From left: Richard Serra, Installation View, ‘Hand Catching Lead’, courtesy Ingleby Gallery, (1968) and Francesca Woodman, ‘Untitled’
Providence, Rhode Island, 1976, gelatin silver estate print, edition of 40, courtesy Betty and George Woodman
Just another wee photography titbit from Edinburgh. This time at the Ingelby Gallery.
Below is the blurb from the gallery itself, but mostly I am interested in the idea behind the pairings of the artists that may throw up some interesting things…I would really love to see it with new work being produced by the contemporary artists…perhaps this could be a next step…?
There are more images here on the gallery website pages
(p.s. lots of other interesting photographers on their books too…have a browse…:-)
“We are delighted to announce the 5th show in a series of 26 exhibition projects at the Ingleby Gallery which began July 2007 and will cease July 2008 when the gallery will be exactly ten years old. Each of the 26 installations presents a conversation between one invited artist and a counterpoint of their choice. A publication documenting the entire year will be published by the gallery in August 2008.
Francesca Woodman lived a tragically brief life. She comitted suicide at the age of 22 but in the few years that account for her career she created an enduring body of photographic work that continues to fascinate and influence today. Woodman appears frequently in her exquisitely odd and unsettling silver gelatin photographs, her body often seeming to blend into her surroundings: caught in a state of metamorphosis she is not quite here, nor quite there. In others, she uses a variety of props to create strange and dreamlike tableaux tinted with melancholy.
Richard Serra (b. 1939) is one of America’s greatest living sculptors, internationally renowned for his monumental installations: towering sheets of rusted steel that can be seen in important sites and museums around the world. His work is currently the subject of a major survey at the Museum of Modern Art New York and was described recently in The New Yorker as proof that Serra: “…is not just our greatest sculptor but an artist whose subject is greatness befitting our time. He works at the physical scale of architecture and at the intellectual scale of art history as a whole”.
At first glance the absolute certainty of Serra’s monumental art suggests an opposite position to the quiet fragility of Woodman’s images, but at the start of his career Serra was principally a performance and film-based artist and it is one such early work, “Hand Catching Lead” (1968, 3:30 min, b+w) which we will show alongside a group of seven rarely seen photographs from the Woodman Estate.
This ostensibly simple film shows the artist’s work-worn hand as he attempts to grasp, and frequently misses, lumps of lead as they drop from above. Both Serra’s film, and Woodman’s photographs attempt to capture in two dimensions an experience of time and space and, in different ways, the works of both artists express a desire to capture something tantalisingly just out of reach.
Serra was in fact a friend of George and Betty Woodman, Francesca’s parents, and was a regular visitor to their household at about the time that “Hand Catching Lead” was made. We are grateful to them, and to the Victoria Miro Gallery, London, for their help in staging this exhibition. “