRAPHIC ART EXPOSITION
The REEF/LA Mart | JANUARY 12-15, 2017
photo l.a. 2017 INSTALLATIONS
Photo © Craig R. Stecyk III
All Kill No Fill
Charles Negre was the first photographer to capture people in motion on the streets of 1851 Paris. That motive has since inspired countless image makers to focus on the streets, leading to incredible and unique sub-genres within the canon of documentary photography. Photographic documents are the universal language used to decipher subculture, and for the past forty years skateboard photographers have upheld that ethic by defining art, fashion, and the sensibility of youth experience around the world.
This collection of images at photo l.a. 2017 represents a most comprehensive cross-section of skateboard photography and culture, featuring work by Anthony Acosta, Atiba Jefferson, Arto Saari, Ben Colen, Lance Dawes, Bryce Kanights, Craig R. Stecyk III, Dennis McGrath, Fred Mortagne, Gabe Morford, Grant Brittain, Greg Hunt, Jacob Rosenberg, Jerry Hsu, Joe Brook, Jon Coulthard, Jon Humphries, Jonathan Mehring, Mark Whiteley, Michael Burnett, Mike Blabac, Mike O’Meally, Ryan Allan, Sam Muller, Skin Phillips, and Thomas Campbell.
Curated by Boyz Beiber & Bonny Taylor Exhibition Consultants Arto Saari & Mike O'Meally
Miljohn Ruperto, Janus 2014. 4K Video, 3:30 min loop
Chateau Antonym curated by Carter Mull
Theatre is often defined by what it is not – the scripting of the actor is contrasted with the supposedly emancipated performance of the free subject. The nomenclature of photography, differing from that of theatre, is commonly conceived through the blurring of the life of the subject and their image.
Chateaus Antonym is a small exhibition drawing from the system of exhibitors at photo l.a. and the curator’s own community in the system of art. The exhibition proposes an intersection of two different spheres of distribution, unified by the image of the theatrical, produced either for utility or within a focused discursive framework.
Perhaps the question is not “is photography art?” Instead, how may we create the conditions in which theatre can produce what it is not?
"Point of View" Program Space
Point of View: Selections from Los Angeles Collections
The city of Los Angeles is known for its long history associated with the visual arts. It has become an international artistic hub with an incredible and ever-growing collector base for fine art photography.
From the development of movies into cinema, the city has become a thriving engine for contemporary artists that pull inspiration from L.A. 's dynamic visual industries. The role of the collector is not only a major influence on an artists life, it is also a statement both personal and public on what is important about the work.
The selected collectors in Point of View speak to the vibrancy and variety of the collecting experience. We hope they will resonate with viewers and inspire their own collecting.
Participating collectors include:
Alessandro Uzielli Betty West Carol Vernon & Robert Turbin Colin Dusenbury Dan and Mary Solomon Danny First Gloria Katz Huyck Willard Huyck Graham Howe Jed Root Kai Loebach Leslie Rubinoff Maureen O’Sullivan Michael Hawley Roger & Barbara Hill Stephen Reinstein Wendy West Wendy Posner
Handmade! Recent work by :
Optics Division of the Metabolic Studio
At its very beginning photography was not considered "art," but rather as a form of "Natural Magic." Because lenses and chemistry were involved photography was at first thought to be science and its practitioners were likened to alchemists. However, by the early 20th century it was collectively agreed that photography could be art because highly compelling images were being made with those materials.
Then in the early 21st century cell-phone cameras and digital printers were introduced and the question, "Is photography art?" was reopened. In the early 2000s, as though in response to the question, along came a generation that prized visual effects that only could be achieved by labor-intensive procedures requiring the traditional materials of light-sensitive silver and chemistry.
Penelope Umbrico Details from 35 TVs
photo l.a. Special Project by Penelope Umbrico, In and Out of Order: TV's from Craigslist and Bad Display
Since 2006 Umbrico has investigated the space of the screen and its technologies. She looks at common uses of photography and the web, where the more invisible these technologies are, the less considered the resulting images are. She considers the web to be an immense, unedited, un-curated archive of accumulated visual material from which she can draw. She uses search engines to explore what it means to live in screen space, where sunlight is replaced with electronic signal, where time has disappeared, and images have no fixed place.
Umbrico says: “The screen is the medium through which I make work; it’s also often the subject of this work. I find thousands of them used - unwanted, obsolete, in a kind of purgatorial state, waiting - for sale on the web. Waiting to be wanted, recounting the failure of their own promising technology.”
Commonly perceived as a transparent illusionistic window and a means of escape, Umbrico suggests alternate readings. The screen is transparent until something goes wrong. By presenting these inadvertently seductive abstract formalism of broken LCD TVs and computer monitors as formal compositions in their own right, she collapses the obsolescence and breakdown of new technology with the aesthetic language of Modernism. In all these works the medium that serves up the image (the screen) functions not only as a site of projection and reception, but also as a sifting mechanism, or a censor, letting some information through and keeping some out.
Descended from (Modernist) order, now out of order, Umbrico presents a negotiation of the screen: before and after, in front of and behind, inside and out, as a threshold, or a point of implosion, where these spaces collapse and break down.
She creates physical installation of these transient images in order to draw attention to the materiality of the objects from which they come. The photographic print fixes them - it makes them still and serves to emphasize their stubborn physical presence, and their need to be physically negotiated in the material world. Rejected but still present, they stand obstinate, as symbols of their own obsolescence.