John Coplans
Katalin Deer
Leslie Hewitt
Bettina Hoffman
Pello Irazu
David Ireland
Melinda McDaniel
Heather Mekkelson
Laurent Millet
Vik Muniz
Susana Reisman
Lorna Simpson
Florian Slotowa
Karen Irvine
A group exhibition that investigates the relationship between sculpture and photography, and perceptual issues that are integral to those relationships. All of them invite us to imagine the relationship between space and photography. In doing so, we are rewarded with a heightened awareness of the act of looking, and the opportunity to enter a transitive, imaginative state of moving through space and time. Work by John Coplans, Leslie Hewitt, Bettina Hoffman, Melinda McDaniel, Susana Reisman, Lorna Simpson, Florian Slotowa...
curated by Karen Irvine
The Museum of Contemporary Photography opens
PhotoDimensional, a group exhibition that investigates the relationship between sculpture and
photography, 2-D and 3-D, and perceptual issues that are integral to those relationships. All of
them invite us to imagine the relationship between space and photography. In doing so, we are
rewarded with a heightened awareness of the act of looking, and the opportunity to enter a
transitive, imaginative state of moving through space and time. Approximately half of the works in
this exhibition are taken from the museumʼs permanent collection of over 8,500 images and
objects.
In her video work La Ronde, German artist Bettina Hoffmann uses a panning video
camera to give us multiple points of view on subjects who are absolutely still. The effect is one of
traveling through the space of a 2-dimensional photograph; it is as if the space surrounding the
subjects in a still photograph has opened up for the viewer to navigate, while the subjects
themselves remain frozen in time.
Chicago artist Heather Mekkelson makes 3-dimensional sculptural objects inspired by
disaster photographs. Keeping an archive of images from floods and hurricanes, Mekkelson
isolates interesting details and translates them into sculptural forms that she distresses to
reference the original disaster. These forms are placed around the gallery in non-literal
translations of the photographs. Similarly, Katalin Deér translates photographs into sculptures
and back into photographs, making multi-layered renditions of simple, modernist architecture and
commonplace furniture.
Always interested in exploring identity through the instant assumptions provided by her
use of visual clues, Lorna Simpson took James Van der Zeeʼs photographs as her starting point
for 9 Props. Made while she was an artist-in-residence at Pilchuck, a glassblowing school in
Seattle, Simpson had the artisans recreate the vases that appear in Van der Zeeʼs pictures. She
then photographed the objects and later accompanied them with texts. Simpson printed the
photographs and texts onto felt. By endowing the pictures with tactility and 3-dimensionality,
Simpson aligns her work with the modernist concern with surface and forms.
Leslie Hewittʼs Replica is a triptych in which she turns the orientation of the images
upside down to call attention to the formal qualities of the still life. In her photo-sculptural works
simple events between the images register passage of time and/or possibly a human intervention:
the found photograph is not upright any longer, an image behind the plant is gone, the orientation
of the plant has slightly turned. Leslie pays as much attention to formal composition as to the
cultural significance of the found photographs and to books she includes on the subject of
African-American history.
Sculptor, architect, designer, and photographer David Irelandʼs images of the island of
Skellig Michael off the coast of Ireland deliberately create a distance between the viewer and the
subject –– in one, an expanse of water acts as a barrier to the island, while a painted green
rectangle expands the viewerʼs visual experience in a less representational sense. In the other,
the viewer is distanced not only by the water-speckled glass surface between the foreground and
the landscape, but also by the red spots painted on the surface of the photograph. Irelandʼs
painted geometric shapes add a dynamism to the images that recalls Constructivism. Pello Irazu
and Laurent Millet also combine drawing, painting, and sculpture to create the illusion of 3-
dimensions on 2-dimensional surfaces.
Some of the artists in the exhibition photograph existing forms to enhance their
appearance as sculptural objects. When John Coplans began photographing his aging body
after he turned 60, for example, he created a set of images that evoke classical marble sculpture.
His documentation of advanced age is alternately humorous, reflective, and disquieting in the
closeness of its observation. Seeing himself as an actor, Coplans examines various body parts
closely, often quoting art-historical postures with his sagging figure. Florian Slotawa creates
makeshift sculptures with furniture in hotel rooms across Europe, documenting his interventions in
black and white before he checks out of the room.
Originally trained as a sculptor, Vik Muniz uses unconventional materials, including
chocolate syrup, sequins, and thread to recreate well-known works of art or images from popular
culture. After he constructs his own version of their likeness, he photographs these new sculptural
“drawings.” In the series Pictures of Dust, Muniz took the dust collected over several months by
the maintenance staff at the Whitney Museum of American Art, and used it to create drawings
based on installation photographs of the museumʼs collection of Minimal and Post-minimal
sculpture. In Munizʼs photograph of Tony Smithʼs minimalist cube, the dust is easily discernable
and its constituent hair, pebbles, and small scraps of paper appear larger than life. Ironically, dust
is usually the nemesis of the pristine photographic print and polished sculptural surface.
Finally, Melinda McDaniel and Susana Reisman both make sculptures out of
photographic materials. Reisman prints photographs onto long strips of canvas and molds the
strips into forms that loosely reference the original subject matter. McDaniel exposes
photographic paper to varying degrees to reveal the subtle color gradations inherent in the
paperʼs chemistry, and then exhibits long strips in the gallery that reference minimalist sculpture
and also the idea of the passage of time to which photography is so closely aligned.
ABOUT THE CURATOR
Karen Irvine is the curator of the Museum of Contemporary Photography, Columbia College Chicago. She
has organized numerous exhibitions including: Audible Imagery: Sound and Photography; Anthony Goicolea;
Tracey Baran; Scott Fortino; Shirana Shahbazi: Goftare Nik/Good Words; Jason Salavon; Jin Lee; Paul
Shambroom: Evidence of Democracy; Alec Soth: Sleeping by the Mississippi; The Furtive Gaze; and
Camera/Action: Performance and Photography, among others. She is a part-time instructor of photography
at Columbia College Chicago. She received her MFA in photography from FAMU, Prague and her MA in art
history from the University of Illinois at Chicago.
Press Contacts
Audrey Michelle Mast
Web/PR/Marketing Administrator Museum of Contemporary Photography P: 773.459.5777 F: 312.344.8067 audrey.m.mast@gmail.com
Jeffrey Arnett
Manager of Development and Marketing Museum of Contemporary Photography P: 312.344.7779 F: 312.344-8067 jarnett@colum.edu
Image: Florian Slotawa, Hotel des Vosges, Straβburg, Zimmer 66, Nacht zum 13, Märx, 1999
Courtesy of Sies + Höke, Düsseldorf
Museum of Contemporary Photography, Columbia College Chicago
600 South Michigan Avenue, Chicago