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  • Sarah Jones / Solo Exhibition (s)

Jones, Sarah, 2016, Show, Exhibition or Event, Sarah Jones / Solo Exhibition (s)

Abstract or Description:

Solo Exhibitions at Maureen Paley, London; and Anton Kern Gallery, NYC. Jones’s ‘photographs are often made on location and illuminated with carefully controlled lighting that allows the subject to both emerge from and recede into a darkened space. More recently Jones has engaged with the classical subject of the horse and attempted to articulate its physical presence and stature through photography. In the Cabinet series, arrangements of found objects are contained, mirrored and presented as if held in a vitrine. - Through the use of analogue techniques Jones studies the correspondence between the skein of the film, the surface of the photographic print and the surface of her subjects. The appearance of a groomed horse's coat or rain soaked rosehips in her imagery corresponds with the black of the print itself. For Jones this attention to materiality brings to mind the act of mark making in drawing and responds to the poise of Kazimir Malevich’s Black Square (1915) and the felt sculptures of Robert Morris (1967-68). Jones has previously used the diptych as a formal device and direct reference to early stereographic photographs in order to present two perspectives of a single form. In her more recent diptychs she considers the act of doubling and the alchemical nature of the photographic process by literally flipping an image. One becomes an imprint or reflection of the other recalling the Rorschach inkblot. In such an act of mirroring, Cabinet (II) (After Man Ray) (I) and (II) picture a curved glass object that recalls Man Ray's Le Violin d’Ingres, (1924) while other works reflect on the photographic language of Florence Henri, Karl Blossfeldt and Eugene Atget amongst others.

Reviews: Caroline Douglas (Contemporary Art Society), Time Out / Critic’s Choice Martin Coomer, Time Out / review Martin Coomer, Catherine Corman / New Wave Women: Illumination Huffington Post, Vince Aletti in The New Yorker.

Works published in The White Review No 11 Autumn 2014
Conference paper at University of Westminster (MA Photography) 'Rading In The Dark - On Deep Time, Photographic Black and Reverie' Oct 2015
Works from this show included in: Animality at Marian Goodman Gallery, London Nov 2016

Subjects: Creative Arts and Design > W600 Cinematics and Photography > W640 Photography
School or Centre: Research Hubs > Image and Language
School of Fine Art
Copyright Holders: Sarah Jones
Date Deposited: 21 Oct 2016 12:45
Last Modified: 16 Nov 2016 15:31
URI: http://researchonline.rca.ac.uk/id/eprint/1897

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