The First Art Newspaper on the Net    Established in 1996 Friday, October 22, 2021


Maureen Paley opens a solo exhibition of works by Sarah Jones
Sarah Jones, Screen (Orphee) (I), 2021. Framed c-type print from black and white negative mounted on aluminium, 60 x 48 cm © Sarah Jones, courtesy Maureen Paley, London.



LONDON.- Maureen Paley is presenting the sixth solo exhibition by Sarah Jones and her first in the gallery’s new location at 60 Three Colts Lane.

The new work by Sarah Jones builds upon her distinct photographic language that dissolves the hazy glare of day into the weight of a photographic night, condensing a recognizable sense of location with the photographer’s studio. Her subjects and objects are chosen as much for their illusionary surfaces as for their metaphysical and metaphorical potential. The imagery in her latest work references Cocteau’s 1930 film Le Sang d’un Poète (The Blood of a Poet), the first film in his Orphic trilogy, in which the artist-protagonist enters a parallel dreamscape of hallucinogenic allegories hidden behind doors, screens and windows, or found in fluid mirrors. By merging three-dimensionality and transparency into the two-dimensional photograph, Jones’ work suggests a space for possibility that serves as both a memento mori and a way to re-animate a scene.

A preserved magpie appears on a faux natural wooden perch in Magpie (Camera) (I) and (II) - stilled again by the artist’s camera. Known to be a singular creature that collects objects that catch the light, the magpie’s behaviour can be seen to resemble the optics of a camera lens. Jones’ magpie is shaped by the mechanics of the image and is presented once, and, once more in reverse, as if reflected in a mirror. Mynah (Mimic) (I) presents an example of this particular bird set in an artificial tableau. Muted within the image, mynah birds are known for their ability to imitate the human voice and other ambient sounds.




The act of mirroring is further evident in a diptych that describes a flowering mimosa tree – a plant that mimics and responds to engagement by curling its leaves on touch. Mimosa (Actor) (I) and (II) unfolds from a central axis, each image reflecting the other. In Screen (Orphée) (I), circular mirrors reflect a dark cloth that hangs between them and the camera, conflating opacity and transparency within the image. In another image a mirror ball, Mirror Ball (Narcissus) (II), hangs in the studio, suspended in a darkened photographic space above its own eternal reflection, while Torch Lily (Icarus) (I) presents an entwined plant, set into a photographic night, following its own phototrophic desire to bend upwards towards the light.

Jones’ imagery continues to allude to the photographic understanding of the collapsing of time and space. Desert Rose (I) depicts the petal-like growth structure of a crystal that forms through deep time into an ossified mirage of a plant, while air bubbles appear suspended in the blown glass sphere of Le Sang d’un Poète (for Cocteau) (I). Through these works Jones asks what a photographic image can ever really hold of its subject’s actuality, and suggests a multi-layered photographic realm built on slow looking.

Sarah Jones lives and works in London. Previous public solo exhibitions include New Pictures 8, Minneapolis Institute of Arts, Minneapolis, USA, 2013; Sarah Jones: Photographs, National Media Museum, Bradford, UK, 2007; Huis Marseille Foundation for Photography, Amsterdam, The Netherlands, 2000; Museum Folkwang Essen, Germany, 1999; Centre for Photography, Universidad de Salamanca, Spain, 1999; Museum Reina Sofia, Madrid, Spain, 1999; Le Consortium, Dijon, France, 1997.

Group public exhibitions include Unearthed: Photography’s Roots, Dulwich Picture Gallery, London, UK, 2021; Summer Exhibition, Royal Academy of Arts, (room curated by Jane and Louise Wilson), London, UK, 2020; Home Sweet Home, 1970-2018: The British Home, A Political History, Les Rencontres D’Arles, Arles, France (C), touring: Institut Pour La Photographie, Lille, France and Un monde, un seul, pour demeure, FRAC Nouvelle-Aquitaine, Bordeaux, France, 2019; Je est un.e autre, FRAC Poitou-Charentes - Angoulême, France, 2018; 10 YEARS OLD, Fondazione Fotografia Modena, Italy, 2017; Paradis perdu, FRAC - Nord-Pas de Calais, Dunkerque, France and Contemporary Photography from North West Europe. Chapter I, Fondazione Fotografie Modena, Italy, 2015; Nouvelle Génération, FRAC Nord-Pas de Calais, Dunkerque, France, 2014; Seduced by Art: Photography Past and Present, National Gallery, London, UK, CaixaForum Barcelona and CaixaForum Madrid, Spain 2013; Der Mensch und Seine Objekte, Museum Folkwang, Essen, Germany, 2012; Observers: Photographers of the British scene from 1930s to now, Galeria de Arte do Sesi, Avenida Paulista, Sao Paulo, Brazil, 2012; Signs of a struggle: Photography in the Wake of Postmodernism, Victoria and Albert Museum, London, UK, 2011; A Sense of Perspective, Tate Liverpool, UK, 2011; Street & Studio: An Urban History of Photography, Tate Modern, London, UK and Museum Folkwang, Essen, Germany, 2008.










Today's News

July 24, 2021

A painting or an NFT of it: Which will be more valuable?

Jewish burial records among items seized by U.S. authorities

Ed Atkins and his mum are starring in a museum show

Frist Art Museum opens major Kara Walker exhibition

Splash of colour: UK beach huts brighten pandemic gloom

Suzanne Cotter appointed new Director of the Museum of Contemporary Art Australia

White House on defensive over Hunter Biden art sales

Salzburg festival hall, a world temple in the sound of music

Vladimir Menshov, surprise Russian Oscar winner, dies at 81

Fans honour Amy Winehouse in London decade after her death

Meadows Museum announces appointment of two curatorial fellows

Maureen Paley opens a solo exhibition of works by Sarah Jones

Belvedere 21 presents 'Lois Weinberger: Basics'

Rare Campaign sofa comes up for auction at Bellmans

'En Plein Air Reloaded: Green Fuse' opens at Black & White Gallery / Project Space

Transformed Asian Art Museum unveils new pavilion with teamLab: Continuity

Nobel Prize awarded to immunogeneticist George Snell in 1980 to be auctioned

Avignon Festival forges ahead, despite virus restrictions

Romania mining town Rosia Montana eyes UNESCO restart

The music scene in this Brooklyn neighborhood is here to stay

At Salzburg, Don Giovanni gets no pleasure from seducing

A violinist on how to empower Asian musicians

Oscar Murillo unveils his global project Frequencies at his former school in Hackney

Great Barrier Reef avoids UNESCO 'in danger' listing

How to Improve Your Creative Skills?

Selecting The Best Bathroom Accessories

How Do You Pick The Best Windows For Your Home?

Is There A Chance I Could Lose My Job For A DUI?

If I've Been In A Vehicle Accident, Do I Need A Lawyer?

What Are The Costs Involved In Window Installation?

How Do I Go About Finding The Right Window/Door Materials?

Tips to Select the Perfect Gift For a Picky Individual




Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .

 



Founder:
Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
produces:

ignaciovillarreal.org avemariasound.org juncodelavega.com facundocabral-elfinal.org
Founder's Site. The most varied versions
of this beautiful prayer.
Hommage
to a Mexican poet.
Hommage
       

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful