John Divola

American, b. 1949

658 followers

John Divola

Bio

American, b. 1949

Followers
658
Biography

John Divola received a B.A. from California State University, Northridge in 1971 and completed his M.F.A. from University of California, Los Angeles in 1974. Divola’s career spans four decades, focusing on the conceptions and limitations of photography. Although the photographer has a fascination with physical objects that range from buildings to landscapes, his concerns are purely conceptual as they challenge the boundaries between fiction and reality, the abstract and the specific.

In his Vandalism (1973-75) series, Divola comments on the role of the photographer as synonymous to the graffiti artist, making his own marks and emulsions in an abandoned building. His fascination with inhabitable houses led him to Zuma (1997), a body of work that documents the man-made interiors of buildings that are corroded and vandalized in contrast to the exterior of sunsets and shorelines. The physical relationship between man-made interventions and its immediate surroundings emphasize the distance between image and reality.

Photographing manipulated and inhabitable environments and applying his own interventions, Divola explores the relation between real and artificial representations of the image. For Divola, photography functions as a transcendental medium, accommodating performance and manipulation of perception.

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Career Highlights
Learn more about artist insights.
Established
Established representation
Represented by industry leading galleries.
Group
Group show at a major institution
The Museum of Modern Art (MoMA), and 2 more
Institution
Collected by a major institution
Museum of Modern Art (MoMA), and 1 more
Publication
Reviewed by a major art publication
Artforum, and 3 more
Fair
Included in a major biennial
Whitney Biennial, and 1 more
Biography

John Divola received a B.A. from California State University, Northridge in 1971 and completed his M.F.A. from University of California, Los Angeles in 1974. Divola’s career spans four decades, focusing on the conceptions and limitations of photography. Although the photographer has a fascination with physical objects that range from buildings to landscapes, his concerns are purely conceptual as they challenge the boundaries between fiction and reality, the abstract and the specific.

In his Vandalism (1973-75) series, Divola comments on the role of the photographer as synonymous to the graffiti artist, making his own marks and emulsions in an abandoned building. His fascination with inhabitable houses led him to Zuma (1997), a body of work that documents the man-made interiors of buildings that are corroded and vandalized in contrast to the exterior of sunsets and shorelines. The physical relationship between man-made interventions and its immediate surroundings emphasize the distance between image and reality.

Photographing manipulated and inhabitable environments and applying his own interventions, Divola explores the relation between real and artificial representations of the image. For Divola, photography functions as a transcendental medium, accommodating performance and manipulation of perception.

Career Highlights
Learn more about artist insights.
Established
Established representation
Represented by industry leading galleries.
Group
Group show at a major institution
The Museum of Modern Art (MoMA), and 2 more
Institution
Collected by a major institution
Museum of Modern Art (MoMA), and 1 more
Publication
Reviewed by a major art publication
Artforum, and 3 more
Fair
Included in a major biennial
Whitney Biennial, and 1 more
Articles Featuring John Divola
10 Works to Collect at Seattle Art Fair
Jul 28th, 2016
10 Works to Collect at Seattle Art Fair
John Divola’s Photographs of American Decay Make a Lasting Impact
Mar 16th, 2016
John Divola’s Photographs of American Decay Make a Lasting Impact
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