Category: Photography Page 15 of 22

Cynthia Greig @ Paul Kotula Projects

On April 25, 2018

“Cynthia Greig: Sans Souci”

Installation view of “Cynthia Greig: San Souci,” Paul Kotula Project, all images courtesy of Cynthia Greig

We have been looking at Cynthia Greig’s elemental photographs for years now. We look at them for their elegant and deceptive simplicity and uncanny calm. She has choreographed complex, intriguing photographic projects that engage art history and manipulated narratives that parody the representation of gender construction and sexuality. Both her “Representation” and “Nature Morte” (Still Life) series, with their ghostly picturing of common objects (household fan, globe, coffee cups) and traditional still lifes (with fruit, wine glasses, books, flowers) befuddle our definition of painting and photography, while exuding a formal sensuality and intriguing beauty.

Cynthia Greig, “Gallery Horizons,” archival pigment prints, 14.5”X 22,” 2013

Her current project, “Cynthia Greig: Sans Souci,” at Paul Kotula Project, continues her interrogation of the institution of art, with images of the interiors of well-known art galleries. A series she refers to as “Gallery Horizons,” features five pictures of the intersecting seam of where the floor of the gallery meets the wall. One of the iconic features of contemporary galleries is their characteristic flat gray cement or shiny, polyurethane floors. The best background color for exhibiting art is commonly thought to be white, so art gallery’s walls are almost always white with gray or wooden floors. The museum or gallery is an idealized space for showing art that has evolved since the mid 19^thcentury into the proverbial “white cube.” Since Alfred Barr curated the famous 1936 Museum of Modern Art exhibition, “Cubism and Abstract Art,” the white cube has been the model for the ritualized exhibition of art and the ritualized social space of art patrons. However, in Greig’s “Gallery Horizons,” photographed in many galleries the United States and Europe, the art has been erased. Invariably, the intersection of drywall or plaster and the cement floor is left unfinished, resulting in a jagged seam at the bottom of the wall. With only a portion of floor and wall shown the image becomes something else and, remarkably, the image appears to be like a horizon line of where the sky meets the earth or sea.

Exploring her Gallery Horizons, you look at a jagged fissure bordered by shades of gray and white, at figure-ground ambiguity. A photo is incomplete until the viewer engages and with Greig’s images the viewer is even more complicit because of the uncertainty of what is pictured. Ultimately a white wall meeting a floor is identified but each of the five photos suggest other readings specifically. They become enigmatic images of open spaces which evoke emotions contrary to the social construct of art galleries: rolling ocean wave beneath icy sky, jagged coastlines along the sea, barren farm fields with lonely village in the distance. The viewer has an option to either enter the fiction or resist.

There is in Greig’s photographic practice a subversive action to question the role of the gallery by looking elsewhere, at the other, instead of the subject, which in a gallery is art. Each of the Horizons is photographed in a specific gallery, with the name of the artists who are being exhibited identified, which creates a conceptual context. In this hyperbolic space where nuanced perception of images–artistic as well as the vanity of curating ourselves—are almost solely the issue, the absence is rupture. “The horizons” themselves are something else, not only do they become something other than floors with walls they are the thing that shouldn’t be looked at. The floor meets the wall beneath the subject that hangs on the wall. There is an aspect of surveillance and appropriation in her project. These are main stays of contemporary photographic practice and of course all of them challenge concepts of beauty but Greig accomplishes both a critique and sublime representations of the white cube simultaneously.

Cynthia Greig, “David Novros/Paula Cooper/ New York, 30.5”X44,” 2017

A related and more recent series is entitled “Threshold,” which are large scale prints of gallery interiors. An edition of five is included in the exhibition, and again, the “white cube” is depicted with people looking at blank, white walls. Greig has erased the art. Like the “Horizons,” the galleries in “Threshold” create an austere, existential landscape, with the inhabitants– real people looking at art– becoming like characters in a Samuel Becket, Theater of the Absurd play. They stand in quizzical postures, performing nonsensical actions and, one imagines, articulating one artistic “cliché” after another. The Paula Cooper print is particularly evocative of this existential script with a figure, wearing trousers that seem too short, standing in an epic sized space with images of art surrounding him in reflections on the floor. The idea that all photographs are unanswered questions is even more doubly true with Cynthia Greig’s “Gallery Horizons” and “Threshold,” because they pose the riddle of “what’s going on here?”

Cynthia Greig, “Replication (Galerie Thaddeus Ropac/Paris), 80.5”X32,” 2014/2018

To emphasize the discursive eye that Greig has on the art world she has included two actual sized replicas of a doorstop that she has appropriated from an art gallery. One is composed acrylic resin and the other of plaster, graphite and wax. She also had one fabricated out of crystal but it was not shiny enough so she went with plastic one instead. They sit on classic gallery pedestals and, like the “Gallery Horizons” and “Thresholds,” perform an enigmatic subversion of the ideals of most art galleries by celebrating a derelict object found behind a door of a gallery. And perhaps the most decorative intervention is “Replication (Galerie Thaddeus Ropac/Paris),” a manipulated image of a gallery staircase in Paris. Both the doorstop and the replication of the stunning backlit metal staircase function, as all of her incisive but brilliantly maneuvered work does, as startling and ironic components of the structure of the art world.

In addition to her photographic practice Greig has also experimented with videos. In “Sans Souci” she has included, “Museum Mandala/Detroit Institute of Arts 2017/2018,” a video that she made of visitor’s legs and feet ascending and descending a stairway at Detroit Institute of Arts. It is edited in a fast moving, almost musical, kaleidoscopic fashion and extends her intervention into the art world as material for her own art practice.

Cynthia Greig, “A.W.E./B.P. Los Angeles, 2015/2016, 1.25X6X1.25 inches

“Cynthia Greig: San Souci,” @ Paul Kotula Projects

April 14-June 2, 2018

Lauren Semivan @ David Klein Gallery

By Clara DeGalan

On February 23, 2018

In Photography

Lauren Semivan’s Photography : Door into the Dark at David Klein Gallery, Detroit, MI

Lauren Semivan, Installation image, all images courtesy of David Klein Gallery 2018

Lauren Semivan is known in Detroit, New York, Paris and beyond for her atmospheric, lyrical, semi-abstract photographs that comprise hand-drawn backgrounds, iconic objects, and, occasionally, her own body. In my past writing about her work, I’ve landed repeatedly on poetic metaphors for context. Semivan’s works have always felt, to me, like poems- narrative, balanced from top to bottom, musical in rhythm, expanding quietly into the psyche. Her new work, currently on view at David Klein Gallery in Detroit, feels similar, and deeply different. What was once an open-ended narrative has become a closed loop, meter circling in on itself, flowering in dark and solitude, like prima materia in an alchemist’s vitrine.

It makes sense that the title of her show at David Klein is “Door into the Dark.” The title is meant to define photography, as Semivan explores it. She describes the medium as “…both a tool for escape, and an instrument for self-knowledge.” The vanishing of grounding, recognizable objects and spaces in her work bears out this description.

Lauren Semivan, Velvet, Edition 2 of 5, Archival Inkjet print, 2015

Semivan’s photographs are delicate webs of diamond-hard form. The curves, swoops and taut wedges of space that her carefully constructed environments conjure have always gestured at a vision beyond language. There has previously been a roster of familiar objects placed within her compositions, however, that give things a narrative, documentary feel- feathers, tables, a metronome anxiously dangling from a string. While some objects inhabit Semivan’s new work, more and more of her compositions are given over to amorphous, mute twists of fabric and slashes of paint. It’s as if she’s making the passage from logos to eros- from evoking words and stories to bringing images to light that one can’t navigate with language, that come from a place of pure feeling. This is a brave transition- it’s up in the air whether her pictures can hold the eye unmoored of the evocative objects she’s relied on, hitherto, to ground us in her rippling, canny vision.

Lauren Semivan, Glacier 2, Archival Inkjet print, 2017

Semivan’s own body flickers in and out of the works in “Door into the Dark,” as it has periodically for the last several years. Her face is never fully seen beyond a glimpse of profile. Her costumes, like her environments, are amorphous and billowy, and offer no grounding in specific time or place- the woman who wanders through Semivan’s photographs could be living next door, or long dead. Her wind-swept clothes and hair rhyme visually with their backgrounds, making the figure both an unsettling presence and just another formal element. Her presence is disconcerting in the same way figures in the images of the Twentieth Century photographer Frederick Sommer are- seeming to merge with their environments, more like ghosts or sentient features of their landscapes than individuals. Like Semivan, as well, Sommer experimented with indistinct, unsettling vignettes of beautifully placed, disparate objects and tense, shallow spaces that are grasped with emotional instinct, rather than verbal.

Lauren Semivan, Flur, Chalk, Feathers, Edition of 5, Archival Inkjet print, 2017

“Door into the Dark” is a truly stunning show that draws the viewer deeper into a quiet, interior place where words and story slowly drift away. The technical mastery of Semivan’s photographs, with their deep, velvety blacks, uncannily focused surface details, and atmospheric directional forces, is well worth lingering over.

“Lauren Semivan: Door into the Dark” is on view at David Klein Gallery in Detroit from February third through March tenth, 2018.

Basquiat @ Cranbrook Art Museum

By Ron Scott

On January 4, 2018

In Drawing, Fiber, Paintings, Photography

BASQUIAT BEFORE BASQUIAT: East 12^th Street, 1979-1980

Jean-Michael Basquiat at Great Jones Studio, 1985

In the spring of 1971 when I had just graduated from Wayne State University with an M.A. in painting, I was making surreal landscape paintings. I had not heard of Jean-Michel Basquiat, of course, because he was only ten years old and attending St. Ann’s Catholic school in New York City. Soon after that he was bound for San Juan, Puerto Rico with his father and family for three years, before returning to Brooklyn and finishing high school.

And it wasn’t until the late 1990s when my son Julian Teachworth was finishing his senior year at The Cooper Union in NYC that he told me Basquiat’s work had influenced his painting. It was only then that I became familiar with his work, and that was ten years after his tragic death from a heroin overdose at the age of twenty-seven in 1988.

Andrew Blauvelt, Director of the Cranbrook Art Museum, said, “The exhibition and accompanying catalogue presents New York City in the late 1970s and early 1980s through the prism of Jean-Michel Basquiat’s art and provides a window into the art-rich time that he inhabited and impacted so profoundly. Ultimately, this exhibition will attest to Basquiat’s virtuosity in formation–the creative impulses that yielded a distinctive voice, but also the many diversions or paths he explored as he was developing a signature style.”

Alexis Adler, B&W photographic images of Basquiat performing in the apartment, 1979

Jean-Michel Basquiat first appeared in New York City in 1980 depicting street graffiti using neat block letters and his SAMO© tags on the surrounding streets of lower Manhattan. It was these early years when Basquiat started dating Alexis Adler and living with a close friend, Felice Ralster, that is the subject for this new exhibition at Cranbrook Art Museum: BASQUIAT BEFORE BASQUIAT: East 12th Street, 1979-1980 that opened November 17, 2017. Basquiat and Adler moved into a small apartment at 527 East 12 Street, commonly referred to as the East Village, and became part of the punk culture largely based around musicians and artists at the Mudd Club scene.

Jean-Michel Basquiat, Untitled, Acrylic and Oil Stick on canvas. 1984

It was at P.S. 1 in a group survey show, New York / New Wave where his work was a step above graffiti street art, as illustrated by his ability for putting things together: masks, words, marks and disconnected phrases. The exhibition included Keith Haring, Robert Maplethorpe, and Andy Warhol. The day after the opening he returned home to Brooklyn around 6:00 in the morning to proclaim to his father, “Papa, I’ve made it!”

Basquiat made money for paint and his share of the rent by selling T-Shirts on the street. 1979

Basquiat’s riff with his father and his association with Keith Haring and Kenny Scharf, led him to Club 57 and a strong and close relationship with who would become his mentor, Andy Warhol. Back then, Basquiat made his living by selling clothing on the street. On display at the Cranbrook exhibition are T-Shirts he transformed into living works of art to be worn and celebrated as part of his artistic practice.

Jean-Michel Basquiat, Untitled (Cadmium) Oil, oil stick, acrylic on canvas 1984

Looking back, I think we see Jean-Michel Basquiat as an artist who emerged from being a graffiti artist during the “punk scene” era, and then ended up as a celebrated artistic phenomenon. Skillfully, he brought together disparate traditions, practices and unconventional styles that established a baseline for artists to come. He was an African-Caribbean artist, who came along at a time when the art world was dominated by exhibitions of Minimal and Conceptual art.

Alexis Adler, Drawing by Basquiat on wall of apartment, Archival pigment print, 1980

Using an archival approach, much of this exhibition comes from the collection of Alexis Adler, and a visit to the exhibition Basquiat Before Basquiat deepens your understanding of this artist while simultaneously providing the viewer with a context of his early work in 1980s New York City. Concurrently, the museum is hosting exhibitions by Keith Haring, Maya Stovall and Ryan McGinness.

Alexis Adler, B&W photograph of Baquiat in the apartment, 1981

BASQUIAT BEFORE BASQUIAT: East 12th Street, 1979-1980, organized by the Museum of Contemporary Art Denver.

Cranbrook Art Museum

Through March 11, 2018

Jim Nawara @ WSU Art Department Gallery

By Ron Scott

On November 15, 2017

In Drawing, Paintings, Photography, Prints

PHENOMENA IN LANDSCAPE: Paintings, Prints, Drawings, & Photographs 1969-2017

James Nawara, Professor Emeritus of Painting and Drawing at Wayne State University, PHENOMENA IN LANDSCAPE, Retrospective Exhibition, 2017 Image Courtesy of Lucille Nawara

The exhibition by Jim Nawara, now Professor Emeritus of Painting and Drawing at Wayne State University, spans forty-eight years and includes more than one hundred paintings, prints, drawings, and photographs. The exhibition begins with Nawara’s imaginary landscapes seen from an aerial viewpoint that were made in the seventies and eighties. Next, an engaging series of thirty-two black and white photographs (1969-1989) presents sometimes quirky subjects selected mostly from Detroit area urban landscapes. Some these compositions were influential sources for subsequent oil paintings and large watercolor paintings that Nawara has produced from 1990 up to the present. No longer seen from an aerial viewpoint, these representational landscapes are based upon observation and interpretation of actual sites that are carefully selected.

Nawara has stated that he often prefers depopulated, nondescript, or non-picturesque sources, “The subject does not need to be obviously beautiful, grand, or pristine. I once found the foundation of an abandoned house more intriguing than an idyllic nearby waterfall. A large globe light set in a library lawn below a harvest moon, the geometric pattern of a partially demolished Detroit factory, and the stark, nighttime shadows on snow covering a backyard garden all became painting subjects.”

James Nawara, Installation image, Early work, Image Courtesy of DAR 2017

In the earlier imaginary landscape subjects, the terrain was seen from a low-altitude aerial viewpoint. Although invented, these compositions evolved from actual landscapes viewed from commercial flights, light aircraft, a helicopter and once a hot air balloon flight, as well as the artist’s interests in geology, optical phenomena, and prehistory. At a distance, the work might suggest abstract color field painting, exemplified by abstract color field painters like Jules Olitski in the 1980’s. Upon closer observation, the details reveal a plausible landscape that provides illusions of crop growth, archeological sites, subtle patterns, rock formations, long cast shadows, with both actual and illusionistic textures. These works have a feel for abstraction, something that would be carried through in Jim Nawara’s later work.

James Nawara, Trace, acrylic on linen, 1973

As an undergraduate at the School of the Art Institute of Chicago, Nawara studied under the mentor and famous photographer, Kenneth Josephson and also worked as a commercial photographer in Chicago. He went on to graduate school in painting at the University of Illinois, and studied photography there under another well-known photographer, Art Sinsabaugh.

James Nawara, Thirty- Two early Black & White 8 x 10″ Photographic Images

After completing his graduate degree in Illinois, Jim Nawara moved to Detroit to take a position as a drawing instructor at Wayne State University. His thirty-two photographs in this exhibition, most of which were taken in Detroit, have seldom been exhibited. He chose the rigor of always composing and printing the images full frame, un-cropped. The dates of these images overlap Nawara’s shift from aerial view subjects to landscapes based on ground-level views of actual sites. He was intrigued by the idea that an artist might be able to make art out of a “mundane” subject.

James Nawara, RESTEEL, oil on Linen, 1991

In the large industrial urban landscape, RESTEEL multiple layers of broken walls and windows of an abandoned factory draw the viewer into the painting. The foreground, mid-ground, and background all have their characteristics concerning light, shape, and color. It is an example of magical realism that presents an abstraction that is grounded in realism. In the foreground, the lower right brick structure plays off the left sheets of corrugated red metal, while the interior plays with a sliver of light. The imagery is divided into thirds both vertically and horizontally. It is a grid that provides us with a solitude that brings us back to multiple viewing. Each section of this oil painting is meticulously rendered, another reason viewers are compelled to take a long, hard look and become enveloped by this vestige of Detroit’s industry.

James Nawara, Blue Fence, oil on linen, 1999

In the small oil painting, Blue Fence, from 1999 is another example of Nawara’s strong composition, illusionistic space, and placement of color. He painted the blue fence, as well as a wedge of a red, white and blue sign on the far right in crisp detail. The fence, sign, shed walls, roof, and tree are carefully layered, like flats on a stage. It is evident that placement of these compositional elements is like an abstract collage.

James Nawara, Night Garden, Watercolor, 2007

Nawara’s Night Garden demonstrates a high level of technical facility with the watercolor medium. He poetically creates the stillness of fallen snow in his wife’s vegetable garden, illuminated by a strong floodlight on the back of their studio.

Working from a photograph, Nawara translated the textured snow with granulated watercolor washes, particularly as seen in the snowdrifts and snow-covered birdbath. This was an ephemeral subject, as all the snow melted by dawn. The entire painting was done with just three granulating watercolors, Holbein Ultramarine Blue Deep, Daniel Smith Lunar Black, and Holbein Prussian Green.

James Nawara, RHOMBUS, 40 x 50, oil on linen, 2008

Nawara’s 2008 40” x 50” oil painting RHOMBUS was used on the announcement for this exhibition. A rhombus is a geometric term for a parallelogram, like the shape of a diamond on playing cards. The rhombus in this painting is formed by a broken branch and its reflection in a flooded young woodland. Nawara was intrigued by the shimmering soft focus of the water surface, and the reflections of trees appear softly blurred by breezes, while the actual branches were rendered in sharp focus. Magic realism is in full play with this abstract composition, far from anything a traditional landscape painter would contemplate. Jim Nawara was pleased when a former student described his exhibition as “dreamlike”.

I had an opportunity to ask the artist a few questions:

Ron Scott: The title of your exhibition is PHENOMENA IN LANDSCAPE. What are some examples and what do you mean by Phenomenon?

Jim Nawara: Anything that may be of visual interest that is happening or that has happened in the landscape; also the evidence, or traces of natural and human activity in the landscape.

RS: When did the move from aerial imagery to horizon-based landscape take place and why?

JN: Actually, I made my first real drawings when I was about six years old and these were graphite pencil aerial view landscapes! This was after my first airline flight from Chicago to Minneapolis. My dad worked for Northwest Airlines, and he took my brother and me on a round trip to give my mom a one-day break. I was blown away by the views out the window and made drawings of what I saw as soon as I got home. Many years later I started drawing and painting aerial views again as a graduate student at the University of Illinois. Then after about twenty years, I moved away from aerial view landscapes in the late eighties. I felt that I had plowed the aerial view field thoroughly, and I wanted to move to other aspects of landscape.

RS: How much of the work is plein-air and how important is that process to the work?

JN: I have started a few paintings outdoors; but being a slow painter, I have never completed one outside. I found it stimulating, and I just kept seeing more and more information that I wanted to put into the painting! I use quick graphite sketches and photographs to define the compositions. I worked outside for two consecutive days on RESTEEL, the six-foot painting in this exhibition. Each day within two hours of my arrival the wind increased moderately, and the six-foot canvas turned into an uncontrollable sail pulling itself and me down the street!

RS: What role has photography played in your artwork? How is it used?

JN: My photography experience in and out of school has given me a good understanding of the differences between human vision and the way a camera records an image. This is crucial in understanding how to use a source photograph effectively for another medium.

RS: How would you describe the difference in oil on canvas work, and the works on paper? Is it more than scale? Is there something inherent in the media?

JN: Yes, oil and watercolor are just inherently different mediums with their characteristics and qualities. I enjoy both and often alternate between the two. The major difference is the fact that transparent watercolor dries rapidly and allows you to move forward quickly in a painting. However, you are very limited in removing color that has dried into the paper. Therefore, I have to plan out each watercolor several steps ahead. Oil paint allows you to move forward and back more easily, but each has its particular, wonderful charms.

RS: Which (living or dead) artist’s work are you most attracted to, and why?

JN: There are many wonderful artists who made excellent work. The first three that I immediately think of are Edwin Dickinson, Georgio Morandi, and (always) Johannes Vermeer. Check them out in books or online, but better yet, try to see some actual work in museums.

RS: What attracted you to these abandoned Midwest locations?

JN: I never select a site to paint because it is abandoned, though some are. I primarily consider my paintings abstract organizations of shape, color, light, and space. The paintings are always interpretations filtered through time, memory and imagination, as well as the physical process of painting. I often choose urban landscapes, but when I select a natural subject, I am interested in the effects of human activity great and small on the landscape. These events may be grand, unimportant, profound, or peculiar. I want to engage the viewer and to express something that is ineffable. My watercolor painting Lock shows a mosquito-ridden abandoned canal lock in Ohio that provided enough visual interest for me to make a painting.

The work in this exhibition spans Jim Nawara’s forty-six-year career as a professor of drawing and painting at Wayne State University. Artists and colleagues that know Jim kid him about his “brief” resume, a reflection of his record as an active exhibitor participating in solo and small group shows as well as more than 250 international, national and regional group exhibitions, not to mention the public and private collections that house his work. In 2007 Nawara had an exhibition at the Muskegon Museum of art, Overviews & Afterlands, that exhibited 22 works of art where the curator remarks say, “His landscapes are without figures, yet notated with marks of human activity and man-made forms. They are based on observation but driven by invention. They reflect the passage of time: changing light and shadow, remnants of man-made forms, the layering of a medium during the creative process.”

Jim Nawara earned a B.F.A from the School of the Art Institute of Chicago and an M.F.A from the University of Illinois, Champaign

The exhibition continues through Friday, December 8th, 2017

Wayne State University Art Department Gallery

Hours: Tuesday – Thursday 10 AM – 6 PM, Friday 10AM- 7PM

Art Department Gallery, 150 Art Building, 5400 Reuther Mall, Detroit, Michigan 48202

Matthew Hawtin @ David Klein Gallery

By Ron Scott

On October 2, 2017

In Paintings, Photography, Prints, Sculpture

Matthew Hawtin, Installation image at the David Klein Gallery, image courtesy of DAR

In his Solo Exhibition, Matthew Hawtin Presents Minimal Abstraction

It seems fitting to mention that abstraction has been with us since the Russian artist Wassily Kandinsky migrated his landscape to a purely abstract form on canvas sometime in late 1910. I always make the comparison to music, since instrumental music is abstract by nature—it does not try to represent the exterior world, but expresses in an immediate way the artist’s inner feelings, from Mozart to John Cage.

The David Klein Gallery opened the Matthew Hawtin exhibit September 9, 2017, with pure minimalist abstract objects executing perfected forms and pristine surface qualities. These shaped canvases rendered in primary/secondary colors, could not be executed more flawlessly. Some are on “torqued canvas,” others on fiberglass panels, all accompanied by a variety of exquisite surfaces. The copiousness of Hawtin’s invention, and his conception seem to allow him to explore each and every multiplicity of these ideas uniquely.

Matthew Hawtin, Stargazer, 45 x 45 x 19, Acrylic on Fiberglass paner 2017

Hawtin says, “Although each series has its own technical demands, they all live in aesthetic parallel that blurs the line between artistic disciplines. There is a determination to continually push the work forward through aesthetic variations, technical refinements and experimenting with new materials. Within this forward trajectory, there is an overall vision to create art that is ‘other-worldly’ and in a sense, futuristic.”

Matthew Hawtin, Cardinal, 42 x 44 X 12, Acrylic on Fiberglass Panel, 2017

The basic context for Hawtin is the color minimalist from the 1970s, including Ellsworth Kelly, Frank Stella, Kenneth Nolan, and Anne Truitt. The secondary would be the shaped canvas artist, revisited recently in an exhibition by Luxembourg & Dayan in New York, with artists like Lynda Benglis, Elizatheth Murray, and Charles Hinman. Hawtin’s work is a hybrid of these two concepts that fights hard against representational artwork and abstract expressionistic painting, with a large degree of success. The new works that fit into corners are particularly interesting and unique. These works, composed of parallelograms, diamonds, trapezoids, rhomboids, and circles, are reductively streamlined, solid in their color and simplified in their forms that, forty years later, remain robust and encompassing in an array of approaches, especially with respect to the surface material.

Matthew Hawtin, Working in the studio, 2017, Courtesy of Artnet

Born in England, and then moved to Windsor, Canada in 1979, Matthew Hawtin earned a bachelor of fine arts degree from York University in Toronto and an master’s in architecture from the University of East London, in London.

Bryan Graf’s Photographic images: DEBRIS OF THE DAYS

Bryan Graf, Interstates, Shortcuts, A Factory an Open Field and a Few Homes, 2016 c-Prints mounted with cleats, 40 Unique, 8 x 10″

In the second gallery at the David Klein Gallery, the artist Bryan Graf focuses on Photograms, one of the earliest forms of photography, to create abstract tension between text and image, in a variety of scale.

Photograms are images made without a camera by placing objects directly onto the surface of a light-sensitive material, such as photographic paper, and then exposing it to light. Like drawing or painting, the process is like creating a collage without the need for scissors or glue. Rather, Graf has become highly skilled at controlling the process in the darkroom using color, shape and composition.

Bryan Graf, Chromatic Aqueduct, 40 x 74″ 2016, Unique Photogram and C-Print

Director of the David Klein Gallery, Christine Schefman says, “The photographs in Debris of the Days originate in a garden. It is a cultivation of ongoing works not limited to themselves, but rather a procession of generative images. Graf integrates his own gestural activity into the work by utilizing materials gathered on site as well the use of manipulations in the darkroom. His inquiry into the positive tension between text and image, as well as literary and musical influences, are evident in the arrangement of works for this show. His practice continues to reveal his interest in the history of photography and its relationship to design, painting and narrative fiction.”

Bryan Graf earned a bachelor of fine arts from the Art Institute of Boston and a master of fine arts from Yale University in 2008.

The exhibitions by Matthew Hawtin and Bryan Graf run through October 21, 2017

David Klein Gallery