Archive for April, 2010

Yesterday at 3:17pm, a friend of a friend emails me photos of what he calls a “mattress graveyard.”

Exactly an hour later, I randomly drive past this place on Rutledge Street in Brooklyn:

© Hee Jin Kang

Then this morning, someone sends me this link.  Am I in mattress heaven or hell?


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I have a photograph showing only for one hour on Tuesday, May 25th from 11am-12pm.  If you’re in the DC area:

“One Hour Photo distills the photograph to the ultimate limited edition: 60 minutes. Photographic works will be projected for one hour each, after which they will never be seen again, by anyone, in any form. Each work will exist only in the limited moments of perception, in the individual and collective experience, then memory, of the observers.”

One Hour Photo was created by Adam Good and curated with Chajana denHarder, and Chandi Kelley.

May 8—June 6, 2010
American University Museum at the Katzen Arts Center Washington, DC
Hours: 11:00 a.m. to 4:00 p.m., Tue-Sun

The show opens on Saturday, May 8th from 6-9pm.

The full schedule is here.

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© Hee Jin Kang

I’m participating in a group show coming up at the Umbrage Gallery in DUMBO, curated by the Exposure Project. Join us for the opening:

Graphic Intersections & The Portrait As Allegory
May 4th – June 26th, 2010
Opening Reception: Thursday, May 6th, 6 – 8pm

Umbrage Gallery
111 Front Street, Suite 208
DUMBO, Brooklyn, NY 11201

Graphic Intersections is a collaborative project loosely based on the old Surrealist and Dadaist game The Exquisite Corpse. Designed to unite disparate artists in an interconnected photographic relay of images inspired by one another, or as the Surrealists put it, to exploit “the mystique of accident”, this project strives to emphasize a system of response entirely rooted in unmediated visual reaction.

This exhibition includes photographs by Ben Alper, Anastasia Cazabon, Thomas Damgaard, Scott Eiden, Grant Ernhart, Jon Feinstein, Elizabeth Fleming, Alan George, Hee Jin Kang, Drew Kelly, Michael Marcelle, Chris Mottalini, Ed Panar, Bradley Peters, Cara Phillips, Noel Rodo-Vankeulen, Irina Rozovsky, Brea Souders, Jane Tam and Grant Willing.

The Portrait As Allegory is an exhibition that examines the work of three artists who utilize the figure metaphorically in service of a broader discourse on the human experience. In addition to exploring the personal identities of their subjects, these portraits simultaneously become vehicles which speak to a variety of social, historical, and familial histories.

This exhibition includes photographs by Timothy Briner, Birthe Piontek and Susan Worsham.


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© Hee Jin Kang
“No Sleep” is a series of photographs of abandoned mattresses found around New York City, though mostly in Brooklyn. The beds are sometimes seedy and sometimes luminous, pathetic, monolithic and architectural, strange, out-of-place and totally banal. I’m interested in how these beds present all those things we do on them — sleep, dream, make love — and how by dumping them onto the streets of New York, we bring our very private lives out into the light.  More here.

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la pura vida

© Hee Jin Kang

The La Pura Vida blog posted some photographs from the Sandy’s Deli and Red Wing series.

It’s a fairly new-to-me photo blog founded by photographer Bryan Formhals. It also publishes some thought-provoking Op-Ed pieces, especially this one, in response to this.

Be a darling and check it out.

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© Hee Jin Kang

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Image © Kerry Tribe from the Whitney website

You should go to this year’s Whitney Biennial, if only for the opportunity to see the works of these three artists, all female, all film/video, all excellent:

Sharon Hayes

Josephine Meckseper

Kerry Tribe

All on view on the third floor.

I was particularly mesmerized by Kerry Tribe’s film installation about “H.M.”, an epileptic who underwent experimental brain surgery in the 50’s.  The removal of several parts of his brain left him with a terrible sort of amnesia that limited his memory to events 20 seconds prior.

To evoke H.M.’s condition, this two-channel film installation uses a single strand of film threaded through two adjacent projectors with an interval of twenty seconds between them. The observation of the tandem projections brings awareness to the ephemeral nature of that brief interval, and by extension, the fragile nature of human perception.


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