Photography’s Not possible Endeavor at Freezing Time3 min read
SAN FRANCISCO — In order to practical experience the passage of time, we will have to freeze it in location. This is the subtle paradox at the coronary heart of Regarded as Interactions, a group clearly show of black-and-white pictures at Casemore Kirkeby in San Francisco. The 5 artists included make use of a array of strategies to activate area and time in just the static image as a signifies of interrogating the medium’s capacity to collapse each into a singular, suspended minute.
The centerpiece of the exhibition is John Divola’s “ENSO: 36 Right-handed Gestures” (2018), a grid of 36 gelatin prints of pics made in the deserted housing tract at an Air Pressure base in Southern California. Divola has altered the deteriorating room by painting circles on the walls all around distinct details within every picture frame (stains, bullet holes, drinking water destruction). By highlighting aspects of the wreck, Divola reveals especially how pictures protect.
Steve Kahn, who also shot in dilapidated interiors — notably one condominium sophisticated in Los Angeles in the course of the mid-70s — approached the matter of photographic entrapment differently, staging areas which usually appear inescapable. “Running” (1976/2016) is a cinematic, triptych pigment print, in which a determine is seen dashing toward a doorway, showing to move ahead in just about every frame. Intelligent cropping provides the piece its heightened sense of movement, the figure’s entrance conclusion cut off by the edges in two photos and then by the doorway in the 3rd. It gets to be really hard not to see each frame as a doorway in and of alone to be entered or escaped, each individual picture a moment of time held hostage.
Artist duo Raymond Meeks and Adrianna Ault experiment most didactically with the medium’s energy to seize time. In the seven-print collection Winter Farm Auction (2019), the two memorialize the titular event by photographing farm tools tossed in the air. The images capture the essence of allowing go: the uncertainty and underlying dread of what will appear subsequent.
Tarah Douglas’s sequence of pigment prints, Untitled (no 1-15) (2020), alternates frames involving two figures — a person roaming a hilly landscape in lookup of something, the other kneeling on a seaside, executing what appears like a collection of rituals with various objects, this sort of as flowers, a e-book, and a pair of binoculars aimed again at the viewer. Right here, Douglas reveals how pictures, much too, is a ritual of seeking, a document of on the lookout for and at anything, a selection of times designed with a extensive-solid net.
There is some thing anxious about photos. Whatever the distinct visible matter of a photograph, its implicit matter is usually the passage of time itself a photo’s presence indicates the dread of its absence, the artist’s concern of time slipping absent. The performs in Thought of Interactions stress this pressure, every artist deciding upon visual topics elucidating the transience that images defy. The strategy that just one could steal a moment of time usually feels a little transgressive to me. But which is 1 of the good pleasures I take from looking at photographs — looking at somebody endeavor the difficult.
Considered Interactions is on look at at Casemore Kirkeby gallery (1275 Minnesota Avenue, San Francisco, California) through Might 28. The exhibition was arranged by the gallery.