new directions - crossing territories

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The New Directions 2012 exhibition concerns itself with the wide-ranging ways in which contemporary photographers are addressing the intersection between form and content in photography — whether consciously as artists, or by way of my interpretation of their artworks, from the standpoint of a curator.

Considering the photograph as both image and physical artifact is of fundamental interest within this context. In selecting the photographs for this exhibition, I was particularly concerned with showcasing photographic artworks that demonstrate a marriage between the chosen subject and the manner in which they were either made or finally printed and presented.

In this exhibition we see examples of the ‘unique object’ in the work of Odette England, Laura Wulf and Heidi Kirkpatrick, a direct concern with photography’s essential components - whether that be light, chemicals or time for example, as evident in the work of Harold Ross, William Miller and Brook Reynolds. Meanwhile, we see a resurgent exploration of alternative processes in the work of Tami Bone, Daniel Dean Palmer, S. Gayle Stevens and contemporary contributions to photo montage in the work of Collette Campebell-Jones. Whilst Zelda Zinn and Norishisa Hosaka embrace digital technology to make images, artists such as Bryan David Griffith, remind us of the seemingly simplicity of the monocular view of the camera.  Art is not produced in isolation of the social/cultural times in which it is made, this is aptly demonstrated in the seemingly straightforward work of Photographer Hal, Greer Muldowney and Cathrin Shulz.

Together, the photographers in this exhibition demonstrate and impressive and imaginative use of  photography’s old and new tools to push photography to its very limits, whilst maintaining the integrity of the photograph itself.


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The New Directions 2012 exhibition concerns itself with the wide-ranging ways in which contemporary photographers are addressing the intersection between form and content in photography — whether consciously as artists, or by way of my interpretation of their artworks, from the standpoint of a curator.

Considering the photograph as both image and physical artifact is of fundamental interest within this context. In selecting the photographs for this exhibition, I was particularly concerned with showcasing photographic artworks that demonstrate a marriage between the chosen subject and the manner in which they were either made or finally printed and presented.

In this exhibition we see examples of the ‘unique object’ in the work of Odette England, Laura Wulf and Heidi Kirkpatrick, a direct concern with photography’s essential components - whether that be light, chemicals or time for example, as evident in the work of Harold Ross, William Miller and Brook Reynolds. Meanwhile, we see a resurgent exploration of alternative processes in the work of Tami Bone, Daniel Dean Palmer, S. Gayle Stevens and contemporary contributions to photo montage in the work of Collette Campebell-Jones. Whilst Zelda Zinn and Norishisa Hosaka embrace digital technology to make images, artists such as Bryan David Griffith, remind us of the seemingly simplicity of the monocular view of the camera.  Art is not produced in isolation of the social/cultural times in which it is made, this is aptly demonstrated in the seemingly straightforward work of Photographer Hal, Greer Muldowney and Cathrin Shulz.

Together, the photographers in this exhibition demonstrate and impressive and imaginative use of  photography’s old and new tools to push photography to its very limits, whilst maintaining the integrity of the photograph itself.


close