Exhibition : « The Sun Room » by Bryan GrafPress release
The Sun Room
October 27 - December 3, 2016
Yancey Richardson Gallery is pleased to present The Sun Room, the fifth solo exhibition by artist Bryan Graf. In his latest work, Graf ventures deeper into his exploration and interpretation of place through experimental, process-driven photographs. As with several of Graf’s earlier series - Wildlife Analysis, Field Recordings and Broken Lattice, location and landscape play a central role in his work.
In The Sun Room, Graf has created site responsive recordings of his experiences in the compromised natural landscapes of the Los Angeles River, New Jersey’s Dismal Swamp and his own studio setting in central New Jersey. The “sun room” describes the greenhouse-like structure that serves both as the artist’s...
Bryan Graf and Mary Lum exhibitions open at Yancey RichardsonYancey Richardson is pleased to present Prismatic Tracks, the fourth solo exhibition at the gallery by American artist Bryan Graf. As with his previous exhibitions – Wildlife Analysis, Field Recordings and Broken Lattice – Graf’s new works explore the tensions between control and chance. All of the works in Prismatic Tracks were produced as unique, camera-less photograms, a process by which the artist can exert certain constraints while purposefully leaving other elements beyond his control. Throughout the body of work, Graf employs mesh as a metaphor for structure, order, and systems, and light as a variable element. As Graf describes:
“A track is a recording. A track is a path made by physical activity. Prismatic Tracks is an optical research into kinetic photograms made with light, mesh scre...
« Second Nature : Abstract Photography Then and Now » s'expose au DeCordova Museum
« It is another nature which speaks to the camera rather than to the eye » Walter Benjamin, Little History of Photography (1931)
Abstract photography challenges our popular view of photography as an objective image of reality by reasserting its constructed nature. In Walter Benjamin’s essay on the history of photography, the philosopher and critical theorist articulates photography’s « second nature » as its inherent ability to detach and abstract the visible from the real. Non-representational photography lives in this contested middle ground between material reality and photographic illusion—fact and fiction—first and second natures. Today, anyone who has a cell phone can take and send digital pictures instantaneously. In response to this snapshot culture, many art...