Hagedorn Foundation Gallery

Traces of Myth: Chris Buck, Paul Hagedorn, Lisa Kereszi, Laura Noel and Landon Nordeman

Traces of Myth: Chris Buck, Paul Hagedorn, Lisa Kereszi, Laura Noel and Landon Nordeman

view from the corner table of howard johnson's. times square now. by landon nordeman

Landon Nordeman

View From The Corner Table of Howard Johnson's. Times Square Now., 2004

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the man in the red vevlet suit. times square now. by landon nordeman

Landon Nordeman

The Man in The Red Vevlet Suit. Times Square Now., 2004

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red and gold corridor, haunted graveyard, ct by lisa kereszi

Lisa Kereszi

Red and Gold Corridor, Haunted Graveyard, CT, 2004

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dj booth, south beach by lisa kereszi

Lisa Kereszi

DJ Booth, South Beach, 2002

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david lynch by chris buck

Chris Buck

David Lynch, 2006

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traces of myth installation view

Traces of Myth Installation View

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Dienstag, 4. Dezember 2012Samstag, 26. Januar 2013


Atlanta, GA USA

Chris Buck, Paul Hagedorn, Lisa Kereszi, Laura Noel and Landon Nordeman

Artist Reception and Book Signing, Saturday, January 12th 4-­‐6 pm

Hagedorn Foundation Gallery is pleased to present Traces of Myth, a group exhibition of works by five artists that reflects on the effect of history and the lure of narrative in our understanding and valuation of physical space. The show includes pieces by Chris Buck, Paul Hagedorn, Lisa Kereszi, Laura Noel and Landon Nordeman and will be on view from December 4, 2012 through January 26, 2013. Myth –– literally “a traditional story, which embodies and provides an explanation, aetiology, or justification for something such as the early history of a society, a religious belief or ritual” –– here refers to how each of these artist’s individual images are, respectively, traces of larger cultural identities. The paragraphs below explain how this notion is traced through these five artists’ practices.

Chris Buck is a Canadian-­‐born photographer living in New York. The images from his series Presence* are celebrity portraits in which the celebrity is hidden from view in the photograph’s frame. Tucked behind various objects that are visible to the viewer, it is important for Buck that the celebrity is in the space captured in the photograph’s frame, yet invisible to the eye, insisting on the layers of narrative depicted in a given space and a photograph’s capacity to determine which of those layers are imaged. Nonetheless, titling the works with the celebrity’s name creates an instant fetishization of the space, as it is coded with the presence of valued cultural icons; such as Chuck Close, Robert DeNiro, NAS. The work expands one’s understanding of subjectivity to encompass the environment one occupies in relation to the individual.

Paul Hagedorn lives and works in Atlanta, Georgia. The series Buckhead Lives documents the destruction of a certain era of Buckhead’s nightlife that alludes to the cyclical character of a city: one community wanes––socially or economically–– and another is built in it’s place, choices mutually determined by the state and it’s citizens. In this case Hagedorn documented the demolition of bars like Tongue & Groove, Fado, Lulu’s Bait Shack and Village Grill. These establishments were removed in order to erect new developments in their place, a new era and new aesthetic both of which the images point to in a series that can be read alternately as promise, hope and opportunity or, alternatively, death and destruction.

Lisa Keresz, born in Pennsylvania and raised in suburban Philadelphia now lives in New Haven, Connecticut. Photographs from her Fantasies* series scale between large (40 x 50 inches) and small (20 x 24 inches) format prints in the densely saturated chromatic spaces that construe contemporary strip clubs, movie theaters and disco bars. This piecemeal understanding of fantastical space deconstructs the immersive environment while maintaining a mix of chintz–– cheap, scratched mirrors and trim; cracked paint–– and visual pleasure–glowing neon greens against deep black tones; blood red walls ornately embellished with slender gold painted lines. Simultaneously, the work is showing and unpacking what one may not see or have the intuition to focus on in the fetished space of entertainment centers where, more often than not viewers are told– –uncritically–– how and where to look.

Laura Noel lives and works in Atlanta, Georgia. Her images, from the series Fictions, show the memetic relationship between people and spaces through shared color palettes in clothing and the built environment; as well as constructed architectural space and imported, exotic flora. Amongst the nearly twenty images which comprise the series Coaster, Big Chief and Dryer are exemplary of the fact that these photographs are not produced as a reflection on a single iconic subject: rather Noel’s photographs reflect on the way in which our identities and spaces are mutually forming across a broad range of social strata.

Landon Nordeman was born and currently works in New York City. His images shed a journalistic eye on spectacular events and spaces that amplify our experience of these moments: freezing them in time for a shared experience that asserts recognizable, universal myths in contemporary culture. The images in his Time Square Now series are snapshots of everyday moments at “The Crossroads of the World” an amalgamated mash up of clashing pedestrian cultures and events that Nordeman’s keen eye has framed in a series of eight beautifully composed snapshots, capitalizing on the iconicity of Times Squares’ visual appearance to hold together this incoherent whole.

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*Chris Buck’s full series is comprised of fifty portraits and is published as a book by Kehrer Verlag. In the monograph a signed witness form is displayed across from each plate, verifying that each sitting took place. This book will be available for purchase at the artists reception.

*Lisa Kereszi’s Fantasies series was published by Damiani in 2008 with fifty five color reproductions. As Lynn Tillman so succinctly described, these images reflect on how “transgression itself becomes etched as a motif in the adult psyche.”

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