THE PHOTOBOOTH BLOG
September 12, 2008

We’re expanding the scope of Book Week to include not only new and recent works, but works that are new to us; in this case, two recently acquired exhibition catalogs of work by the best-known photobooth artist working today, Liz Rideal.

rideal_collages.jpg

The catalog for Rideal’s “Photobooth Collages” show at the Photographers’ Gallery in London in 1990 is a small, square volume that features images of Rideal’s work along with an essay about her work, her process, and her interests by David Chandler.

collages_01.jpg

For the most part, the works contained in Collages are representative, with subjects ranging from a strawberry (“Spring,” in a four seasons project) to a woman holding her finger to her mouth in “Shhhh…” One of the most interesting items in the show is a nearly ten foot-long adaptation of five bars of Purcell’s “The Fairy Queen” from his 1692 autograph score. Not only are the staffs, bars, and notes recreated with abstract black shapes on a white background, but every once in awhile, Rideal’s hand is visible at the top of an eighth note or the bottom of a bar line, reminding the viewer of the scale of the piece and of its origin in the photobooth.

collages_02.jpg

Eleven years later, in March of 2001, Rideal opened a show called “Stills” at Lucas Schoormans Gallery in New York City, and the catalog for that show provides a look at a very different stage in Rideal’s career.

rideal_stills.jpg

Most of the pieces presented in the catalog are large (3′ x 4′) grids of color photostrips depicting flowers, plants, and other items on color backgrounds. Some pieces are enlargements of just a few frames from a pair of photostrips, but all of them share a sense of repetition and abstraction.

stills_01.jpg

The catalog includes two essays, by Norman Bryson and Charles Darwent, that explore Rideal’s inspirations, her technique, and her significance.

What happens, then, when the products of the photo-booth are tranposed to the domain of art?” asks Bryson. “For that is Liz Rideal’s opening move, one whose extraordinary consequence her work continues to trace. It is as though the split between official propriety and secret dissidence were now elaborated and amplified, made deeper and more complex, on the gallery walls.”

stills_02.jpg

Brian | 12:17 pm | Art

Comments are closed.

ysl replica handbags robes de soiree 70-177 louis vuitton replica handbags 70-640 hermes replica handbags 70-411 mulberry replica handbags 70-480 louis vuitton replica handbags 70-410 70-411 70-486 70-177 70-413 70-414 louis vuitton replica handbags 70-640 400-101 louis vuitton replica handbags prada replica handbags louis vuitton replica handbags givenchy replica handbags louis vuitton replica handbags hermes replica handbags Robes de cocktail MB2-703 MB5-705 MB2-700 Robe de bal en ligne 70-488 70-461
70-410 70-640 robes de mariee violet celine replica handbags ysl replica handbags robes mariee pas cher 99 149 70-410 070-411 fendi replica handbags louis vuitton replica handbags robes de mariee Robes de bal louis vuitton replica handbags robes de mariee louis vuitton replica handbags givenchy replica handbags Robes de mariee 70-412 70-411 70-410 Robes de soiree 70-412 70-411 70-410 Robes de soiree