Spring Issue 2014

Vandalism as Invention

‘…no one but a vandal would print a landscape in red, or in cyanotype.’
Peter Henry Emerson, Naturalistic Photography for Students of the Art, 1889 Emerson’s treatise on the appropriate practice of photography sparked plenty of controversy in its day. But his scandalized response to brightly coloured landscapes, and in particular his disdain for the cyanotype, the blue anomaly of early photography, was generally shared. Nineteenth-century fashion favoured earthy toning techniques as a way of softening the starkness of black-and-white landscapes, and the cyanotype’s electric hue would have seemed outrageous for commercial portraiture. Prussian blue was established as an artist’s pigment well over a century before photography, and it’s hard to con

EVENT PARKING 2

Lors du vernissage, Xavier Faltot et Anatole Maggiar ont animé une émission radio spéciale EVENT PARKING 2, retransmise en direct sur Radiomarais, pendant laquelle les artistes se sont exprimés sur Los Angeles, leur expérience de résidence et leur travail. L’accrochage sous la verrière et dans les bureaux délabrés de cette ancienne imprimerie tirait parti de l’histoire particulière du lieu et contribuait à créer de nouveaux dialogues entre les oeuvres.