issue 41 —

Blind Spot does tend to favour certain aesthetics over others. This is hopefully not too much of a generalisation and is not meant as a criticism, rather a valid point to consider when reflecting on the work and included artists in the most recent issue. Blind Spot favours a certain conceptualism, disfavours the purely decorative or photography as an instant and indulgent vehicle for suspension of disbelief. Why this is the case is fairly evident when looking at who is behind and involved in this title; Blind Spot could almost be taken as a position statement by a certain generation or theoretical stance by some of America’s most distinguished practitioners. So, if you’re after a pleasing piece on fluffy photography or even precise documentary photography in the traditional mode, the issue is not likely to please.

If on the other hand you are after unique and hitherto unseen projects by some of the top artists of the day working in certain ways, you’re in for a treat. From Susanne M. Winterling’s way of negating drama in ordinarily hyperbolic contexts – such as cinema- to Corin Hewitt’s experiments with food and plants that trace a strange route between abstract painting and much older representational forms, the issue offers us a wealth of beautiful images, many of them opaque and without easy reading. It’s the ideal issue for anyone who wants a magazine that demands that one returns to it.

    issue 41 –
    April 2010 83 Pages 0 Minutes of audio 0 Minutes of video
    In This Issue –
    Rachel Harrison Babette Mangolte Constance DeJong Susanne Winterling Sara VanDerBeek Dru Donovan Corin Hewitt Chris Gentile Davide Balula Elad Lassry David LaSpina
    Editor In Chief –
    Dana Foconti
    Art Director –
    Su Barber
    Blindspot - issue 41  Blindspot - issue 41  Blindspot - issue 41  Blindspot - issue 41  Blindspot - issue 41  issue 41  Blindspot - issue 41

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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