Images Rendered Bare. Vacant. Recognizable.

Curated by STADIUM
 
January 20th – March 3rd, 2012
 

 

“I’m late! I’m late! For a very important date! No time to say hello, goodbye, I’m late I’m late I’m late!”
– the White Rabbit, Alice’s Adventures in Wonderland
 
Albeit a humorous reference, too true does the White Rabbit’s mantra ring today, over 150 years after it was originally penned. Our current economic conditions and the advent of streamlining digital technologies find us a day late and often more than a dollar short. Yet, the fact that our pace of life has quickened has become a banal fact, and its mention rings as little more than cliché.
So, too, have our images become increasingly fast-paced in the digital context laid before them, laboring overtime with the invention of the image search and democratized image sharing platforms such as Tumblr and Instagram. They’ve been Versioned and Dispersed. They’re Poor. Digital images have emancipated themselves from their traditional function as an indexical reference to an event or material form. They no longer depict ontological reality, but usher in new, fleeting versions of their own.
Isolated is the stock image from the disorienting influx of information in the digital age. Stock media is the opposite of a signifier divorced from its referent—to be stock is to be sterile, neutral, accessible, and recognizable in any variety of contexts. They’re approachable and sociable, happily vacant; distinct words composing a visual sentence.
Including the work of Yngve Holen, Oliver Laric, Sean Raspet, and Rachel Reupke, “Images Rendered Bare. Vacant. Recognizable.” considers the stock image and media libraries in artistic parlance. While Holen employs stock photographs directly in his oversized moodboards, Reupke’s video, “10 Seconds or Greater” is produced in the image of stock media. Laric and Raspet create media banks of their own, the former an open source library, the latter a self-cannibalizing archive. “Images Rendered Bare. Vacant. Recognizable.” is curated by Stadium, and made possible through the support of LUX.
 
Exhibition Images ->

Sean Raspet, Untitled (Police Incident (2)) 3

Sean Raspet, “Untitled (Police Incident (2)) 3, ((2007-2012)” 2007-2011”

Images Rendered Bare, Installation View

Yngve Holen, Finger In Eye, Handle Through Brain

Yngve Holen, "Finger In Eye, Handle Through Brain"

Oliver Laric, Frieze Stock Footage

Oliver Laric, "Frieze Stock Footage"

Sean Raspet, Arrangement 63 (OBSCENITY TRIAL (2))

Sean Raspet, “Arrangement 63 (OBSCENITY TRIAL (2)), ((2007)-2012) 2011”

Rachel Reupke, 10 Seconds or Greater

Rachel Reupke, "10 Seconds or Greater"

Yngve Holen, Finger In Eye, Handle Through Brain

Yngve Holen, "Finger In Eye, Handle Through Brain"

Yngve Holen, Finger In Eye, Handle Through Brain

Yngve Holen, "Finger In Eye, Handle Through Brain"

Sean Raspet, Untitled (Police Incident (2)) 3

Sean Raspet, “Untitled (Police Incident (2)) 3, ((2007-2012)” 2007-2011”

Images Rendered Bare, Installation View

Rachel Reupke, 10 Seconds Or Greater

Rachel Reupke, "10 Seconds Or Greater"

Yngve Holen, Finger In Eye, Handle Through Brain

Yngve Holen, "Finger In Eye, Handle Through Brain"

Yngve Holen, Finger In Eye, Handle Through Brain

Yngve Holen, "Finger In Eye, Handle Through Brain"