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Jessica HoustonDeployment llI (Ice Hole with Letters) - Antarctica2019
2019
$3,200
£2,418.13
€2,792.35
CA$4,471.52
A$4,961.52
CHF 2,598.95
MX$60,841.61
NOK 33,057.79
SEK 31,205.15
DKK 20,824.32
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About the Item
In Jessica Houston’s Afterward, Silence (Franklin’s Crewmen’s Grave, Beechey Island) a single pale gravestone stands on an otherwise desolate ashen shore – a relic of Sir John Franklin’s ill-fated 1845 expedition in search of the Northwest Passage. Here, at the polar horizon is where colonial explorers once thought the populated world dropped off. Instead, they were confronted with the presence of established, living, breathing communities. It is also here that scars are most visible.
Many of the works in Horizon Felt began as part of Houston’s own Arctic voyage retracing Franklin’s journey, with the starkly different intention of surveying the effects of climate change and taking visual stock of the traces of colonization. In many of the photographs, polar landscapes are nearly engulfed by luminous colour fields in bright red, magenta, aquamarine and yellow. These hazy demarcations were made by obstructing part of the camera lens with colourful felt, giving the effect of a manual sunset or imposed horizon. They can be by turns meditative – as in Perceptible Changes Over Time (Iceberg, Baffin Bay), wherein a bleached sky and the tip of an iceberg meet a stretch of misty blue – and menacing – as in We’ve Crossed the Line, which similarly features a lonely iceberg, this time interrupted by a blood-red expanse.
Like her photographs, Houston’s paintings employ a logic of division. Sheets of pigment inspired by an Arctic palette of natural elements (moss, berries, stone) are cleanly spliced, segmenting each canvas. They recall the neatly partitioned geometric surfaces of Minimalist paintings, while also evoking territorial boundaries. With titles like Taking Possession and Unnavigated Passage, these visually abstract works are straightforward in their critique of the colonial and environmental damage precipitated by false entitlement. In the latter, two canvases hang side by side; the space between them is illuminated by a placid blue emanating from a strip of paint applied to one side of the smaller painting. Here, the Felt in the series’ title evaporates into a less tangible sense of touch achieved by the effects of light and colour. Boundaries appear less clear-cut – dividing lines evanesce, nearly disappear.
In our flawed human effort to reverse what we’ve done wrong, it can feel like we are chasing a constantly diminishing horizon; night falls slowly on certain species, certain natural resources, certain ways of living, like a final curtain. While Houston’s glowing horizons can be ominous or obscuring, they can also be utopian. The mystery of what lies beyond the horizon motivates the chase, and its luminosity – those slivers of light you might see as an immense late summer sun creeps behind a skyscraper – naturally provide a swell of hope, a sense of expectant fullness. Like the slices of light and colour that delimit Houston’s landscapes, every sunset and every radiant horizon begs to be deeply felt.
- Creator:Jessica Houston (1970, American)
- Creation Year:2019
- Dimensions:Height: 24 in (60.96 cm)Width: 36 in (91.44 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Montreal, CA
- Reference Number:1stDibs: LU4767176962
Jessica Houston
Jessica Houston (MA, Columbia University) has traveled from pole to pole, using color and light to entangle and provoke questions related to our changing natural world, and our nature within it. She has created site-specific works for the NJ MOCA (NJ); the Castello di Corigliano (Puglia, Italy); and The Albany Airport (Albany, NY). Select exhibitions include Art Mûr Gallery, Montréal, Canada; The Hyde Collection Museum, Glens Falls, NY; and The Latimer House Museum, New York, NY. She has been invited to residencies at The Albers Foundation and CAMAC Center for Art, Science and Technology in France. Her works are funded by The Canada Council for the Arts and are in the collections of La collection Prêt d’œuvres d’art, Musée National Des Beaux-Arts du Quebec; Bibliothèque et Archives nationales du Québec (BAnQ), Montréal, Québec; Bank of Montréal, Toronto; and the Consulate General of Monaco, Montréal. She has lectured at The Art Institute of Florence; Columbia University; Concordia University; and OCAD University.
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By Jessica Houston
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Ideas in Things (Antarctic Penisula)
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Text by Nancy Webb
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Enduring Claims (Antarctica)
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In Jessica Houston’s Afterward, Silence (Franklin’s Crewmen’s Grave, Beechey Island) a single pale gravestone stands on an otherwise desolate ashen shore – a relic of Sir John Frankl...
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Loss of Profits Due to Scarcity (Antarctica)
By Jessica Houston
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Text by Nancy Webb
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Hasty Evacuation
By Jessica Houston
Located in Montreal, Quebec
Text by Nancy Webb
In Jessica Houston’s Afterward, Silence (Franklin’s Crewmen’s Grave, Beechey Island) a single pale gravestone stands on an otherwise desolate ashen shore – a reli...
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A Life of Its Own
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Located in Montreal, Quebec
Jessica Houston has traveled from pole to pole—using photography, painting, oral histories and objects—to evoke natureculture entanglements. Her multimedia projects often include sit...
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Stuart Klipper was born in the Bronx in 1941. He then lived in Stockholm, Sweden, moved to Minneapolis in 1970 and currently resides there. He has made six visits to Antarctica to photograph, and has also worked in Greenland, Iceland, Svalbard, Alaska and Lapland (in the area irradiated by the Chernobyl disaster). Other major forays have taken him across Northern Australia; the deserts of Israel and Sinai; the tropical rain forests of Costa Rica, Patagonia and Tierra del Fuego; and Sri Lanka and Pakistan. He has logged many thousands of miles at sea, photographing on all of the Earth's oceans... and seas. For over 30 years, he has made photographs in all 50 states, distilling and crystallizing the defining characteristics of American regions. Other undertakings include extensively photographing the First World War cemeteries and memorials of the Western Front, major physics and astronomy research installations throughout the U.S. and the Anasazi ruins of the Southwest. His photographs have been exhibited in, and collected by, major museums in the U.S. and overseas; foremost, the Museum of Modern Art, the San Francisco Museum of Modern Art, the Art Institute of Chicago, the Minneapolis Institute of Arts, the Walker Art Center, The Jewish Museum, the Israel Museum, the Victoria and Albert Museum, the Kunsthalle Bonn and the Moderna Museet. He has been the recipient of several major grants, including two each from the Guggenheim Foundation and the Bush Foundation, and three each from the McKnight Foundation and the Minnesota State Arts Board. He is a recipient of the U.S. Navy's Antarctic Service Medal. He was also visiting professor, Art Department, Colorado College, 1978 to 2008.
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• Disparate Geographies, Schmidt Dean Gallery in Philadelphia, 1998.
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• Cardinal Points, at the University of Iowa Museum of Art. (Photographs from polar regions: Antarctica and Greenland, the tropical rain forests, the desert regions of Israel and the Sinai, the agricultural Great Plains)-- an exhibition catalogue was published. 1998
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• Rock art, bush fire, termite mounds and other aspects of the outback of the Top End of Australia, Gallery 360, Mpls.,2002
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• Claiming Title: Australian Aboriginal Artists and the Land, St, Olaf & Carleton Colleges, Northfield, Minn., 1999
• The Infinite and the Intimate; Waterscapes of Stuart Klipper and Frank Gohlke, Dorsky Gallery, N.Y.C. 1999
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