December Studio Updates
- I’m slowly building the chapters that will make up my next book, scheduled for release next summer. Keeping the work quiet until…
- January 1st, when my new site will be live. There will be a preview of the book then (and there are some new images on my site now).
- I will be spending February 2014 buried in northern darkness in Syracuse, NY for a Light Work residency.
- Beginning to fabricate new sculptures for shows at Andrew Rafacz Gallery and the Museum of Contemporary Photography next year.
- Looking for venues for book release events around the US next summer and fall. Please be in touch!
- I continue to make a living doing commissioned work for magazines. I’m available for any and all jobs :)
GMO vs non-GMO farms in Iowa, photographed for Modern Farmer. On stands now.
I am now represented by Andrew Rafacz Gallery in Chicago. I’m happy to be in the good company of many friends and sources of inspiration.
Andrew will be at Untitled this week in Miami as part of the art fairs, stop by. I will also be down there, say hi :)
Images from last week’s lecture:
Henri Fox Talbot
Primary Structures Exhibition
O’Gara #12 Coal Tipple, Muddy, IL, 2012
Blue Island, IL (Sun in Cave), 2012
lost somewhere in southern illinois, winter in early 2013, checking into a motel at 3 am
Banks and Breese, 2012
The purview of the deus ex machina also elicits the theoretical concept of technological singularity which potentially carries profound implications for future populations. Geissler and Sann seem to caution us that the deeper ensconced we become with machine intelligence, we must acknowledge the transformations of man and nature that could result. Do those transformations embody our hopes of a transcendent becoming, an evolution, into a more sustainable configuration? Or on the converse, do they take the form of entropy, some inescapable Samsa-esque undoing? Both thoughts insinuate modifications of the body and consciousness of living organisms, as well as the structural world at large (represented by the landscape of dead monitors). Through the works in Cryptids, Geissler and Sann provide no explicit answers – only to suggest the possibility of an altered course of civilizations in an altogether unknowable, unclassifiable, ever-changing flux of existence.
Greg Ruffing’s excellent review on the new(ish) Chicago Artist Writers site of Beate and Oliver’s recent Chicago exhibition.
Blood Orange for The Fader, edit up on my good ole site.