While sitting quietly on the train this morning, I observed an interesting man sitting across from me. His dress seemed not of this time period. He was quickly thumbing through the newspaper, not really stopping to study any particular article. In fact, after he flipped through the entire paper, he closed it, and then began again from the beginning. He did this several times before landing on the headline "Obama Resets Ties to Russia, but Work Remains." He chuckles.

Eventually he looked up and our eyes met. Embarrassed, I looked away. Haven't I seen this person somewhere?

At that point the man put down his paper and sat down next to me.

"Hi" he said.

I nodded in reply and told him that my name was "Bill."

The train slowed. He got up, smiled, and told me that his name was "Franz."

I hope that I see him again.

After Color

An exhibition announcement from the Humble Arts Foundations for a show called After Color caught my eye. The curatorial statement says this about the show: "After Color examines how artists employ conceptual black-and-white photography to strengthen their ideas and how such usage comments on the dominance of large-scale, color photography as seen in the contemporary art world over the last 25 years."

I enjoyed this image of a well-used chalkboard:


Matthew Gamber, Untitled (Chalkboard 4), 2006,archival inkjet print, 40 x 50 inches, edition of 3

The chalk and the marks on the board abstractly blend together, suggesting layers of history, but not revealing any specific moment in that history. The marks blend together to become their own unique moment. In the way that these bold marks suggest Abstract Expressionist paintings, we learn that the marks of everyday life contain a poetry and expression equaled to the ones in "real works of art." And so the circuitous discourse on "what is art" continues. It's also an interesting corollary to film: just as the chalk board crumbles into dust (pun intended) and is replaced by the computer, so does film.

Apparently the box in this image uses light to treat seasonal depression:


Michael Vahrenwald, Feel Better Too!, 2006, silver gelatin print,
16 x 24 inches, edition of 5 +2 AP

The glowing box seems ominous as it confronts my gaze, and I can almost hear a mono-toned hum emit from my computer screen. It leaves me to wonder, especially as a photographer, what roll does light play in our lives? How does it shape us and affect our mood? And finally, what dire consequences does artificial light, which we spend most of our day under, bring? Can the light that is emitted from a man-made box actually make me feel as good as the sun?

Both of these works, and others in the show, effectively use a black and white palette to convey ideas. It is nice to see other contemporary artists that are attempting to communicate without color.

See more from the exhibit HERE.

BG

Chicago Project III

"Near Berwyn and Lakeshore Drive," 2006, from the series Finding Walden: Photographs from the Chicago Park System, 36" x 24," Archival Inkjet Print.


"Near Wilson and Lakeshore Drive II," 2006, from the series Finding Walden: Photographs from the Chicago Park System, 36" x 24," Archival Inkjet Print.

This Friday, The Chicago Project III, a group exhibition showcasing unrepresented artists, opens at Catherine Edelman Gallery. The exhibition includes artists Shannon Benine, Philip Dembinski, Bill Guy, Eric Holubow, Julie Meridian, Jason Robinette, James Rotz, David Schalliol, Daniel Shea, Sarah Stonefoot, Leasha Overturf and Alan Thomas. Click HERE to preview images from the upcoming show.

Here is information on the exhibition and opening reception:

The Chicago Project III
Selections from Our Online Gallery
July 10 - September 4, 2009
Opening Reception with the Artists
Friday, July 10, 5:00 - 8:00pm

Information on the gallery:

Catherine Edelman Gallery
300 W. Superior St.
Chicago, IL 60654

I hope to see you there.

BG

Just read a nice NY Times article on poet and Provincetown local Mary Oliver. She is inspired to write and think during long walks in the local wilderness. According to the NY Times article, "once, she added, she found herself in the woods with no pen and so later went around and hid pencils in some of the trees."

Read the rest of the article HERE.

I owe a nice person a print of the above image. And though it was already one of my favorites, I liked it even more after this nice person shared a story about the image:

"I've really like this picture ever since you showed it to me in class one day and I'm crossing my fingers that it makes the final cut. It's a wonderfully isolated moment in a busy location. Also, I think I've seen that guy feeding pigeons in Daley Plaza more than once. He looks miserable until he arrives at the middle of the plaza where he opens his briefcase and takes out a large container of bird food. Before the food even hits the ground, a flock of pigeons surrounds him in what seems to be the happiest moment of his day. I can't tell if seeing him makes me feel more happy or sad."

Finding Walden Review

Read a nice review about my exhibit at the Peggy Notebaert Nature Museum HERE.

Soulages

I bet the works of French abstract painter Pierre Soulages are pretty cool in person:


14 Avril 1958




1956

In his early works, he applied paint with a spatula and knife, which created very expressive gestures and forms.

His entire career is dedicated to working with different variants of black.

The above photograph is relevant to my earlier post on the Theory of the Derive and how said theory relates to my work. This narrow space is located across the street from Chase Plaza (a very popular area in the summertime where people meet to talk and eat their lunch) and acts as a walk way for people going about their day. The string of lights along the wall to the left clearly indicates that the designers intended for people to use the space. Why else would they take great strides to make sure such a narrow space was properly illuminated? Did they, however, intend for people to congregate their during lunch and smoke breaks? A much tighter space compared to the neighboring Chase plaza, it doesn't seem like a zone that would be conducive to congregating--but people do. Perhaps people like being slightly hidden in a slightly darker and slightly quieter space.

It's so hidden, in fact, that I've walked pass the corridor tons of times on my way to Gallery 37 without noticing it.

If I see my work as a whole, with Take Me To being part I, and Finding Walden being part II, this image foreshadows the private moments that people seek in the public space of the parks.

Hammershoi

Just because one works in color doesn't mean that those colors have to be punchy and loud. In fact, quiet and subtle can be quite beautiful. I'm enjoying these works by Danish painter Vilhelm Hammershoi (1864-1916):









Apparently he and his wife lived a quiet, ascetic life style. Their apartment was mostly empty. All of the woodwork was white, the walls trimmed in gray, and the floor boards were stained dark.