Not exact matches
From a series of beautifully coloured photograms, Lycopodium, created by burning the spores of the eponymous moss against
photographic paper, to Replaying the mistake of a broken hammer (2011), a steel bar that has been subjected to different and sometimes interrupted
stages of the hardening
process leaving the metal at different
stages of fragility.
The imaginary photojournalist represents a hybrid genre that merges the appearance of straightforward documentary photography with a carefully
staged one, in a
process that does not require a camera yet mimics a straight
photographic document.
While poles apart visually, the two series excerpted in Stan Douglas's 14th solo appearance at David Zwirner through April 7 have more in common than may initially appear; both are products of sophisticated
processes of manipulation, and both position the
photographic medium as an arena in which the
staged and the real (however that's defined) are not simply pitted against one another, but are fused into new and confounding wholes.