As the Crow Flies
5 SEPTEMBER – 10 OCTOBER 2014
The Austrian-American visual artist Marisa Baumgartner returns to Galerie d’(A) for a second solo exhibition, As the Crow Flies. Comprising mostly of acrylic and metal leaf on photographs, Baumgartner sources her images for this series primarily from NASA (the National Aeronautics and Space Administration of the United States) and ESA (European Space Agency).These public domain satellite images are removed from their original geo-environmental context and abstracted.The artistic interference suggests a similarity between art and the visual manifestation of the earth we inhabit,while undoubtably highlighting the escalating transformation of our environment.
As the Crow Flies includes four main series of work. Tempests and Volcanos most closely relates to Baumgartner’s previous work exhibited at Galerie d’(A), Overpaints. In these images the artist converses with the “white painting” of minimalism,“painting out” the photograph to create an image that is largely white. This continues a formal dialogue of using the pixel as paint, as well as starting a new, more political discussion of the traces left by climate change. Arteries represent Baumgartner’s newest direction in which she applies solid gold and sterling silver leaf to images, mostly of rivers and city centers. The material often highlights an area of flood,both literal in terms of a waterway and metaphorical,related to city sprawl and decay.The images themselves are striking, exhibiting unnaturally bright colors, often enhanced by infrared and false color imagery, with wild organic shapes and forms more reminiscent of the work of fellow Austrian artists Gustav Klimt and Friedensreich Hundertwasser than our everyday environmental surroundings. Melt features oozy, shiny black paint, reminiscent of tar, taking over near bare glaciers. The physicality of the paint strikes deep, reminding us of the physical and metaphorical residue remaining after the melt. Masks is a small series of four overpainted portraits. Using found images she discovered scavenging through a prop shop in New York City that sells items previously used in movie and TV sets, she painted on the glass framing the faces of these anonymous century old portraits. Their anonymity is intensified with these effective black masks, while still allowing a forced peak at what is below through the gap in the glass and image. These portraits are singular in subject matter, reminding the viewer that we are an intricate part of the shape our world takes.
As the Crow Flies, an expression first coined in The London Review of English and Foreign Literature in the mid 18th century, is literally defined as: in a direct line, without any detours caused by following a road. Outside of our huge network of ground systems and controls, a crow has the liberty to take the most direct route from A to B, a parallel method to the one utilized by a satellite. Optically, the phrase describes a bird’s eye view, the viewpoint of all of Baumgartner’s works in this series. Symbolically,the crow is a mythological icon present in almost every culture across the globe. The crow is a highly intelligent omnivorous predator that never eats an entire animal, leaving something remnant of the original, still recognizable yet greatly altered. analogous to the overarching theme of this exhibit, our current interaction with our environment and the small gestures being made to halt this process.
Born in 1980 in Washington, D.C. (USA), Marisa Baumgartner lives in New York City. The artist received a Bachelor of Fine Arts from the Rhode Island School of Design in 2002 and she received her Masters of Fine Arts from Yale University in 2006. Marisa Baumgartner exhibits throughout Europe and the USA and has had two solo museum exhibitions at the Rosenwald Wolf Gallery (Philadelphia) and the American University Museum (Washington DC). She has been reviewed by such publications as Art in America, The New York Sun, The Washington Post, Artline and Faces 69. She was published by Rizzoli in,“New York : A Photographer’s City”, edited by Marla Hamburg-Kennedy, alongside great contemporary photographers such as Roe Ethridge, Vik Muniz and Josef Hoflehner. Her work most
recently was exhibited at the Opéra de Lausanne where it was purchased and is now on permanent display.
Marisa Baumgartner is represented by Galerie d’(A) in Switzerland.
PRESS RELEASE CONTACT
GALERIE D’( A ) JACQUELINE BETTINELLI AVENUE DU LÉMAN 20 CH-1005 LAUSANNE SWITZERLAND
T. + 41 21 311 35 01 M. + 41 78 778 59 02 www.galerie-d-a.com email@example.com
On view: May 5 – June 24, 2012
Opening reception: May 5, from 5-7pm
Gallery hours: Wednesday – Sunday, 12-5pm and by appointment
The Center for Photography at Woodstock (CPW) is pleased to announce Surface Tension, its Spring 2012 exhibition. Curated by CPW staff members Ariel Shanberg and Akemi Hiatt, Surface Tension features photo-based works by 11 artists who establish new languages within photography wherein our notions of the “photographic” are challenged and expanded.
On view from May 5 – June 24, Surface Tension highlights imagery that defies the illusionary connotations of photography, choosing rather to instigate tension whether physical or psychological upon the surface of the photograph.The artists featured subvert conventional expectations of the medium via gestures of abstraction, deconstruction, and manipulation of the image by the artists’ hand. In their hands, the print – as a three dimensional object – is as much at play as their methodology which gives form to the transmutable nature of photography.
Marisa Baumgarter (NYC) digitally manipulates and partially erases elements from photographs she has taken of interior and exterior spaces. The final work, which will be presented as a site-specific vinyl wall installation in CPW’s galleries, uses layers and form to break down notions of perception.
Visiting lakes and reservoirs across the western United States, Matthew Brandt (Los Angeles, CA) creates color photographs that are then soaked in the specific lake or reservoir water that they represent. Days, weeks, and even months of submersion impact the print with wild color shifts and areas of blank space.
Christopher Colville’s (Phoenix, AZ) images are made by igniting gunpowder on the surface of silver gelatin paper. The resulting explosion causes light and energy to abrade and expose the photograph in a camera-less process which harkens back to the beginnings of photography.
Megan Flaherty (New City, NY) documents the shared university work surfaces marked by students training to be artists, some of which have been in use for decades. Shot on a flat plane with no horizon, pen marks, paint splatters, stencils and gouges transform into remnants of the tension and output of the creative process.
Influenced by the proliferation of new media and an increasing awareness of our own identites, Joseph Heidecker (NYC) explores the constructed sense of self with hand-manipulated found photographs. In stitching “masks” with beads and string, he reveals or conceals certain elements of the figure within the frame.
Mark Lyon’s (Marlboro, NY) Landscapes for the People series catalogues the use of sublime landscape photography as wallpaper in clinical environments, representing a sustained investigation into nature and artifice through the process of re-photographing photographs.
Evincing a fascination with the science of sight, Aspen Mays (Los Angeles, CA) uses a hole punch to physically remove each star from an image of the night sky. The work calls into question the expectation of photography as a documentary medium, as the constellations serve as a record of their own removal.
Klea McKenna (San Francisco, CA) folded 57 paper airplanes made from light-sensitive chromogenic paper and exposed them to the sun for a period of 10 hours near a WWII anti-aircraft lookout. An indelible record of that moment, the final installation alludes to the triangular form of a fighter jet in deep black, fiery red and yellow.
A former volunteer conservator at the Metropolitan Museum of Art, Alison Rossiter (NYC) collects expired, vintage photo paper dating as early as the 1900s. She pours developer directly on the surface of the paper, creating abstract, fluid forms which reintroduce unpredictability into a process that is now commonly digitized.
Paul Mpagi Sepuya’s (NYC) process involves constant printing, editing, re-appropriation and re-creation of portraits and still lifes he has taken. In using photography as a tool to collect images and to explore the relationship to and among art objects, he has created an installation in CPW’s space which acts as a collapsed document of time, space, subject, and artistic process.
With an eye for saturated color and luminosity, Brea Souders (NYC) arranges materials like mirrors, fabric, and magazine cut-outs to design images that are visually and psychologically compelling. Surreal and disorienting, she experiments with abstraction and flatness of the medium, contesting the expectations of the viewer.
Not unlike the revolution that Painting experienced over a century ago, as various techniques and processes have been freed within Photography over the years from the responsibility of “depicting images” and “telling stories”, photographers are more and more exploring the ontology of various image-making processes. Through the artists in Surface Tension, we are witness to the establishment of new languages that couldn’t have been imagined prior to the advent of Digital Photography, and which has allowed for a renewed investigation of aesthetic diction throughout the medium.