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Photo sculpture
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Lens-based sculpture
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2D23D
The works on show in this publication are situated between photography and sculpture; they interfere with space and motion. Highly idiosyncratic and prominent in terms of content and aesthetics, they share a feature in spite of all differences: they are reflections of human perception and how it is conveyed in various media, which they explore, exaggerate, thwart, and undermine. Artistic positions from the late 1960s to the present and with a special focus on Vienna enter into a dialogue and examine the interaction of a photographic approach with sculptural and spatial aspects.
Lens-based sculpture
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Pictorial Illusionism
Drawing together a wealth of primary sources, J.A. Sokalski examines the aims, inventions, and methods of the pictorial style that defined MacKaye's art. Sokalski shows how MacKaye's famous Madison Square Theatre, which featured a double stage reminiscent of an elevator, created whirling pictorial illusions for fashionable New York. He argues that MacKaye's infamous failure, the colossal Spectatorium theatre for the 1893 Chicago World's Fair, was the most complete realization of this illusionary aesthetic. Sokalski also explores MacKaye's influence on Buffalo Bill Cody and how civil war cycloramas expanded his concept of pictorial space.
Substance and Light
The Museum of Art exhibition, Substance and Light: Ten Sculptors Use Cameras, explores photography as a sculptural tool and medium. Works in the show demonstrate that the confluence of two- and three-dimensional media is especially effective in examining issues of memory and time, as they apply to physical and psychological space.
Depth Effects
In this bold rewriting of visual culture, Brooke Belisle uses dimensionality to rethink the history and theory of media aesthetics. With Depth Effects, she traces A.I.-enabled techniques of computational imaging back to spatial strategies of early photography, analyzing everyday smartphone apps by way of almost-forgotten media forms. Drawing on the work of Maurice Merleau-Ponty, Belisle explores depth both as a problem of visual representation (how can flat images depict a voluminous world?) and as a philosophical paradox (how do things cohere beyond the limits of our view?). She explains how today's depth effects continue colonialist ambitions toward totalizing ways of seeing. But she also shows how artists stage dimensionality to articulate what remains invisible and irreducible.
