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Artist Feature

Every week an artist is featured whose single image was published by Der Greif. The Feature shows the image in the original context of the series.

Daniel Everett - Throughout the Universe in Perpetuity

Jun 22, 2016

Throughout the Universe in Perpetuity is a recently popularized legal phrase used to define the extent of ownership rights or boundaries of a contract. It is deployed in the hopes of extending control infinitely in both time and space. This series was born out of a similar preoccupation with control and is made of up of images of uniform cityscapes and decontextualized architectural structures. Through this work, I’m attempting to sort through my own ambivalence towards the ideals of order and perfection while seeking for a point of equilibrium where a space might feel simultaneously alluring and unnerving. A monograph of this series was published by Études Books in 2015.

Artist Blog

The blog of Der Greif is written entirely by the artists who have been invited to doing an Artist-Feature. Every week, we have a different author.

New Existence

Jun 28, 2016 - Daniel Everett

Thank you for having me as guest blogger! For my last post, here is another ongoing series of my work titled New Existence. The title New Existence comes from analytics data linked to my website. When sorting through the search terms that ultimately brought people to my site, “New Existence” repeatedly came up. It felt like an appropriate encapsulation of the tone and motivations driving my work – the hope of a new life through technology and order. This series is made up of images of abandoned office equipment and surveillance devices, interrupted grids and cloudscapes – reflecting a conflicted relationship to the promises of modernism and the aesthetics of progress.

Go Itami

Jun 27, 2016 - Daniel Everett

In recent years I’ve been spending a lot of time in Tokyo and I’ve been amazed by the work being produced there. More than just the art itself, I’ve been impressed by the general attitude toward image making. One example of this is Go Itami. To me, Itami’s work represents an unapologetic approach to photography as seeing. The work feels complex in the mood and atmosphere it creates, but it also feels free and has a remarkable energy. Despite the strides photography has made in the contemporary art world, too often it feels relegated to simply being a tool used to illustrate concepts. There is an unspoken disregard for photography’s ability to emote and an insistence that photography constantly explain itself at every turn. This leads to an overabundance of prescriptive work burdened by the overly cautious logic of its own making. I appreciate that this work does not do that. Itami’s work feels open in the best way.

Functional Images

Jun 26, 2016 - Daniel Everett

Recently, while sorting through my external hard drives, I started gathering all of the images I’ve made over the years documenting my video game collections. These images were taken with the intent of cataloging, selling, or showing off to other collectors in online forums, but in retrospect, clearly bear a striking resemblance to my art. It wasn’t until bringing them all together that I realized how much these images have come to inform the way I make art and how I think visually.

Anna Vogel – Give Back the Kingdom

Jun 25, 2016 - Daniel Everett

In the summer of 2014, while teaching a study abroad course in Berlin I stumbled upon Anna Vogel’s exhibition, Give Back the Kingdom, at Sprueth Magers. Over the course of the month, I went back to it a number of times. There was something compelling to me about the subject matter and approach to materials. It’s hard to convey via JPGs, but the prints themselves are delicately scratched and repeatedly cut in parts. I liked the pacing of the arrangement in the gallery and the choice to use bare MDF frames that bore the finger prints of the installers. When I encountered the work I was feeling frustrated about the prospects of making meaningful landscape images at this point in time and this show made me feel hopeful again.

Leah Beeferman – Strong Force

Jun 24, 2016 - Daniel Everett

From the first time I saw Leah Beeferman’s work I’ve been captivated by it. There is something fascinating about the use of space and the unconventional implementation of photography within the work. At a time when photography seems to be struggling to reclaim its own materiality, Leah’s work does a stunning job of breaking new ground without reveling in its own newness. The pieces, consisting of metallic prints face-mounted to acrylic, have an impressive depth and physicality. The work is both poetic and surprising. From the press release for Strong Force at Rawson Projects: Leah Beeferman's ongoing series of digital drawings, Strong Force (Chromodynamics), comes from an interest in the intangible and nonvisual space of theoretical physics and computer-based image-making. Using photographs and scans of objects from remote locations, Beeferman merges a very "real" space (from her own observation and experience) with the flatness and depth of "virtual" space (digital image-making) to create a physical object that lies somewhere in the space between a photograph, a drawing and a sculpture (the resulting works are face-mounted digital c-prints on metallic paper). And it is this notion of "in-betweenness" that connects the artist's ideas about the non-uniform in her work to her interest in theoretical and quantum physics: "True "empty space" isn’t something we can access, and neither is dense emptiness.”

Three Favorites

Jun 23, 2016 - Daniel Everett

ref="">Shore For my first post, I want to share three of my favorite photographs. One of my irritations with the culture surrounding contemporary art is that many artists are so reluctant to show enthusiasm about the art that they love. A running joke when I was in grad school was that the only way to get some artists to shut up was to ask them what artwork they actually liked. Maybe it’s borne out of a fear of liking the wrong things or being seen as derivative of the artists that inspire you - either way, it’s an attitude I wish would go away. Here are three images I love unapologetically. Shore Stephen Shore U.S. 97, South of Klamath Falls, Oregon July 21, 1973 This image is perfect to me. I don’t know how to defend it in any substantive way, but the alignment of each of the elements manages to create something both sublime and empty, and I’ve found myself returning to it over and over throughout the years. This image also served as my introduction to the rest of Shore’s work, including his postcards and early conceptually projects that have had a significant impact on me. Williams Christopher Williams “Kodak Three Point Reflection Guide / © 1968, Eastman Kodak Company, 1968 / (Meiko laughing) / Vancouver, B.C. / April 6, 2005,” (2005). Chromogenic color print. Paper: 20 × 24˝; framed: 34 × 37 3/4˝. Glenstone. Courtesy of the artist; David Zwirner, New York/London; and Galerie Gisela Capitain, Cologne © Christopher Williams. As a general rule, I don’t have any interest in portraits. People feel too specific to me and too greedy as subject matter. That said, this photo has always been the exception. Maybe it’s because of the palpable artificiality or the sense of anonymity, but this image has always intrigued me. I remember hearing Williams speak about this piece and explaining that the reason it worked was because there was a mole on her arm, one on her chest, and one on her face, and together they formed a triangle. That’s good enough for me. Cohen Lynne Cohen Untitled (two lights), 2003 Lynne Cohen’s work has been hugely influential to me. I count myself extremely lucky to have known her and to have been able to work with her on a few occasions before her death. She was fiercely opinionated and unapologetically direct in her assessments, but always insightful and encouraging in her own way. At the time I first saw her work, I was struggling to articulate what I was attempting to do in my own art or why it was even worthwhile. This image felt like a revelation and everything I had been chasing after suddenly made sense.