Kelley Walker. Andy Warhol and Sonny Liston Fly on Braniff (When you got it-flaunt it), 2005-2007. 3 offset color poster 60 x 48 in. © Kelley Walker. Courtesy Paula Cooper Gallery, New York

Lisa Oppenheim. The Sun is Always Setting Somewhere Else… 2006. Looped slide projection of 15 slides, 35mm Kodak Ektagraphic Slide Projector. Courtesy of the artist and Harris Lieberman Gallery, New York.

October 2010: Immediate Release

IMAGE TRANSFER:

PICTURES IN A REMIX

CULTURE

Curated by Sara Krajewski Organized by Independent Curators International (ICI) Image Transfer: Pictures in a Remix Culture spotlights evolving attitudes toward the appropriation, recuperation, and repurposing of extant photographic imagery. Artists, as both producers and consumers in today’s vast image economy, freely adopt and adapt materials from myriad sources. Images culled from the Internet, magazines, newspapers, advertisements, television, films, personal and public archives, studio walls, and from other works of art are all fair game. Image Transfer brings together artists who divert commonplace, even ubiquitous, visual materials into new territories of formal and idiomatic expression.

This exhibition proposes that these artists mark the progression of intuitive practices that are thoroughly at ease with today’s hyper-fluid circulation of images. In our digital age of fair use and open source, these attitudes demonstrate how far traditional notions of the authority and primacy

of source materials have shifted toward a fluent rethinking of the way we value and interact with images. Image Transfer will explore several questions. How are artists using clipped, copied, grabbed, or downloaded images, and what do such artistic positions relate to the viewer vis-à-vis the work? How do such synthesized images operate in visual culture? Do these works critique our media-saturated age or are they only symptomatic of it? What can these processes and these composite images tell us about the state of photography today? Concentrating on a dozen artists, Image Transfer will include photography, painting, drawing, collage, projection, and installation.

Growing out of the legacies of Pop, Conceptual Art, the Pictures Generation, experimental film, and avant-garde design, the exhibiting artists employ tactics of transferring, accumulating, and recombining existing images to construct new images, objects, and situations. Notably the techniques of cut-and-paste, re-photography, double exposure, and other object-oriented studio practices commingle with photocopying, scanning, and the commands of editing software. Artists who work across these multiple platforms reflect a systemic evolution that broadly parallels aspects of DJ culture, television and film production, and the DIY movement. The proliferating phenomena of remixes, mash-ups, montage, and collage (and the technologies that enable them) inform an alternative perspective for contemplating developments in visual art in resonance with wide-ranging cultural trends. Artists Sean Dack, Karl Haendel, Jordan Kantor, Matt Keegan, Carter Mull, Lisa Oppenheim, Marlo Pascual, Amanda Ross-Ho, Sara VanDerBeek, Siebren Versteeg, Erika Vogt, and Kelley Walker. About the curator, Sara Krajewski Since 2005, Sara Krajewski has served as associate curator at the Henry Art Gallery, where she continues her interest in how photographic technologies have made an impact on human vision and how this “photographic vision” has affected the production and reception of art. She organized the group exhibitions The Violet Hour (2008) and Viewfinder (2007) as well as solo projects with artists Matthew Buckingham, Walid Raad, Liz Magor, Steven Roden, Kelly Mark, and Santiago Cucullu. Her writing has appeared in Art on Paper, ArtUS, and other publications. Krajewski has held curatorial positions at the Madison Museum of Contemporary Art and the Harvard Art Museum. Credit Line Image Transfer: Pictures in a Remix Culture is curated by Sara Krajewski and is a traveling exhibition co-organized by the Henry Art Gallery and Independent Curators International (ICI), New York, and circulated by ICI. The Presenting Sponsor for this exhibition is The Boeing Company. Additional support is provided by the Paul G. Allen Family Foundation, ArtsFund, 4Culture/King County Lodging Tax, and the Seattle Office of Arts & Cultural Affairs. Support to ICI for the exhibition and tour is provided by The Horace W. Goldsmith Foundation, The Andy Warhol Foundation for the Visual Arts, The Cowles Charitable Trust, the ICI Board of Trustees, and ICI Benefactors Barbara and John Robinson. About Independent Curators International (ICI) Founded in 1975, Independent Curators International (ICI) produces exhibitions, events, publications, and training opportunities for diverse audiences around the world. A catalyst for independent thinking, ICI connects emerging and established curators, artists, and institutions, to forge international networks and generate new forms of collaboration. Working across disciplines and historical precedents, the organization is a hub that provides access to the people, ideas, and practices that are key to current developments in the field, inspiring fresh ways of seeing and contextualizing contemporary art. For additional information or visual materials, contact Michelle Jubin at 212.254.8200 x 27 or jubin@ici-exhibitions.org. Visit ICI’s website: www.ici-exhibitions.org