Dominique Gonzalez-Foerster at Dia, Gus Powell for The New YorkerThe September 28, 2009 issue of The New Yorker has this image at the top of the Goings On About Town page. It stopped me in my tracks and I have returned to examine it daily since. The image is in conjunction with the opening of Dominique Gonzalez-Foerster's chronotypes & dioramas at Dia at the Hispanic Society in New York. A very intriguing statement and examination on what is geography.
What keeps me coming back to the photograph is the apparent summation of Sommers' idea that painting is additive while photography must make sense of what exists for framing, and thus by re-framing that existence, becomes something new.
I have long admired Gus Powell's work. This photograph was love at first sight.
Side Note: be sure to follow the above link to the Dia Art Foundation site to read the exhibition introduction by Curator Lynne Cooke. Did you know that dioramas were first devised by Louis Daguerre? Neither did I!
What keeps me coming back to the photograph is the apparent summation of Sommers' idea that painting is additive while photography must make sense of what exists for framing, and thus by re-framing that existence, becomes something new.
I have long admired Gus Powell's work. This photograph was love at first sight.
Side Note: be sure to follow the above link to the Dia Art Foundation site to read the exhibition introduction by Curator Lynne Cooke. Did you know that dioramas were first devised by Louis Daguerre? Neither did I!
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