Issue 40 —

The fortieth issue of Blindspot is guest edited by artist Arthur Ou. Elaborating the truism that an exhibition curated by an artist often has a different feel to one put together by a curator, there is something visceral and intuitive about how it all hangs together. It would perhaps be a bridge too far to suggest that it becomes an extension of his own artistic discourses, but quite naturally here and there, there are glimmers of the resonances of his own preoccupations or artistic concerns in the work of those he has chosen to showcase.

This is perhaps most evident in the layout of Lisa Tan’s photographs where the enigmatic – almost romantic- motifs of mountains and clouds turn out to hold the sobering secret of scientific activities that are almost their opposite in their sensibility. But, far from being about simply choosing work that is similar to his own, at least upon immediate encounter, the issue takes us on a journey that touches on almost all aesthetic schools from fairly classical monochrome studies to those that veer towards the documentary tradition.

Immediately of note are Matthew Spiegelman’s almost incidental reframing of household kitsch in a manner that is decidedly anti-documentary, perhaps owing more to the tradition of installation art than photography in their staging. British photographer Nigel Shafran’s images of suburban melancholia also jump straight off the page.

    Issue 40 –
    February 2011 84 Pages 0 Minutes of audio 0 Minutes of video
    In This Issue –
    Leslie Hewitt Seiichi Furuya Lisa Tan Nigel Shafran Adam Putnam Simone Douglas Matthew Spiegelman Moyra Davey Torbjorn Rodland Trisha Donnelly
    Editor In Chief –
    Dana Foconti
    Art Director –
    Su Barber
    Blindspot - Issue 40  Blindspot - Issue 40  Blindspot - Issue 40  Blindspot - Issue 40  Blindspot - Issue 40  Issue 40  Blindspot - Issue 40

Our Take —

Blind Spot has been around for quite some time and has impeccable credentials. Operating very much in the mode of a peer-reviewed academic journal, it has an advisory board of various high-achievers in the world of photography and its contributing editors at large include heavyweights such as John Baldessari, Vik Muniz, James Welling, Gregory Crewdson and Joyce Carol Oates, to name but a few from the illustrious list.

But, unlike many academic journals, there is a strong emphasis on the high-quality reproduction of the visual image, as there should be in a magazine that exists to provide a platform –published three times a year- for living artists to show unseen work. In this sense, Blind Spot is a title that behaves a bit more like a gallery space than many other photographic magazines, something that is only underscored by the fact that it also acts as a representing agency for a list of top-notch artists. Under the guidance of Executive Director and Publisher & Editor Dana Faconti and Curator Jodie Vicenta Jacobson, the magazine also provides the appropriate context to the published work and develops many projects from scratch directly in collaboration with the artists, much as a good gallery space might.

Blind Spot is an essential for anyone wanting to remain informed of the intersection of contemporary art and the photographic image at the cutting edge of the discussion.

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Photography Art

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