Anthony Pearson

Anthony PearsonAnthony Pearson

Anthony Pearson
Solarizations


Pearson’s work over the past few years has been an exploration of perceptual and historical aspects of photography and abstraction. Working in both chemical and electronic processes, Pearson has melded these photographic methods in a highly personal manner to suggest that the concerns of the analog and digital are not as disparate as supposed. His ongoing series of solarized, silver gelatin prints exploit elements of chance and variability through a highly controlled three-part process. Pearson begins by constructing tableaus of foil, spray-paint, and ripped paper through both additive and subtractive methods, alluding to precedents such as the décollage of the Nouveau Realistes. After photographing details of these drawings and constructions, the prints are then solarized in the darkroom during a process by which tonality of the image is inverted to varying degrees through a brief exposure to white light. While the small scale of these photographs could be read as referencing reproductive plates of gestural mid-century paintings, the unique nature of each photograph elaborates a highly personalized language that builds upon historical strains of abstraction.

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Anthony Pearson - Solarizations
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Anthony PearsonAnthony Pearson

Anthony Pearson


Anthony Pearson sculptures and photographs explore the subtle visual and textural nuances produced by transforming various, primarily metallic materials according to their intrinsic properties. His Front Room project features a selection of recent “tablet” sculptures created through a procedure in which an original structure is formed from clay and then cast in bronze. He uses the malleable nature of clay in a manner similar to that of drawing, in which the material is worked and reworked—just as lines are drawn, erased, and drawn again—to make marks in space. By casting the final result in bronze, Pearson conversely engages a process typically associated with permanence and solidity. His previous combinations of photographic and sculptural work, in what he refers to as “arrangements,” highlighted unexpected resonances between the examinations of light, shadow, and surface in the two different mediums. This presentation of sculptures thus represents a significant departure in his practice by emphasizing their unique status as objects—simultaneously visually streamlined yet materially dense.

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Anthony Pearson
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The Anxiety of PhotographyThe Anxiety of Photography

The Anxiety of Photography


The pervasive use of photography by Conceptual artists, and a generation later by artists of the so-called Pictures Generation, effectively ended any debate about the validity of photography operating legitimately within the sphere of contemporary art. Photography’s undefined, in-between status, as a medium, a tool, an object, a practice is still, unresolved. ‘The Anxiety of Photography’ examines the growing number of artists – some of whom self-identify as photographers, others for whom photography is central to their work – who embrace photography’s plasticity, having internalized an expanded collage aesthetic and digested various ideas of appropriation. Among the artists included are Liz Deschenes, Roe Ethridge, Matt Keegan, Annette Kelm, Elad Lassry, Anthony Pearson, and Mark Wyse.

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The Anxiety of Photography
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