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"Portfolios: Seeing in Series"
2006-07-11 until 2006-08-11
Laurence Miller Gallery
New York, NY,
USA United States of America
The idea of a portfolio of photographs has been around for a very long time, and has served various purposes, from investments to collaborations to the elaboration of an idea. From July 11 through August 11 we will feature PORTFOLIOS: Seeing in Series, four intact portfolios by Yasuhiro Ishimoto, DoDo Jin Ming, Ray K. Metzker, and Mark Mann that explore the idea of a group of pictures being greater than the sum of its parts. Like William Eggleston’s Graceland or Ed Ruscha’s Gasoline Stations, these groups of pictures form unified and poetic visions that enable the true spirit behind each picture to unfold.
The four portfolios, each of which will be exhibited in its entirety, are:
Katsura, by Yasuhiro Ishimoto, published in 1989 from negatives made during two trips to this villa in 1953-54 and 1981-82. Selecting and combining images from these two journeys has produced a timeless vision of this particular site, yet each image is beautiful and discrete on its own.
Last Resort by Mark Mann, published in 2006, consists of twelve color images gleaned from three previous bodies of work, Wish You Were Here, Are We There Yet? and Four Easy Pieces. Each series featured a different take on the mass migration of families on vacation, derived from mid-century-style souvenir postcards but made with a contemporary eye to that intriguing past. The portfolio represents a distillation of images that explore the underbelly of those seemingly innocent forays into the great American landscape.
Free Element, by DoDo Jin Ming, was published in 2005. It consists of six gelatin silver prints that together form a powerful statement about the awesome power of the sea to stoke the imagination. DoDo has chosen six turbulent and poetic images that speak more of the emotional and spiritual side of nature rather than to the specifics of place or time.
Winged Certainties by Ray K. Metzker was published in 1988 and has never before been exhibited. It consists of five close-up botanical images. As individual prints, each is a floating reference to the ethereal nature of flora; seen together they form a type of minimalist abstraction that is subtle and transporting.
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