Liminal spaces, surfaces, and voids surround us. Being on the go is a constant in urban life, but there are moments of dense visual information that artists in particular are prone to seek out. Three such artists will have works on view at Material 2019.
Ursula Schulz-Dornburg, who at 80 years old is gaining long-overdue recognition, presents a whimsical installation of six stunning silver prints made while she was doing research in St. Petersburg. She noticed groups of people traveling up and down the metro escalators and took photographs of them. She notes that when she made them, in the early 2000s, her subjects were cellphone free and extremely attentive to their surroundings, including to her with her camera. In a few examples, her subjects stare intently at the camera, striking a pose—what else is there to do between points A and B?
Peter Holzhauer is an artist who photographs in an open-ended and omnidirectional manner. While he has focused mostly on the interstitial spaces of Los Angeles, his practice has taken him back to his native Maine and the remote reaches of Iceland. Building on an understanding of the history of photography, he photographs anything from a set of springs in a hardware store to a rainbow-like deposit of oil on the ground.
Hannah Karsen is an emerging artist interested in the quiet and lyrical surfaces of objects and places. Her series of high-resolution scans of artist’s monographs play with the conventions of post-minimal painting, while a photograph of the base of a vase of flowers, made with a digital camera that can only photograph in black and white explores the genre of still life. A small assemblage of landscape photos is paired with a snapshot of a vandalized car window. The shards of glass fall elegantly within the quilted leather of the seats.