Landscape: Structural, Ethereal at the Stutz
by Dan Grossman
This show involves two photographers - one who digitally manipulates his images and one who doesn't - and one painter. So what's the connective tissue that binds this work together (aside from the notion that all are working in landscapes)?
Let's start with the painter. I think of the paintings of Marna Shopoff more as cityscapes than landscapes because the subject of her work is so often, but not always, urban architecture. The walls depicted in her "Internal Walls of Collage" seem to melt away into a dream-like construction zone, while "sky scraper between" looks like a skyscraper of the mind, untethered by any connection to Newtonian physics.
The dreamlike quality of such work connects Shopoff, I think, to the manipulated photography of Wug Laku, where gravity also doesn't seem to apply. Take, for example, his kaleidoscopic "Enter, Exit," where the rural landscape hangs above you - upside down - while the sky in the center of the composition bubbles up into the stratosphere.
Many of the relatively more conventional photographs of Ginny Taylor Rosner, which focus on groupings of wind turbines in Northern Indiana, were taken from a passing car. In the excellent photograph "In Motion" you see a flock of birds passing in front of the wind turbines. Rosner was hoping to capture such an image, she says, when the birds suddenly flew up in front of her. If you will it, one prominent statesman once said, it is no dream.
More by Dan Grossman
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Upon Further Observation at Evan Lurie
Tom Leighton's amalgamated cityscapes, Nick Veasey's X-ray photos and Przemyslaw Lasak's life-size Terra cotta warrior demonstrate that the Evan Lurie Gallery is still vital.
- Apr 25, 2013
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Jacob Rauscher: Man, android, Platonist
Inspired by his late father, Michel Foucault and Socrates, Rauscher, a multi-media artist trained at Herron, is exploring the space between reality and everyday life.
- Apr 4, 2013
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