Exhibition: Warren Neidich

Praha

gandy gallery

Warren Neidich

February 22, 2001 - April 28, 2001

BEYOND THE VANISHING POINT # 1 THROUGH # 30

Each photograph of the "Beyond the Vanishing Point" series, contains a number of varying characteristics such as a warped and distorted view of the vanishing point, a reversal of a mirror image in which a text normally read as reversed is transformed into one which is read as it would be in real space, for instance in the lower left corner of each photograph a sign is read left to right "Construction Zone", and finally, different scenes of a fictitious narrative, in which an actress and actor re-enact a meeting on a real Los Angeles street corner. These three anti-characteristics, as they are oppositional, cojoin to challenge notions of the basic rules of photography itself and relegate these images to a history of image making in direct resistance to the generally accepted canon of documentation, formalism and monadic, perspectival, coordinate space.

But this work goes one step further in its desire to decenter the gaze to the peripheral margins. ln each photograph the historical relation which exists between the viewer and the work of art is also re-enacted. For example according to the designation mapped out in Martin Jay's "Scopic Regimes of Modernity" for different kinds of viewer-painting relationships, each photograph here simultaneously connects the beholder to three historically defined denotations of regarding: 
1. Cartesian perspectivalism, based on the Albertian window, rendered through the vanishing point of George Burns Boulevard as it recedes through the artifice of a Los Angeles urbanscape. 
2. The grid, as it relates to the Northern tradition of the map and its lack of insistence on the boundary of a window frame instead opting for the continuum of the painted surface with the world beyond the frame, is here represented by the crisscrossing steel beams that coddle the fractured mirror reflections. 
3. The distorted, unfocused, vertiginous opticality of the Baroque with its rendering of the visual field from multiple viewpoints, here represented in the warped imagistic space reminiscent of an architectural model of Frank Gehry. Post-modernism, specifcally its recent focus on global culture. 
Post-colonial discourse and post-racial art, transforms the meanings of these points of view from ones of pure opticality into ones which re-enact cultural differences as a function of a shifting cultural gaze alighting, as it does, upon different culturally determined points of interest resulting in the building of specific culturally derived connections and images which co-exist in a transcendental harmony.

Warren Neidich Biography

One Person Exhibitions :

2002
California Museum of Photography, Riverside, Ca.

2001
gandy gallery, Prague, Czech. Laguna Beach Art Museum, Laguna Beach, Cal.

2000
Bayle Art Museum, University of Virginia, Charlottesville, Va.

1998
Jan Abrams Gallery, New York, NY.

1997
Steffany Martz Gallery, New York, NY.

1994
Villa Arson, Nice, France.
Impressions Gallery, York, England.

1993
Kunstlerhaus Bethanlan, Berlin, Germany.

1991
Photographic Resource Center, Boston, MA.
Perspectif Space, Rotterdam, Holland.
List Center of Art, M.l.T., Cambridge, MA.

Group Exhibitions :

2000
Gail Gates, Brooklyn, New York.

1999
Tate, New York, NY.
Fine Arts Work Center, Provincetown, Mass.
Yojhi Yamemoto Clothing Store, New York, NY.
Palazzo Tupputl, Bisceglie, Italy.
Roebling Hall, Brooklyn, NY.
Untitled, Dallas, TX.

1998
Up and Company, (Supra Store), New York, NY.
Michael Kapinos Gallery, Berlin, Germany.
Art Node, Stockholm, Sweden.
Bohulans Museum, Uddevalla, Sweden.
Galerie Box, Gothenburg, Sweden.
Uppsala Konstmuseum, Uppsala, Sweden.
Bildmusset, Umea, Sweden.
Portland Museum of Art, Portland, Maine.
Bayle Art Museum, University of Virginia, Charlottesville, Va.
Bakalar Gallery, Massachusetts College of Art, Boston, Mass.
Emerson Gallery, Hamilton College, Clinton, NY.

1997
Huntington Beach Art Center, Huntington Beach, CA.
Steffany Martz Gallery, New York, NY.
Institute of Contemporary Art, Philadelphia, PA.
Knitting Factory, New York, NY.
Aldrich Museum of Art, Ridgefield, CT.
Rekjavik Municipal Art Museum, Rekjavik, lceland.
Hope 57, Brooklyn, NY.

1996
Fotomuseum Winterthur, Winterthur, Switzerland.
The Finnish Museum of Photography, Helsinki, Finland.
Los Angeles County Museum of Art, Los Angeles, CA.
Spencer Museum of Art, Kansas City, Kansas, Mo.
New York Kunsthalle, New York, NY.
Franklin Furnace, New York, NY.
Exit Art, New York, NY.
Exit Art, New York, NY.
Christiana, Copenhagen, Denmark.

1995
American Fine Arts, New York, NY.
Aktionsforum Praterinsel, Munich, Germany.
Kunsthalle Krems, Krems, Austria.
Stadtische Galerie Erlagen, Erlagen, Germany.
Brandengurgische Kunstammlungen, Cottbus, Germany.
Musset for Fotokunst, Odense, Denmark.

1993
Exit Art, New York, N.Y.
Joban Jonker Gallery, Amsterdam, Holland.
Unfair Koln, Koln, Germany.
Paris Bar, Berlin, Germany.

1992
Jack Tilton Gallery, New York, NY.
Palais de Tokyo, Paris, France.
Goethe House, New York, NY.
AC Project Room, New York, NY.
Guild Hall, East Hampton, NY.
Blum Helman Warehouse, New York, NY
Southwest Louisiana University Museum, Lafayette, LA.
Ecole Superieure d'Art et de Design, Espace Champagne, Reims, France.
Palais de Tokyo, Paris, France.
Institute of Contemporary Art, P.S.1, Long Island City, NY.
Photographic Resource Center, Boston, MA.

1989
Larry Miller Gallery, New York, NY.
University of Connecticut Art Gallery, Stoors, CT.
Bard College Art Museum, Tillery, NY.
National Museum of American Art, Washington D.C.
The Museum of Contemporary Art, Chicago, IL.
Walker Art Center, Minneapolis, MN.

1987
Houston Center of Photography, Houston, TX.
Museum Ludwig, Koln, Germany.

1986
Queens Museum, Queens, NY.
White Columns, New York, NY.

Bibliography :

2000
"WN T.V.", Phoebe Hoban, Smock Magazine, November, 2000.
"The Information Bomb by Pual Virilio Reviewed by Ed Baxter, photography by Warren Neidich DPICT, Aug-Sept., 2000.
"Drawing and Photography, The Photographs of Warren Neidich", Douglas Cooper, T(here), Sept., 2000.
"Transparent Architecture", Holland Carter, New York Times, July, 2000.
"Camp O.J.", Charles Stainback and David Hunt, University of Virginia Press, 2000.
"Art After Appropriation : Essays on Art in the 1990's.", John Welchman, Gordon and Breach, 2000.

1999
"Guide to Museums and Galleries Artists, Alternative Space Previews", Art in America, Annual, 1999, September 1999.
"Millennium at Tate", Robert Mahaoney, Time Out, Review Section, July 11 - July 17, 1999, No. 201, p 52.
"Summer 1999 at Tate", Norman Bryson, Essay for exhibition at Tate Gallery, New York City, July, 1999, p. 4 and p. 5.
"Performing Observations; Recent Work by Warren Neidich", Regine Basha, Performing Arts Journal, Summer 1999.
"Seeing Eye, Conceptual Art as a Neurobiological Praxis", Sue Spaid, Village Voice, April 27,1999.
"Conceptual Art : Over and Yet Everywhere", Roberta Smith, The New York Times, Arts and Leisure Section, April 25, 1999, p. 1.