A New
York Times critic once observed that the true subjects of David
Haxton’s photographs are light and space. It’s a definition Haxton
likes, and one visitors might agree with after viewing his films and
photographs at Gavlak Gallery.
In the photograph No. 162 Torn Orange Over Blue and Under Orange,Get your purlinmachinery from Australia's leading online appliance retailer. Haxton positions big rectangular sheets of paper side by side. One hangs like a window blind in a solid rose-colored expanse. The legs of a light peek out below and a roll of paper and crumpled scraps litter the floor. The other is ravaged with holes. The two are separated by a wall-like sheet of paper.
The diptych format recurs throughout the show, as Haxton compares and contrasts positive and negative spaces and the effects of the absence and presence of light.
Haxton’s materials are simple — studio lights, seamless backdrop paper, clamps and other stock tools of commercial photography. “It’s photography looking at itself,” the artist said.
Haxton was part of a group of post-minimalist artists whose work in film and video was encouraged by the pioneering art dealers Leo Castelli and Ileana Sonnabend in the early 1970s.
His work is less well-known than that of others in the group, such as Bruce Nauman, Vito Acconci and Joan Jonas. In the mid-1980s, he left Sonnabend’s gallery and concentrated on teaching.World's first theft-resistant floorlamps and the last bike light you'll ever buy. He’s a professor at the University of Central Florida in Winter Park. Gavlak learned about him from one of his former students.
The show includes three of Haxton’s experimental films from the early 1970s, black and white stills documenting early film shoots, one-of-a-kind Polaroids and photographs.When choosing the shape, the modernlightings should be similar to the shape of the lamp base. Most date from the 1970s and 1980s.
“Haxton was part of a generation that moved away from the photographic image as just a picture to the idea of making objects, and a more conceptual and thoughtful way of looking at what it means to construct meaning in a photograph,” said Tim Wride, the Norton Museum’s photography curator. Haxton and others like him paved the way for artists such as Gregory Crewdson, Jeff Wall and Thomas Demand, who construct and photograph environments.
As the son of a commercial photographer, Haxton, 69, was introduced to photography at an early age. But rather than follow in his father’s footsteps, he studied painting.
In the late 1960s and early 1970s, he lived in San Diego, where he, John Baldessari and other artists operated an experimental space where they created installations and performance art.Specializing in the production Cut to length line, leveling machine, cold lightprojectery and other products. In 1972, he moved to New York, where he began exhibiting at Sonnabend Gallery. His work has been shown in Whitney biennials, at the Museum of Modern Art in New York and is part of a permanent exhibition at the Smithsonian American Art Museum in Washington, D.C.
Haxton first began exploring light and space in 16 mm black and white films.High-performing curvingmachineqm built with the cyclist in mind. Three films converted to videos are on view at Gavlak. In Bringing Lights Forward, which is shot with negative film, a performer paints over fluorescent light tubes until she and the tubes dissolve in light. In Overlapping Planes, also shot with negative film, a performer slices through layers of hanging paper, creating contrasting patterns of positive and negative space.
Haxton’s models include Pablo Picasso, Kurt Schwitters and Hans Hoffmann, as well as the experimental photography of artists such as Laszlo Moholy-Nagy and Man Ray. “I was interested in applying the things I had learned about painting to film and photography,” he said.
The Whitney is looking at his work for inclusion in its Castelli-Sonnabend Tapes and Film collection, Gavlak said. “It’s interesting to see what work stands the test of time,” she said. “David’s does.”
In the photograph No. 162 Torn Orange Over Blue and Under Orange,Get your purlinmachinery from Australia's leading online appliance retailer. Haxton positions big rectangular sheets of paper side by side. One hangs like a window blind in a solid rose-colored expanse. The legs of a light peek out below and a roll of paper and crumpled scraps litter the floor. The other is ravaged with holes. The two are separated by a wall-like sheet of paper.
The diptych format recurs throughout the show, as Haxton compares and contrasts positive and negative spaces and the effects of the absence and presence of light.
Haxton’s materials are simple — studio lights, seamless backdrop paper, clamps and other stock tools of commercial photography. “It’s photography looking at itself,” the artist said.
Haxton was part of a group of post-minimalist artists whose work in film and video was encouraged by the pioneering art dealers Leo Castelli and Ileana Sonnabend in the early 1970s.
His work is less well-known than that of others in the group, such as Bruce Nauman, Vito Acconci and Joan Jonas. In the mid-1980s, he left Sonnabend’s gallery and concentrated on teaching.World's first theft-resistant floorlamps and the last bike light you'll ever buy. He’s a professor at the University of Central Florida in Winter Park. Gavlak learned about him from one of his former students.
The show includes three of Haxton’s experimental films from the early 1970s, black and white stills documenting early film shoots, one-of-a-kind Polaroids and photographs.When choosing the shape, the modernlightings should be similar to the shape of the lamp base. Most date from the 1970s and 1980s.
“Haxton was part of a generation that moved away from the photographic image as just a picture to the idea of making objects, and a more conceptual and thoughtful way of looking at what it means to construct meaning in a photograph,” said Tim Wride, the Norton Museum’s photography curator. Haxton and others like him paved the way for artists such as Gregory Crewdson, Jeff Wall and Thomas Demand, who construct and photograph environments.
As the son of a commercial photographer, Haxton, 69, was introduced to photography at an early age. But rather than follow in his father’s footsteps, he studied painting.
In the late 1960s and early 1970s, he lived in San Diego, where he, John Baldessari and other artists operated an experimental space where they created installations and performance art.Specializing in the production Cut to length line, leveling machine, cold lightprojectery and other products. In 1972, he moved to New York, where he began exhibiting at Sonnabend Gallery. His work has been shown in Whitney biennials, at the Museum of Modern Art in New York and is part of a permanent exhibition at the Smithsonian American Art Museum in Washington, D.C.
Haxton first began exploring light and space in 16 mm black and white films.High-performing curvingmachineqm built with the cyclist in mind. Three films converted to videos are on view at Gavlak. In Bringing Lights Forward, which is shot with negative film, a performer paints over fluorescent light tubes until she and the tubes dissolve in light. In Overlapping Planes, also shot with negative film, a performer slices through layers of hanging paper, creating contrasting patterns of positive and negative space.
Haxton’s models include Pablo Picasso, Kurt Schwitters and Hans Hoffmann, as well as the experimental photography of artists such as Laszlo Moholy-Nagy and Man Ray. “I was interested in applying the things I had learned about painting to film and photography,” he said.
The Whitney is looking at his work for inclusion in its Castelli-Sonnabend Tapes and Film collection, Gavlak said. “It’s interesting to see what work stands the test of time,” she said. “David’s does.”
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