The First Art Newspaper on the Net    Established in 1996 Sunday, September 25, 2022


Galerie Miranda opens an exhibition of works by Ellen Carey
Ellen Carey, Crush & Pull with Rollback & Penlight (YMC) 2021 (triptyque). Polaroid 20 X 24 Color Positive (3) and Negative (3) Prints = 6 total prints 60”H x 22”W (each) or 20”H x 66”W (suite) 150 x 56 cm (each) or 150 x 168 cm (suite) Unique.



PARIS.- Let There Be Light: The Black Swans of Ellen Carey opens as a visual vade mecum at Galerie Miranda in spring 2022. A première for her new bodies of work, and the artist's second personal exhibition at Galerie Miranda, Ellen Carey’s handbook guides us through photography’s nearly two centuries’ arc of light, photogram, colour and Polaroid as seen in her constantly intersecting practices Photography Degree Zero (Polaroid) and Struck by Light (darkroom).

Crush & Pull with Rollbacks & Penlights

For the 21st century, for Paris, the ‘City of Light’, Ellen Carey brings her arc into the future with Crush & Pull with Rollbacks & Penlights, a completely new 21st century photo-object from Polaroid’s monumental negative, which allows Carey, its ‘camera operator’, to reposition 'light drawing' anew. It highlights Polaroid and its huge 20 X 24 camera as one of the medium’s 20th century game changers. The ‘Black Swan’ theory sees unexpected events become game changers in this, the global world, as it is, now. Carey’s performance in the ‘black box’ of the darkroom — folding, crushing, creasing, and nothing seen until it is finished — abounds with affinities to the Surrealist drawing game of the “exquisite corpse”.

Finitogram




For Let There Be Light: The Black Swans of Ellen Carey, the artist introduces another new photo-object, the Finitogram. Here, she gathered abandoned sheets of photographic paper bearing random chemical marks ‘striking a pose’ as light drew. She sees the once-hidden, latent image become visible. Like her practice in Polaroid, the object begins at the zero of an unknown time, made somewhere in the void of the dark room, and left behind unfinished. However the object may have travelled through Dada, Surrealism, and Duchamp’s ‘ready-made’ visitations; her re-invented ready made now presents as a new ‘self’. Ellen Carey’s Finitogram, from the Italian non finito for incomplete works of art, re-interprets the photogram, its legacy, and its practitioners. It reverses the circle of time in its image-making. The medium’s “picture signs” in landscape, portrait, and still life, and individuals’ names do not exist. In their places we have a 19th century term ‘camera operator’ with the unnamed, unknown Anon – new companions in the category of ‘vernacular photography'.

Ellen Carey’s Finitogram project is a portfolio of light sensitive, 10x8 inch pictures of nothing that began in conditions like those in Carey’s sightless, color darkroom based in time, total darkness, and invisibility. These nonimages are unpredictable as they change in palette and enlarge in form. As the chemical clock ticks, this new getting ready-to-be-made from its once unfinished state, by time and by light, unfolds, becomes Finitogram.

The historic photogram re-named as ready-made adds to Carey’s handbook guide through photography’s nearly two centuries’ arc of light, photogram, colour and Polaroid. Photography Degree Zero (the artist's Polaroid practice) and Struck by Light (her darkroom practice) visually consult Talbot, Daguerre, and Anna Atkins, the powerhouse tripod of 19th century game changers. Talbot’s negative-to-positive duality of the photogram-asimage is doubled, while Daguerre is mirrored in the glossy polish of Polaroid’s pristine surface and crisp picture. Talbot’s soft-focus, non-color compositions in blurry outlines see light’s ‘shadow’ while Prussian blue sees colouras light transformed in Anna Atkins’ cyanotype images. Each of them used light with light-sensitive processes to create their images – all unique pictures, all-in-one totalities – originating visual impact for which the gestalt is c’est.

The ‘Black Swan’ theory sees unexpected events become game changers in this global world as it is now. Carey’s performance in the ‘black box’ of the darkroom — folding, crushing, creasing, picturing nothing until finished, abounds with affinities to the Surrealist drawing game of “exquisite corpse”. When light becomes visible the object speaks. Ellen Carey’s photographic objects say craquelure, parabola, hue, abstract, process, minimal, photogram, black swans, light, beauty, color, wonder, invention, innovation. cFor Ellen Carey and for us, this is the language of Crush & Pull with Rollbacks & Penlights, and the language of Finitogram …!

Ellen Carey's experimental Polaroid practice dates from 1983, when the Polaroid Artists Support Program invited her to work at the Polaroid 20X24 Studio. There, she created her Neo-Geo Self-Portraits (1984-87) followed by her stacked installations Abstractions (1988-95). Her pioneering Pull (1996) and Rollback (1997) initiated her practice Photography Degree Zero (1996-2022), that is continued today with her latest body of Polaroid work, Crush & Pull. Ellen Carey’s work has been the subject of 60 one-person exhibitions and seen in hundreds of group exhibitions, found in the permanent collections of art and photography museums including: The Albright-Knox Art Gallery, Amon Carter Museum of American Art, George Eastman Museum, Norton Museum of Art, Wadsworth Atheneum, New Britain Museum of American Art, Museum at the Chicago Art Institute, Los Angeles County Museum of Art, Metropolitan Museum of Art, Whitney Museum of Art, Vassar College, Yale University Art Gallery and Centre Pompidou and Bibliothèque Nationale de France (BNF) in Paris. Corporate and private collections include JP Morgan Chase Collection, The LeWitt Foundation and the Sir Elton John Collection. In 2021, her work featured in the exhibition organized by the Bibliothèque Nationale de France at the Grand Palais in Paris, entitled 'Noir et Blanc: une ésthétique de la photographie'.










Today's News

May 7, 2022

The Chrysler Museum of Art presents the work of M.C. Escher in spring exhibition

At the Tefaf Fair, modern masters and the self-taught variety

Statue of star Native American ballerina is stolen and sold for scrap

She put the Met on the map for contemporary art. Now she's moving on.

In Senegal's former capital, a colonial statue in hiding is no longer welcome

Cate Blanchett and Cindy Sherman: Secrets of the camera chameleons

In Lviv, a hidden work by a master is discovered

At NADA, a glorious collision of paintings and ceramics

An elegant return to form at Independent Art Fair

In a nod to changing norms, Smithsonian adopts policy on ethical returns

Galerie Miranda opens an exhibition of works by Ellen Carey

Marcus Leatherdale, portraitist of downtown Manhattan, dies at 69

Solo exhibition of new painting, prints and works on paper by Susie Hamilton opens at Paul Stolper

Three Burchfield paintings combine for more than $1 million at Shannon's

How the king of rock 'n' roll still makes Australia sing

Judy Henske, a distinctive voice on the folk scene, dies at 85

Neal Adams, who gave Batman a darker look, dies at 80

Gagosian announces global representation of Anna Weyant

Lehmann Maupin now representing Tammy Nguyen

'How do you do?' On being a gentleman in 21st-century ballet

In New York, every borough is a comic book destination

After the Met Gala, the beauty world has its own celebration

Americana at Freeman's led by $1.9M John Hancock letter and $163,800 Chippendale table

Modern and Contemporary art at Freeman's opens season with impressive works

The Best Five Manga Stories you'll Ever Read

Do you love the dark and macabre?

8 Reasons Why Delta-8 Flower is Right for You

How To Conduct Online Research With Web Scraping?

Why buying photographic art on plexiglass is the new standard

The Frame of Mind Associated with a Gambler's Habit of Lying




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 juncodelavega.com facundocabral-elfinal.org
Founder's Site. 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