Dawson Looking Glass

Dawson Looking Glass, Performance, 2015

Dawson Looking Glass 1, 2015, documentation of performance (photographic print, 40 x 26 inches, edition of 5, 1 artist proof)

Dawson Looking Glass 1, 2015, documentation of performance (photographic print, 40 x 26 inches, edition of 5, 1 artist proof)

Click the image to see the full series of images.

Some days I wish I were a painter...

Silvered Pictures, 2015
Silver leaf on greeting cards purchased at the National Gallery with reproductions of paintings by Cornelius Kreighoff and William Kurelek. See more here

Pretty Lofty & Heavy All at Once in Canadian Art Magazine

Charming Prospect: part of my project for Dawson City's Camera Obscura Festival

"Prospect Helper -- Place on Window to Establish View "(Sticker for Inside).

"This Pospect Helper placed to direct attention to the View" (For placing on Windows from the Outside).

The Charming Prospect "Prospect Helper", and other Charming Prospect merchandise (T-shirts, hats, fine giftware) is available for purchase from now until the Autumnal Equinox, 1:21 am, September 23rd, 2015: http://www.cafepress.ca/CharmingProspect

Midnight Sun Camera Obscura Festival: http://midnightsuncameraobscura.com

Mould #2 (Photo) Writing Degree Zero, curated by Joan Foncuberta launched in Reggio Emilia

"One of the the aims of the suite of photographs titled Coronae, is to posit the possibility that pictorial content or depiction is not necessarily a precondition of photography.  Coronae's images are the result of 'collapsing' the camera, the lens, and light-sensitive emulsion into a single object: tiny holes were drilled directly into and through 35mm colour reversal (slide) film canisters and they were subsequently left to expose in bright sunlight for approximately 1 hour.  In a way, the method by which an 'image' appears becomes the very subject of that same image, and the photographs become self-reflexive manifestations.  That which is literally depicted is a hole, an absence that stands in for a visual presence.  The resulting patterns that float on near endless black grounds remain indeterminant as they variously allude to forms of the cellular or microscopic, while suggesting astronomical structures existing at an infinite scale.  These images run counter to the prevailing predescribed and precise methods of photography as exposure times remain guesswork, artistic authorship is held at bay, results are unpredictable, and the notion of 'image' itself is perhaps re-oriented."

Andrew Wright to contribute to Milan-based MOULD Magazine's 2nd Issue, curated by Joan Foncuberta

MOULD

Corona #4 (detail), Digital c-print mounted on Dibond, 152 x 152 cm, 2011

Corona #4 (detail), Digital c-print mounted on Dibond, 152 x 152 cm, 2011

MOULD is a semi-annual publication for contemporary culture. It is a platform for transdisciplinary investigation, which aims to interpret the complexity of contemporary culture. We believe that the mould, embracing the notions of imprint and tracing, conveys our view of cultural press: a place to record the existing, make it circulate, generate new ideas. We see it both as an archive-like research and a source of creation.

A different guest editor representing a specific cultural area is asked to direct each issue. He/she will appoint contributors to develop his/ her own interpretation of the mould subject, in relation to disciplines such as art, literature, cinema, architecture, design, photography, philosophy etc. and it will turn out to be the expression of the editor’s own creativity. However, Mould is far from being a monographic dissertation: by casting a glance at different disciplines and genres, the guest editors will design personal and polyphonic paths with everchanging features, beyond their usual fields of practice and expertise. All together, our publications will create a subjective, unconventional and multifaceted witness of contemporary culture.

We are inaugurating our project with the guest curatorship of Studio Miessen and the theme of Cultures of Assembly. We would like this title to be a declaration of intents. The intention to produce a repository for cultural debate, a tangible crossroads in a network of relationships that is meant to link people, places and thoughts.
 

MOULD #1 Guest Editor: Markus Meissen. Architect, consultant, writer

MOULD #2 DEGREE ZERO 
Guest editor: Joan Fontcuberta.
World-renowned conceptual photographer. Launches May 15-17, 2015, Reggio Emilia, IT

MOULD #3 Guest Editor: Hans Ulrich Obrist. Art curator, critic, historian
 

Images are so strong that they can even produce casus belli, as events like Muhammad’s caricatures and Charlie Hebdo tragedy witness. The history of ideas is also the history of images. That’s why philosophy and theory have always urged to figure out what an image is.

Since the 90s, the Visual Studies emerged alongside with a pictorial turn, which came up as a result of a change in the visual stan- dards but also of social and technological changes. This pictorial turn does not just refer to the increase of images and the consequent attention towards them, but it marks as well a study of culture which approaches reality as crystallized into images.

However, if philosophers cannot say what images are, artists are the ones to tell us what they’re made of, what constitutes them. The transition from chemical to digital photography, from silver salts to pixels, encouraged us to focus on its very nature, on its most basic elements. How can we define the degree zero of photography writing? The investigation carried out in this MOULD issue analyses some photo creations that, from the Minimalism strategy on, gather the most essential qualities of photo images (light and shadow, im- print, chemical reaction, dark room, optics...). That is to say those generative, formalist and conceptual operations that, we can say, ground the making of those images that format our visual culture nowadays.