Maggie Taylor

Turning

2002

The Twinhouses of The Great Northeast neighborhood of Philadelphia reflect how people share a common border. Common upkeep, such as mowing the lawn, ends at an approximation of the p...

Working exclusively with photographic film, Charles Anselmo has produced bodies of work based upon industrial complexes, peripheral urban spaces, post-Katrina New Orleans and the der...

From the start, there was something immensely challenging and inspiring about working with animals. Up to that point, I had spent my career photographing subjects I largely controlle...

Somewhere within and without, attempts to subtly shift and deconstruct the ways in which we engage with space, time and perception in the aftermath of trauma, such as the birth of a ...

In our increasingly intrusive electronic culture, how do we delineate the boundaries between public and private? "No Man's Land: Views From a Surveillance State" is a body of work th...

There is perhaps something more profoundly iconic, mythological even, about the animals of East Africa, as opposed to say, the Arctic or South America). And there is also something i...

Lost in My Life Series

Lost in My Life Series

Lost in My Life Series

Doug Rickard (American b.1968) Limited Edition Archival Pigment Print. Features the work titled; A New American Picture - Detroit. Signed on verso and numbered 4/5. Work: 26 in. x 41 1/2 in. Frame: 26 1/2 in. x 42 in. Doug Rickard’s A New American Picture offers a startling and fresh perspective on American street photography. All of the images are appropriated from Google Street View; over a period of two years, Rickard took advantage of the technology platform’s comprehensive image archive to virtually drive the unseen and overlooked roads of America, bleak places that are forgotten, economically devastated, and abandoned. With an informed and deliberate eye, Rickard finds and decodes these previously photographed scenes of urban and rural decay. A New American Picture depicts American street scenes, located using the internet platform Google Street View. Over a four-year period, Rickard took advantage of Google’s massive image archive to virtually explore the roads of America looking for forgotten, economically devastated, and largely abandoned places. After locating and composing scenes of urban and rural decay, Rickard re-photographed the images on his computer screen with a tripod- mounted camera, freeing the image from its technological origins and re-presenting them on a new documentary plane. The low-resolution images that Rickard favors have a dissolved, painterly effect, and are occasionally populated with figures who acknowledge the camera, but whose faces are blurred, masking their identity. The photographs are thus imbued with an added surrealism and anonymity, which reinforces the isolation of the subjects and emphasizes the effects of an increasingly stratified American social structure. Rickard’s work evokes a connection to the tradition of American street photography, with knowing references to Walker Evans, Robert Frank and Stephen Shore. He both follows and advances that tradition, with a documentary strategy that acknowledges an increasingly technological world—a world in which a camera mounted on a moving car can generate evidence of the people and places it is leaving behind. Collectively, these images present a photographic portrait of the socially disenfranchised and economically powerless, those living an inversion of the American Dream.Doug Rickard (born 1968) is an American artist and photographer. He uses technologies such as Google Street View and YouTube to find images, which he then photographs on his computer monitor. His photography has been published in books, exhibited in galleries and held in the permanent collection of the San Francisco Museum of Modern Art. Rickard is best known for his book A New American Picture (2010). He is founder and publisher of the website on contemporary photography, American Suburb X, and the website These Americans which publishes some of his collection of found photographs. This work features a black, African American man in the foreground walking in a bleak neighborhood in Detroit, Michigan. Rickard was born in San Jose, California and brought up in Los Gatos in the San Francisco Bay Area. His father was a prominent pastor and many family members were preachers and missionaries, with a "very Reaganesque, patriotic view of America", a country "special and unique". Rickard studied United States history—slavery, civil rights—and sociology, at University of California, San Diego, and "lost his faith in this family vision. His adult view of America was a land not just of great achievement but also of massive injustice." At age 12 he witnessed his father having a secret extramarital affair, that years later in 1988 he confessed to his congregation. Rickard says this experience prompted him "to look for the fault lines in the American dream." He lives in Shingle Springs, near Sacramento, California. For his series A New American Picture, Rickard "wanted to look at the state of the country in these areas where opportunity is non-existent and where everything is broken down", where "the American dream was shattered or impossible to achieve". It is said that this work comments on United States politics, poverty, racial equality and the socioeconomic climate, class; the use of technology in art, privacy, surveillance, and the large quantity of images on the web. He cites as influences the photobooks American Photographs (1938) by Walker Evans, The Americans (1958) by Robert Frank, Uncommon Places (1982) by Stephen Shore and American Night (2003) by Paul Graham. The work was first exhibited as part of Anonymes: Unnamed American in Photography and Film, curated by David Campany and Diane Dufour at Le Bal, Paris, in 2010. To mark that occasion Rickard produced the first edition of the book, with the publisher White Press. Its first American museum show was at New York's Museum of Modern Art. Select Publications: Aperture Remix. New York: Aperture, 2012. A series of books made in homage to another Aperture publication, each in an edition of 5 copies. Rickard's was a response to Uncommon Places by Stephen Shore. The other publications were by Rinko Kawauchi, Vik Muniz, Alec Soth, Taiyo Onorato & Nico Krebs, Martin Parr, Viviane Sassen, Penelope Umbrico and James Welling. Produced in conjunction with the exhibition Aperture Remix. A New American Picture. Nazraeli Press Six by Six, set 4 v. 5. Portland, OR: Nazraeli, 2012. Edition of 100 copies. The other volumes are by Robert and Kerstin Adams, Edward Burtynsky, Kenro Izu, Catherine Opie and Issei Suda. Staking Claim: a California Invitational. San Francisco: Modernbook, 2013. Photographs by Rickard as well as Matthew Brandt, Susan Burnstine, Eric William Carroll, John Chiara, Chris Engman, Robbert Flick, Todd Hido, Siri Kaur, Mona Kuhn, Matt Lipps, David Maisel, Klea McKenna, Mark Ruwedel, Paul Schiek and Christina Seely. Catalogue of an exhibition held at the Museum of Photographic Arts, San Diego, CA. Select Exhibitions: Solo exhibition 2012: Yossi Milo Gallery, New York, October–November 2012. Group Exhibitions 2010: Anonymes: L’Amérique sans nom: Photographie et Cinéma (Anonymous: Unnamed America in Photography and Film), Le Bal, Paris, September–December 2010. A thematic exhibition with works by Rickard as well as Jeff Wall, Walker Evans, Chauncey Hare, Lewis Baltz, Standish Lawder, Sharon Lockhart, Anthony Hernandez...

SOME PEOPLE OF KUWAIT, 2000, Color iris print, on heavy rag photo paper signed on verso and inscribed "OK to print', from small edition of just 10. images 40 x 26 ¾", full margins; printed by Muse X. This was a series about Kuwaiti, Arab woman or men dressed in Burka's from up close it appears completely abstract from a bit of a distance an image emerges. Jack Butler was a Professor of Art at California State University Los Angeles from 1988 to 2010. He received his Master of Arts degree from California State University Los Angeles in 1972 and earned his Master of Fine Arts degree from UCLA in 1979. He was a dedicated teacher from 1971 to 2010 and taught at numerous educational institutions including California State University Los Angeles, the University of California, Riverside, UCLA Extension, Pasadena City College, East Los Angeles College, Los Angeles Southwest College and was a visiting instructor at the School of the Art Institute in Chicago. He has participated in approximately one hundred exhibitions during that time including sixteen solo exhibitions. His work has been shown at such institutions as the Los Angeles County Museum of Art, Fahey / Klein Gallery, Los Angeles, San Francisco Museum of Art, Gallery Min in Tokyo, Japan, the Museum of Contemporary Art in Osaka, Japan, Photo-Tableau in Paris, France, the Photographers Gallery in London England, the Kansas City Art Institute, The Friends of Photography Ansel Adams Center, the Laguna Beach Art Museum, the Long Beach Museum of Art, Sala Arcs Gallery, Barcelona, Spain, the California Museum of Photography, the Center of Contemporary Art, Santa Fe, New Mexico, the George Eastman House, Rochester, New York, the Corcoran Gallery, Boston Mass., and the Santa Barbara Museum of Art and was represented by the former Sherry Frumkin Gallery. He has been published in numerous books and catalogs. These include publications from such seminal exhibitions as “ Proof: Los Angeles Art and the Photograph 1960-1980”, “Photography and Art: Interactions Since 1946”, “Photography and Language” and “Attitudes: Photography in the Seventies” as well as having a catalog of his work published by Min Gallery in Tokyo, Japan. Recent publications include catalogs from the exhibition "Transfictions" at the Fisher Gallery USC and the exhibition "COLA 2004" at Barnsdall Municipal Art Gallery as well as “The Polaroid Years, Instant Photography and Experimentation”, The Francis Lehman Loeb Art Center, Vassar College 2013. During his career he has been involved in numerous workshops and lectures and has curated numerous exhibitions. He has participated in a Distinguished Artists Forum, 20x24 Polaroid Project in 1989 and was supported the by Polaroid Corporation to work on the 20x24 Polaroid camera in New York Studio in 1990 and again in 1998. Polaroid Corporation was also instrumental in assisting with the production of his project Hot Rod "Kulture / Culture.” He was also a recipient of a SECA Award from the San Francisco Museum of Art in 1980, National Endowment for the Arts Fellowship (major individual grant) in 1981 and received a City of Los Angeles Individual Artists Fellowship (COLA Grant) in 2004. His work is included in such collections as the Los Angeles County Art Museum, San Francisco Museum of Art, California Museum of Photography, Grunwald Center for the Graphic Arts UCLA, La Jolla Museum of Contemporary Art, Georges Pompidou National Center for Art and Culture, Seattle Art Museum, the Kiyosato Museum of Photographic Art, Japan, the Graham and Susan Nash Collection, the Aaron Spelling Collection as well as numerous other private collections. Going back to the 1840s, the earliest days of photography, people like Fox Talbot, Hippolyte Bayard and Oscar Gustave Rejlander were manipulating images and producing work that they referred to as Art or “Light Drawings”. Moving on to the 1920s and 30s we discover people such as Kurt Schwitters, Christian Schad, Hana Hoch, Raoul Haussmann, Man Ray, John Heartfield, Max Ernst, Laszlo Moholy-Nagy, Lucia Moholy...

SOME PEOPLE OF KUWAIT, 2000, Color iris print, on heavy rag photo paper signed on verso and inscribed "OK to print', from small edition of just 10. images 40 x 26 ¾", full margins; printed by Muse X. This was a series about Kuwaiti, Arab woman or men dressed in Burka's from up close it appears completely abstract from a bit of a distance an image emerges. Jack Butler was a Professor of Art at California State University Los Angeles from 1988 to 2010. He received his Master of Arts degree from California State University Los Angeles in 1972 and earned his Master of Fine Arts degree from UCLA in 1979. He was a dedicated teacher from 1971 to 2010 and taught at numerous educational institutions including California State University Los Angeles, the University of California, Riverside, UCLA Extension, Pasadena City College, East Los Angeles College, Los Angeles Southwest College and was a visiting instructor at the School of the Art Institute in Chicago. He has participated in approximately one hundred exhibitions during that time including sixteen solo exhibitions. His work has been shown at such institutions as the Los Angeles County Museum of Art, Fahey / Klein Gallery, Los Angeles, San Francisco Museum of Art, Gallery Min in Tokyo, Japan, the Museum of Contemporary Art in Osaka, Japan, Photo-Tableau in Paris, France, the Photographers Gallery in London England, the Kansas City Art Institute, The Friends of Photography Ansel Adams Center, the Laguna Beach Art Museum, the Long Beach Museum of Art, Sala Arcs Gallery, Barcelona, Spain, the California Museum of Photography, the Center of Contemporary Art, Santa Fe, New Mexico, the George Eastman House, Rochester, New York, the Corcoran Gallery, Boston Mass., and the Santa Barbara Museum of Art and was represented by the former Sherry Frumkin Gallery. He has been published in numerous books and catalogs. These include publications from such seminal exhibitions as “ Proof: Los Angeles Art and the Photograph 1960-1980”, “Photography and Art: Interactions Since 1946”, “Photography and Language” and “Attitudes: Photography in the Seventies” as well as having a catalog of his work published by Min Gallery in Tokyo, Japan. Recent publications include catalogs from the exhibition "Transfictions" at the Fisher Gallery USC and the exhibition "COLA 2004" at Barnsdall Municipal Art Gallery as well as “The Polaroid Years, Instant Photography and Experimentation”, The Francis Lehman Loeb Art Center, Vassar College 2013. During his career he has been involved in numerous workshops and lectures and has curated numerous exhibitions. He has participated in a Distinguished Artists Forum, 20x24 Polaroid Project in 1989 and was supported the by Polaroid Corporation to work on the 20x24 Polaroid camera in New York Studio in 1990 and again in 1998. Polaroid Corporation was also instrumental in assisting with the production of his project Hot Rod "Kulture / Culture.” He was also a recipient of a SECA Award from the San Francisco Museum of Art in 1980, National Endowment for the Arts Fellowship (major individual grant) in 1981 and received a City of Los Angeles Individual Artists Fellowship (COLA Grant) in 2004. His work is included in such collections as the Los Angeles County Art Museum, San Francisco Museum of Art, California Museum of Photography, Grunwald Center for the Graphic Arts UCLA, La Jolla Museum of Contemporary Art, Georges Pompidou National Center for Art and Culture, Seattle Art Museum, the Kiyosato Museum of Photographic Art, Japan, the Graham and Susan Nash Collection, the Aaron Spelling Collection as well as numerous other private collections. Going back to the 1840s, the earliest days of photography, people like Fox Talbot, Hippolyte Bayard and Oscar Gustave Rejlander were manipulating images and producing work that they referred to as Art or “Light Drawings”. Moving on to the 1920s and 30s we discover people such as Kurt Schwitters, Christian Schad, Hana Hoch, Raoul Haussmann, Man Ray, John Heartfield, Max Ernst, Laszlo Moholy-Nagy, Lucia Moholy...