Tonight’s show LET ME BE YOUR UNDERSTUDY,
curated by Jessica Cimó and Jessica Simas,
just got a nod from the Eye Weekly Staff.
Posted in the “T.O. Do List” for February 25th, 2010.
Here’s a quote I especially like:
“The White House Studio Project is the kind of inspirational haven for forward-thinking, DIY art that we’ll likely rely on heavily in the next few years of Rob Ford pushing his gravy-less agenda towards arts funding.”
This statement is very true,
and art projects such as ours are needed now more than ever!
Come tonight and support your local hard-working artists!
New photographic works by Dan Epstein and Eric Kaluzny
Curated by Jessica J. Cimó and Jessica Simas
The White House Studio 277.5 Augusta Ave.
Holding Gallery Hours Sat./Sun. 1p.m. – 6p.m.
Mon. to Thurs. 4p.m. – 7p.m.
Opening Friday February 25th, 2011. 8pm – Midnight
Let Me Be Your Understudy
sees Dan Epstein’s series, “Bay Street Blues: An Elegy for the Commute,” and Eric Kaluzny’s snapshots of the unsolicited and cosmopolitan revive the potential images have to reveal the dynamics of pedestrian experience and exchange. Often, they expose patterns of non-engagement or self-effacement.
As viewers, we are apt to study aesthetic desirability even within barren urban landscapes, in order to situate ourselves in unique pedestrian universes. This joint body of work, showcasing passersby in landscapes of remembered spaces, plays with our affinities. However, the role of photographer as documentarian also adds the tinge of authorship to traversed psychogeographies. In an outcry for revolution, Situationists of the 1950s and 60s blamed the crowds’ passivity on the stifling qualities of mass media, as well as its weight upon daily life and its shadow of distortion. Yet as either pedestrians or documentarians, are we being passive or simply taking stock?
The anonymous urban malaise of Epstein‘s financial district with a commercial billboard that ominously tempts the economic fates of crossing pedestrians with “Are You Bullish Or Bearish” is juxtaposed with Kaluzny’s coloured world of chance visual encounters. Even if Kaluzny’s stills of daily existence flirt with the possibility of alleviating the stress of the financial district, his distance from his subject intensifies the divide.
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