Miroslav Tichý, Untitled, 1960–80, unique silver gelatin print, 24 x 16 cm. Private collection.
Jacqueline de Jong, Untitled, 1972, lithograph print, 76 x 57 cm. Private collection.
Wols (Alfred Otto Wolfgang Schulze), Blickwechsel Frauenportraits (Changing Views of Women) 1 of 7 parts, 1939¬–51, silver gelatin print (printed 2005), 24 x 30.5 cm. Private collection.
Wols (Alfred Otto Wolfgang Schulze), Untitled, 1940–50, silver gelatin print (printed 2005), 38 x 29 cm, Private collection.
Guilio Paolini, Ritratto dell ‘artista come modella (Portait of the Artist as a Model) 1 of 5 parts, 1980, lithograph prints on cardboard, 70 x 50 cm. Private collection.
Installation view of Wait Until Dark curated by Stephen Waddell at Howard495 Project Space. Photo: Rachel Topham Photography.
Installation view of Wait Until Dark curated by Stephen Waddell at Howard495 Project Space. Photo: Rachel Topham Photography.
Miroslav Tichý, Untitled, 1960–80, unique silver gelatin print, 24 x 16 cm. Private collection.
Jacqueline de Jong, Untitled, 1972, lithograph print, 76 x 57 cm. Private collection.
Wols (Alfred Otto Wolfgang Schulze), Blickwechsel Frauenportraits (Changing Views of Women) 1 of 7 parts, 1939¬–51, silver gelatin print (printed 2005), 24 x 30.5 cm. Private collection.
Wols (Alfred Otto Wolfgang Schulze), Untitled, 1940–50, silver gelatin print (printed 2005), 38 x 29 cm, Private collection.
Guilio Paolini, Ritratto dell ‘artista come modella (Portait of the Artist as a Model) 1 of 5 parts, 1980, lithograph prints on cardboard, 70 x 50 cm. Private collection.
Installation view of Wait Until Dark curated by Stephen Waddell at Howard495 Project Space. Photo: Rachel Topham Photography.
Installation view of Wait Until Dark curated by Stephen Waddell at Howard495 Project Space. Photo: Rachel Topham Photography.
Selected
Wait Until Dark
Virtual
Please note that this exhibition is by appointment only to flatten the curve of COVID-19. Please contact [email protected] to schedule a viewing.
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Wait Until Dark attempts to describe some portion of the relationship of figuration, realism, and photography. In different moments since modernism representation has been described as conveying an uncontrollable surplus that at times shatters art’s ability to convey the “unrepresentable.” It was thought at the beginning of the twentieth century that abstraction might reveal an aesthetic mode capable of expressing more about our enhanced presence and diminished existence as humans. It has been imagined that art built on non-resemblance could perhaps exceed thought and call into question the validity of knowledge derived mostly from images. This pursuit sought a sublime path around a “straight forward re-telling” and energized abstract art to be more than a witness. At the same time many artists, and specifically photographers, intensified their approaches to an art focused on observation, figuration, and resemblance. Artists like Hannah Collins, Wols, Miroslav Tichy, Richard Learoyd, and Jacqueline de Jong have all differently employed a kind of objectivity that moves beyond the visible towards a visceral refiguration of the seen and unseen. This exhibition will attempt to show that that resemblance almost certainly carries the promise of the unknowable and/or the unrepresentable in plain sight.
Please note this exhibition is wheelchair accessible from 8 am–4 pm via a freight elevator that can be accessed from the back of the building.
