artist Mike Kelley</a> which consists of thirty-four black and white photographs of cave formations and exists as a part of the larger project <i>Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile. </i>The series is a reflection of <a target="_blank" href=https://www.mutualart.com/Exhibition/Rear-Window--Brought-to-You-in-High-Def/"/Artist/Mike-Kelley/F8380CD1034F526B">Kelley’s interest in the juxtaposition between image and name, relaying to us the importance of fabrication and the dangers of misconception. <br><br><a target="_blank" href=https://www.mutualart.com/Exhibition/Rear-Window--Brought-to-You-in-High-Def/"/Artist/John-Baldessari/D2F1EF191C02DBE5">John Baldessari</a>’s series of eight color photographs “National City”, depict a theme that the artist has returned to throughout his long and varied career. <a target="_blank" href=https://www.mutualart.com/Exhibition/Rear-Window--Brought-to-You-in-High-Def/"/Artist/John-Baldessari/D2F1EF191C02DBE5">Baldessari challenges the viewer to carefully consider the image and examine the often overlooked margins and peripheries. <br><br><a target="_blank" href=https://www.mutualart.com/Exhibition/Rear-Window--Brought-to-You-in-High-Def/"/Artist/Ed-Ruscha/D8EC3AD17D50F74A">Ed Ruscha</a> is one of the most imfluential and prolific American artists of his generation. While he is best known for his juxtapositions of words and images, <a target="_blank" href=https://www.mutualart.com/Exhibition/Rear-Window--Brought-to-You-in-High-Def/"/Artist/Ed-Ruscha/D8EC3AD17D50F74A">Ruscha’s career</a> remains incredibly diverse. As <i>God </i>(2010) illustrates, the artist’s works in photography stand as some of his most engaging. <br><br>German <a target="_blank" href=https://www.mutualart.com/Exhibition/Rear-Window--Brought-to-You-in-High-Def/"/Artist/Reinhard-Mucha/11E7F0394B4B409D">sculptor Reinhard Mucha</a> has been creating highly personal assemblages and constructions since 1979. Using both old and new materials, Mucha’s installations are a reflection of his country’s Contemporary industry and travel. In<i> BBK Edition </i>(1990)<i>, </i>he uses recycled furniture and previous exhibition posters to raise awareness of the politics in display, ownership, and memory. His work challenges the museum setting by incorporating recycled elements that are often used in the display of art. <br><br>In <i>No. 1 (1978) and No. 75 (1987)</i>, French<a target="_blank" href=https://www.mutualart.com/Exhibition/Rear-Window--Brought-to-You-in-High-Def/"/Artist/Jean-Luc-Mylayne/EC490A83DE59F05D"> artist Jean-Luc Mylayne</a> explores the intimate bond between subject and photographer. <a target="_blank" href=https://www.mutualart.com/Exhibition/Rear-Window--Brought-to-You-in-High-Def/"/Artist/Jean-Luc-Mylayne/EC490A83DE59F05D">Mylayne is known for his meticulous technique, which involves attentively spending each day waiting, analyzing, and gaining trust with his subjects in a particular location, often for months at a time. At the precise moment, he is able to capture his subject with a dedicated combination of location, atmospheric condition, and vantage point. Mylayne’s persistent and assertive style of photography sets him aside as a truly committed artist.<br><br>English<a target="_blank" href=https://www.mutualart.com/Exhibition/Rear-Window--Brought-to-You-in-High-Def/"/Artist/Craigie-Horsfield/F16C415498C52BBA"> artist Craigie Horsfield</a> first printed his black and white photograph, <i>Casa Comalat, Avinguda Diagonal, Barcelona, December </i>in 1995, a year after it was initially taken. This delay is a unique aspect of his process, which brings attention to the disparity between memory and the present moment. His photographs are often part of collaborative social projects that raise awareness of our relationship with individuality, our surroundings, and the human condition. <br><br><a target="_blank" href=https://www.mutualart.com/Exhibition/Rear-Window--Brought-to-You-in-High-Def/"/Artist/Catherine-Opie/344829C7B3FF71C8">Catherine Opie</a> is an American artist known for her investigations of various cultural communities through documentary photography. In 1998, Opie embarked on a two-month trip across the country to research and photograph lesbian couples and their families at home. As part of the “Domestic” series, <i>Tammy Rae and Kaia, Durham, North Carolina </i>is a reflection of Opie’s own interest in personal relationships and the ways in which a family is constructed and considered. <br><br>Sculptor and Conceptual<a target="_blank" href=https://www.mutualart.com/Exhibition/Rear-Window--Brought-to-You-in-High-Def/"/Artist/Dennis-Adams/A2AA0C19FC80AFC9"> artist Dennis Adams</a> is best known for his installations and public sculpture projects throughout Europe and the United States. However, in <i>Patricia Hearst A-Z </i>(1990) Adams uses twenty-six chronological headshots of the newspaper heiress, including her First Communion at age 13, her scandalous trial, and finally her wedding day. These prints illustrate the invention and reinvention of Hearst’s identity, which have been filtered through the obsessive eye of mass media. <br><br><a target="_blank" href=https://www.mutualart.com/Exhibition/Rear-Window--Brought-to-You-in-High-Def/"/Artist/Christopher-Williams/98A2CE7948DF818B">Christopher Williams</a> falls into the category of West Coast conceptual artists. His photographs, such as <i>Young Hee Kim and Gyung-Hwa Han </i>(1992), contain social elements along with institutional critique. <br><br>The late Spanish<a target="_blank" href=https://www.mutualart.com/Exhibition/Rear-Window--Brought-to-You-in-High-Def/"/Artist/Juan-Munoz/48D9BF8281E7CF7B"> artist Juan Muñoz</a> is often cited as a sculptor although he much preferred the self-description of “storyteller”. However, in <i>Rear Window, </i>Munoz explores the medium of photography in the works <i>Untitled </i>(1995) and <i>Cardtrick </i>(1996). These photographs emphasize the artist’s focus on space, displacement, absence, and paradox." />
The Poetry of Form: Part of an Ongoing Attempt to Develop an Auteur Theory of Naming (1985/96) is a series of works by Los Angeles artist Mike Kelley which consists of thirty-four black and white photographs of cave formations and exists as a part of the larger project Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile. The series is a reflection of Kelley’s interest in the juxtaposition between image and name, relaying to us the importance of fabrication and the dangers of misconception.
John Baldessari’s series of eight color photographs “National City”, depict a theme that the artist has returned to throughout his long and varied career. Baldessari challenges the viewer to carefully consider the image and examine the often overlooked margins and peripheries.
Ed Ruscha is one of the most imfluential and prolific American artists of his generation. While he is best known for his juxtapositions of words and images, Ruscha’s career remains incredibly diverse. As God (2010) illustrates, the artist’s works in photography stand as some of his most engaging.
German sculptor Reinhard Mucha has been creating highly personal assemblages and constructions since 1979. Using both old and new materials, Mucha’s installations are a reflection of his country’s Contemporary industry and travel. In BBK Edition (1990), he uses recycled furniture and previous exhibition posters to raise awareness of the politics in display, ownership, and memory. His work challenges the museum setting by incorporating recycled elements that are often used in the display of art.
In No. 1 (1978) and No. 75 (1987), French artist Jean-Luc Mylayne explores the intimate bond between subject and photographer. Mylayne is known for his meticulous technique, which involves attentively spending each day waiting, analyzing, and gaining trust with his subjects in a particular location, often for months at a time. At the precise moment, he is able to capture his subject with a dedicated combination of location, atmospheric condition, and vantage point. Mylayne’s persistent and assertive style of photography sets him aside as a truly committed artist.
English artist Craigie Horsfield first printed his black and white photograph, Casa Comalat, Avinguda Diagonal, Barcelona, December in 1995, a year after it was initially taken. This delay is a unique aspect of his process, which brings attention to the disparity between memory and the present moment. His photographs are often part of collaborative social projects that raise awareness of our relationship with individuality, our surroundings, and the human condition.
Catherine Opie is an American artist known for her investigations of various cultural communities through documentary photography. In 1998, Opie embarked on a two-month trip across the country to research and photograph lesbian couples and their families at home. As part of the “Domestic” series, Tammy Rae and Kaia, Durham, North Carolina is a reflection of Opie’s own interest in personal relationships and the ways in which a family is constructed and considered.
Sculptor and Conceptual artist Dennis Adams is best known for his installations and public sculpture projects throughout Europe and the United States. However, in Patricia Hearst A-Z (1990) Adams uses twenty-six chronological headshots of the newspaper heiress, including her First Communion at age 13, her scandalous trial, and finally her wedding day. These prints illustrate the invention and reinvention of Hearst’s identity, which have been filtered through the obsessive eye of mass media.
Christopher Williams falls into the category of West Coast conceptual artists. His photographs, such as Young Hee Kim and Gyung-Hwa Han (1992), contain social elements along with institutional critique.
The late Spanish artist Juan Muñoz is often cited as a sculptor although he much preferred the self-description of “storyteller”. However, in Rear Window, Munoz explores the medium of photography in the works Untitled (1995) and Cardtrick (1996). These photographs emphasize the artist’s focus on space, displacement, absence, and paradox.
The Poetry of Form: Part of an Ongoing Attempt to Develop an Auteur Theory of Naming (1985/96) is a series of works by Los Angeles artist Mike Kelley which consists of thirty-four black and white photographs of cave formations and exists as a part of the larger project Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile. The series is a reflection of Kelley’s interest in the juxtaposition between image and name, relaying to us the importance of fabrication and the dangers of misconception.
John Baldessari’s series of eight color photographs “National City”, depict a theme that the artist has returned to throughout his long and varied career. Baldessari challenges the viewer to carefully consider the image and examine the often overlooked margins and peripheries.
Ed Ruscha is one of the most imfluential and prolific American artists of his generation. While he is best known for his juxtapositions of words and images, Ruscha’s career remains incredibly diverse. As God (2010) illustrates, the artist’s works in photography stand as some of his most engaging.
German sculptor Reinhard Mucha has been creating highly personal assemblages and constructions since 1979. Using both old and new materials, Mucha’s installations are a reflection of his country’s Contemporary industry and travel. In BBK Edition (1990), he uses recycled furniture and previous exhibition posters to raise awareness of the politics in display, ownership, and memory. His work challenges the museum setting by incorporating recycled elements that are often used in the display of art.
In No. 1 (1978) and No. 75 (1987), French artist Jean-Luc Mylayne explores the intimate bond between subject and photographer. Mylayne is known for his meticulous technique, which involves attentively spending each day waiting, analyzing, and gaining trust with his subjects in a particular location, often for months at a time. At the precise moment, he is able to capture his subject with a dedicated combination of location, atmospheric condition, and vantage point. Mylayne’s persistent and assertive style of photography sets him aside as a truly committed artist.
English artist Craigie Horsfield first printed his black and white photograph, Casa Comalat, Avinguda Diagonal, Barcelona, December in 1995, a year after it was initially taken. This delay is a unique aspect of his process, which brings attention to the disparity between memory and the present moment. His photographs are often part of collaborative social projects that raise awareness of our relationship with individuality, our surroundings, and the human condition.
Catherine Opie is an American artist known for her investigations of various cultural communities through documentary photography. In 1998, Opie embarked on a two-month trip across the country to research and photograph lesbian couples and their families at home. As part of the “Domestic” series, Tammy Rae and Kaia, Durham, North Carolina is a reflection of Opie’s own interest in personal relationships and the ways in which a family is constructed and considered.
Sculptor and Conceptual artist Dennis Adams is best known for his installations and public sculpture projects throughout Europe and the United States. However, in Patricia Hearst A-Z (1990) Adams uses twenty-six chronological headshots of the newspaper heiress, including her First Communion at age 13, her scandalous trial, and finally her wedding day. These prints illustrate the invention and reinvention of Hearst’s identity, which have been filtered through the obsessive eye of mass media.
Christopher Williams falls into the category of West Coast conceptual artists. His photographs, such as Young Hee Kim and Gyung-Hwa Han (1992), contain social elements along with institutional critique.
The late Spanish artist Juan Muñoz is often cited as a sculptor although he much preferred the self-description of “storyteller”. However, in Rear Window, Munoz explores the medium of photography in the works Untitled (1995) and Cardtrick (1996). These photographs emphasize the artist’s focus on space, displacement, absence, and paradox.
Rear Window: Brought to You in High-Def
Aug 20, 2011 - Sep 16, 2011
The Poetry of Form: Part of an Ongoing Attempt to Develop an Auteur Theory of Naming (1985/96) is a series of works by Los Angeles artist Mike Kelley which consists of thirty-four black and white photographs of cave formations and exists as a part of the larger project Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile. The series is a reflection of Kelley’s interest in the juxtaposition between image and name, relaying to us the importance of fabrication and the dangers of misconception.
John Baldessari’s series of eight color photographs “National City”, depict a theme that the artist has returned to throughout his long and varied career. Baldessari challenges the viewer to carefully consider the image and examine the often overlooked margins and peripheries.
Ed Ruscha is one of the most imfluential and prolific American artists of his generation. While he is best known for his juxtapositions of words and images, Ruscha’s career remains incredibly diverse. As God (2010) illustrates, the artist’s works in photography stand as some of his most engaging.
German sculptor Reinhard Mucha has been creating highly personal assemblages and constructions since 1979. Using both old and new materials, Mucha’s installations are a reflection of his country’s Contemporary industry and travel. In BBK Edition (1990), he uses recycled furniture and previous exhibition posters to raise awareness of the politics in display, ownership, and memory. His work challenges the museum setting by incorporating recycled elements that are often used in the display of art.
In No. 1 (1978) and No. 75 (1987), French artist Jean-Luc Mylayne explores the intimate bond between subject and photographer. Mylayne is known for his meticulous technique, which involves attentively spending each day waiting, analyzing, and gaining trust with his subjects in a particular location, often for months at a time. At the precise moment, he is able to capture his subject with a dedicated combination of location, atmospheric condition, and vantage point. Mylayne’s persistent and assertive style of photography sets him aside as a truly committed artist.
English artist Craigie Horsfield first printed his black and white photograph, Casa Comalat, Avinguda Diagonal, Barcelona, December in 1995, a year after it was initially taken. This delay is a unique aspect of his process, which brings attention to the disparity between memory and the present moment. His photographs are often part of collaborative social projects that raise awareness of our relationship with individuality, our surroundings, and the human condition.
Catherine Opie is an American artist known for her investigations of various cultural communities through documentary photography. In 1998, Opie embarked on a two-month trip across the country to research and photograph lesbian couples and their families at home. As part of the “Domestic” series, Tammy Rae and Kaia, Durham, North Carolina is a reflection of Opie’s own interest in personal relationships and the ways in which a family is constructed and considered.
Sculptor and Conceptual artist Dennis Adams is best known for his installations and public sculpture projects throughout Europe and the United States. However, in Patricia Hearst A-Z (1990) Adams uses twenty-six chronological headshots of the newspaper heiress, including her First Communion at age 13, her scandalous trial, and finally her wedding day. These prints illustrate the invention and reinvention of Hearst’s identity, which have been filtered through the obsessive eye of mass media.
Christopher Williams falls into the category of West Coast conceptual artists. His photographs, such as Young Hee Kim and Gyung-Hwa Han (1992), contain social elements along with institutional critique.
The late Spanish artist Juan Muñoz is often cited as a sculptor although he much preferred the self-description of “storyteller”. However, in Rear Window, Munoz explores the medium of photography in the works Untitled (1995) and Cardtrick (1996). These photographs emphasize the artist’s focus on space, displacement, absence, and paradox.
The Poetry of Form: Part of an Ongoing Attempt to Develop an Auteur Theory of Naming (1985/96) is a series of works by Los Angeles artist Mike Kelley which consists of thirty-four black and white photographs of cave formations and exists as a part of the larger project Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile. The series is a reflection of Kelley’s interest in the juxtaposition between image and name, relaying to us the importance of fabrication and the dangers of misconception.
John Baldessari’s series of eight color photographs “National City”, depict a theme that the artist has returned to throughout his long and varied career. Baldessari challenges the viewer to carefully consider the image and examine the often overlooked margins and peripheries.
Ed Ruscha is one of the most imfluential and prolific American artists of his generation. While he is best known for his juxtapositions of words and images, Ruscha’s career remains incredibly diverse. As God (2010) illustrates, the artist’s works in photography stand as some of his most engaging.
German sculptor Reinhard Mucha has been creating highly personal assemblages and constructions since 1979. Using both old and new materials, Mucha’s installations are a reflection of his country’s Contemporary industry and travel. In BBK Edition (1990), he uses recycled furniture and previous exhibition posters to raise awareness of the politics in display, ownership, and memory. His work challenges the museum setting by incorporating recycled elements that are often used in the display of art.
In No. 1 (1978) and No. 75 (1987), French artist Jean-Luc Mylayne explores the intimate bond between subject and photographer. Mylayne is known for his meticulous technique, which involves attentively spending each day waiting, analyzing, and gaining trust with his subjects in a particular location, often for months at a time. At the precise moment, he is able to capture his subject with a dedicated combination of location, atmospheric condition, and vantage point. Mylayne’s persistent and assertive style of photography sets him aside as a truly committed artist.
English artist Craigie Horsfield first printed his black and white photograph, Casa Comalat, Avinguda Diagonal, Barcelona, December in 1995, a year after it was initially taken. This delay is a unique aspect of his process, which brings attention to the disparity between memory and the present moment. His photographs are often part of collaborative social projects that raise awareness of our relationship with individuality, our surroundings, and the human condition.
Catherine Opie is an American artist known for her investigations of various cultural communities through documentary photography. In 1998, Opie embarked on a two-month trip across the country to research and photograph lesbian couples and their families at home. As part of the “Domestic” series, Tammy Rae and Kaia, Durham, North Carolina is a reflection of Opie’s own interest in personal relationships and the ways in which a family is constructed and considered.
Sculptor and Conceptual artist Dennis Adams is best known for his installations and public sculpture projects throughout Europe and the United States. However, in Patricia Hearst A-Z (1990) Adams uses twenty-six chronological headshots of the newspaper heiress, including her First Communion at age 13, her scandalous trial, and finally her wedding day. These prints illustrate the invention and reinvention of Hearst’s identity, which have been filtered through the obsessive eye of mass media.
Christopher Williams falls into the category of West Coast conceptual artists. His photographs, such as Young Hee Kim and Gyung-Hwa Han (1992), contain social elements along with institutional critique.
The late Spanish artist Juan Muñoz is often cited as a sculptor although he much preferred the self-description of “storyteller”. However, in Rear Window, Munoz explores the medium of photography in the works Untitled (1995) and Cardtrick (1996). These photographs emphasize the artist’s focus on space, displacement, absence, and paradox.
Contact details
Tuesday - Saturday
10:00 AM - 6:00 PM
Bergamot Station, Buildings A-8 and B-2
2525 Michigan Avenue Santa Monica, CA, USA 90404
What's on nearby
RoseGallery is pleased to present The Language of Form, a presentation of works by <a target="_blank" href=https://www.mutualart.com/Exhibition/Rear-Window--Brought-to-You-in-High-Def/"/Artist/Chiron-Duong/3AA573F2FDE9E772">Chiron Duong</a>, <a target="_blank" href=https://www.mutualart.com/Exhibition/Rear-Window--Brought-to-You-in-High-Def/"/Artist/Elger-Esser/9E21D9C23CFF016F">Elger Esser</a>, Karl Blossfeldt, <a target="_blank" href=https://www.mutualart.com/Exhibition/Rear-Window--Brought-to-You-in-High-Def/"/Artist/Manfred-Muller/A4EBCA70A72E8A28">Manfred Müller</a>, and <a target="_blank" href=https://www.mutualart.com/Exhibition/Rear-Window--Brought-to-You-in-High-Def/"/Artist/Rinko-Kawauchi/9365F78B67306668">Rinko Kawauchi</a> that examines the roles that stillness and movement play in artistic endeavors. Viewers are invited to reflect on the enduring beauty of natural forms that illustrate the potential of organic shapes through photographs and collages.</p><p>Through a blend of meticulously composed still-life photography and evocative collage works, the exhibition bridges the worlds of stillness and motion. Photography captures fleeting moments of exquisite detail, freezing the delicate textures and intricate patterns of flora, fauna, and organic materials. The collages, on the other hand, translate these natural inspirations into tactile, three- dimensional forms that celebrate movement, balance, and structure.</p><p>The exhibition highlights the works of Manfred Müller, whose sculptures fuse geometric precision with organic inspiration, creating forms that evoke both strength and fragility. Chiron Duong's still-life photography reimagines traditional aesthetics with modern narratives, celebrating the beauty of flowers and cultural motifs in intricate, layered compositions. Elger Esser's photographs capture timeless European landscapes, emphasizing air, water, light, and reflection in a muted, dreamlike palette. Their large scale and stillness evoke the sublime, creating a tension between the seen and rendered landscape. Kawauchi's serene photographic meditations capture ephemeral moments in nature, blending soft light and subtle textures to evoke a sense of quiet wonder.</p><p>These contemporary works are presented alongside the pioneering <a target="_blank" href=https://www.mutualart.com/Exhibition/Rear-Window--Brought-to-You-in-High-Def/"/Artist/Karl-Blossfeldt/AFD8281830BA065B">photographs of Karl Blossfeldt</a>, whose striking black-and-white close- ups of plants revealed the architectural elegance of nature and influenced generations of artists with their unique blend of aesthetic and scientific significance.</p><p>The Language of Form underscores the timeless relationship between art and nature, stillness and vitality, form and flow, and celebrates the artistry of the natural world reimagined through the unique visions of these creators.</p><p><br></p>" />
