Photographs and Video by Christine Gatti
late July 2004 through mid-January 2006, I took two photographs—one
of my face and the other of my surrounding environment—on
the 18th minute of each hour of every day. At bedtime, I set
the camera on a tripod and programmed the timer to activate as
I slept. I chose the 18th minute because I was born on the 18th
day of November, and ever since I was a young girl, I’ve
noticed the numbers “11:18” on the digital clock
next to my bed. Each time, it seems a strange, familiar coincidence.
It would be easy for anyone looking at this project
to assume that it is about contemporary culture’s fascination
with reality TV, fast-paced MTV-style editing, short attention
spans and a snapshot aesthetic. However, the motivation
behind the project was actually more personal and practical. I wanted to be
present in my own life, to come out of my head for a moment or
two every hour and take
note of where I was in the physical world, to become aware of my feet on the
ground. I saw the project as a meditation; a ritual; a commitment added to
a less committed life; an experiment.
This photographic project is also about the unrelenting
presence of the camera. At times, the images allude to the nature
of photography, but mostly they are
a strict and plain account of the hours.
Over the course of 18 months, I found I became
less self-conscious, as the vast number of images overshadowed
the minute details of my face. Lines became
interesting. Every moment represented in the photographs, important or
mundane, has the same weight, and emotion is flat. There is no
judgment. This quality
emerges markedly in video format. The person in the photographs is me,
but my image is a translucent impression fused with half-eaten
or a computer screen. Over time, I realize this body of work has become
less a self-portrait and more a document of anyone’s life.
This process, to become mindful for a few moments on the hour,
has produced more than 20,000 images.
Photographer and musician Christine Gatti lives
and works in New York City. Her passion for photography began when
she discovered the macro lens on her father’s Pentax Spotmatic,
a fixture in his dental office. Throughout her New Jersey childhood,
she experimented with the family’s Super 8 camera and her
prized Kodak 110 Pocket Instamatic. Christine received her formal
education in photography at the Rochester Institute of Technology
and later studied with Andreas Müller-Pohle and Thomas Lüttge
in Salzburg, Austria. Since moving to New York, Christine has pursued
an eclectic freelancer’s life, assisting fashion photographer
Patrick Demarchelier, scouting locations for reality TV shows,
wrangling babies for advertising shoots, building sets, composing
music for independent films and singing in bars. All of these experiences
have informed her work.
In 2005, Christine submitted the :18 Project to CEPA Gallery’s
annual Members’ Show competition in Buffalo, New York. Juror
Louis Grachos, director of the Albright-Knox Art Gallery, subsequently
selected the project for a solo exhibition at CEPA’s Flux
Gallery. Components of the :18 Project have been shown in the Slideluck
Potshow and Group-Show.com, both in New York. Aperture Foundation’s
executive book editor Lesley Martin also included Christine’s
work in Eleven New Viewpoints as part of “Fellowship 2005” at
the Silver Eye Center for Photography in Pittsburgh, Pa.
Special thanks to Lawrence Brose at CEPA Gallery, Buffalo, N.Y.
Crater, 2004, graphite on paper, 3 x 4 inches
My recent drawings are idiosyncratic, intimately scaled
images derived from personal memories, boyhood fantasies,
and the visual environment of my home in the upper Midwest.
Carefully drawn in graphite or silverpoint, they are modest
in scale, often not much larger than a credit card. Despite
their size, they are vivid and dense with information, giving
the impression of vast worlds compressed into a tiny field
of vision. With their richly rendered, shimmering surfaces,
they bring to mind the drawings of Vija Celmins, though they
contain an element of humor more reminiscent of a Gary Larson
cartoon. This humor stems from their pathos, as the drawings
depict a world where the forces of nature have turned against
us, making comic props of our material presence on the planet.
Images of floods and fires seem silly and naïve, yet
are eerily similar to recent pictures from New Orleans or
Sumatra. Other drawings represent visions of failed utopian
ventures and slightly ridiculous science fiction fantasies
of moon colonies and space travel. Mundane domestic spaces
become laced with doom and portentous omens while dangers
are concealed in fog and hide under blankets. Cumulatively,
these drawings express a sense of unease and become metaphors
for uncertainty, neglect, disappointment and the failures
of contemporary life.
Barbecue, 2004, graphite on paper, 3 1/4 x 4 inches
An artist based in Madison, Wisconsin, Scott Espeseth
teaches drawing and printmaking as assistant professor of art
at Beloit College in Beloit, Wisconsin. He is represented by
Dean Jensen Gallery in Milwaukee, and his work has been exhibited
in solo and group shows throughout the country, including the
Milwaukee Art Museum, the James Watrous Gallery of the Wisconsin
Academy of Sciences, Arts and Letters in Madison, and the Stray
Show of Chicago. Scott previously taught studio art at Lawrence
University in Appleton, Wisconsin, and at the University of Wisconsin-Madison.
He earned an MFA in printmaking from the University of Wisconsin-Madison
in 2000 and a BFA from West Virginia University in 1997.
The exhibition and artist's
lecture are supported by the Jeanne Scribner Cashin Endowment Fund
for Fine Arts.
Saelee Oh, Flora Swimmers, 2006,
watercolor, and acrylic
asked to create a show…
Curating a show outside of the Giant Robot stores/gallery spaces
in Los Angeles, San Francisco and New York City has been a
freeing experience for me. Our group shows usually consist
of one to three pieces from each artist, and the artwork is
squeezed together salon-style on relatively small walls. On
a much larger scale at St. Lawrence, it has been possible to
include more work by more of my favorite artists, and it can
be shown in an extensive yet cohesive manner.
Heavenly Friends features artists from Asia and
the United States. Contributors from Asia include Munkao from
Kuala Lumpur, Eishi
Takaoka from Kagoshima (an isolated region in southern Japan)
and Heisuke Kitazawa or PCP from Tokyo. U.S.-based artists include
Saelee Oh from Los Angeles, Caroline Hwang from New York City,
Deth P. Sun from Oakland, and Jeana Sohn, a Korean now living
in Los Angeles. The exhibition also includes kozyndan, the pairing
of Japanese immigrant Kozue Imamura and southern Californian
Most of the participants already know or know of each other from
working in the same indie-minded art world. Some artists are
just beginning to find an audience, while others have international
clients and patrons. These artists are young—all are below
their mid-thirties and many are in their twenties—but their
work is solid and voices firm.
Stylistically, their work blurs the lines between
creating what is appropriate for contemporary art galleries and
taking on more
commercial tasks. Media are mixed and matched as well, including
narrative illustration, traditional painting, paper cutting
and wood sculpture, with the artwork providing the opportunity
an open, accessible dialogue with viewers. In my mind, this
is a dream team.
-Eric Nakamura, curator
kozyndan, Bunnyfish, 2006, gouache on paper
List of Artists
- Provoked by the ironies of the world, Malaysian
approach to art combines elements of awkward fantasy and social
commentary to depict his sardonic outlook on life in an oddball,
- Eishi Takaoka is a young sculptor who lives and works in Kagoshima,
Japan. He creates intricately carved wooden heads whose serene
facial expressions hide an inner world of bottled-up emotions.
- Heisuke Kitazawa or PCP is
a freelance illustrator/designer who draws things that do not
exist. He does everything from
designs to picture book illustrations.
- Saelee Oh (Los Angeles, CA; born 1981)
works with a variety of media including paint, paper cutouts
(hand cut with an X-acto
blade) and graphite. Her art explores visual storytelling,
between environments, people and nature, and animal imagery
- Caroline Hwang takes the cuts and scrapes of relationships
and transforms them with fabric, stitching, paint and collage
create her artwork. She was raised in southern California where
she earned her bachelor’s degree at the Art Center College
of Design, and currently resides in Brooklyn, NY.
- Deth P. Sun received his BFA in painting and drawing from
the California College of Arts and Crafts in Oakland. His
has been exhibited in the States and abroad.
- Jeana Sohn was born and raised in Korea, where she completed
a program in graphic design at Sangmyung University, Seoul.
Jeana moved to the U.S. to study character animation at
she lives and works in Los Angeles.
- kozyndan live, love, laugh, eat, trek, and make together.
They are rarely apart.
Eishi Takaoka, untitled, 2006, mineral pigment
Eric Nakamura and Martin Wong are the publishers of Giant
Robot magazine. Eric graduated from UCLA
with a degree in East Asian studies and started making magazines
through a stint at Larry
Flynt Publications. In addition, Eric has made an independent
movie called Sunsets, shot photos for punk bands, and
From movie stars, musicians, and skateboarders to toys, technology,
and history, GR magazine covers cool aspects of Asian and Asian-American
pop culture. Paving the way for less knowledgeable media outlets,
GR put the spotlight on Chow Yun Fat, Jackie Chan, and Jet Li
years before they were in mainstream America’s vocabulary.
But Giant Robot is much more than idol worship. GR’s spirited
reviews of canned coffee drinks, instant ramen packs, Japanese
candies, Asian frozen desserts, and marinated bugs have spawned
numerous copycat articles in other publications. GR’s historical
pieces on the Yellow Power movement, footbinding, Asian-American
gangsters, and other savory topics have been cited by academics
and journalists alike. Other regular features include travel
journals, art and design studies, and sex.
-excerpted from www.giantrobot.com
The exhibition is presented in conjunction with
the New York Conference on Asian Studies, The
Asian Subject: Negotiating Identities, October
6-7, 2006, with funding support from the Freeman Foundation's
Asian Studies Initiative and the Association for Asian Studies.
Off Kilter: An Installation
More! More! More!, 2006, installation
BARB MADSEN’s art addresses
numerous social issues, chief among them the lack of understanding
and empathy for people of
differing races and beliefs. Through her art, she questions the greed of large companies at the expense of people and the
and expresses her desire to combat the hatred and intolerance
taught within many cultures. She believes that the angry
activist diatribe is no longer an effective strategy. Her work seeks
to blur the boundaries among fine art, advertising and pop culture
by using provocative imagery, wit and a sense of humor. Over
the years, Madsen has collected and photographed a cast
of characters that are blithely campy, sinister, creepy and nostalgic, but
nonetheless allude to the fact that everything is not quite
right in the world. As such, the images seep below the surface
subconscious to become a transient stratified memory on the
After September 11, 2001, Madsen created two public art projects
with the billboards Eye 4 Eye = Blind in Jersey City and Revenge
Never Ends in Newark, New Jersey. In the spring of 2005, she
produced three banners in the metropolitan Washington, D. C.
area: Oh! at the Corcoran Gallery of Art; Fear
and Paranoia Win at Studio 1515 on 14th Street; and Who
Decides Our Future at
Pyramid Atlantic in Silver Springs, Maryland.
Eyewitness 1, 2005, photogravure
BARB MADSEN received her MFA from Drake University in Des
Moines, Iowa, and is associate professor of printmaking at
School of the Arts, Rutgers, The State University of New
Jersey. Her artwork has been exhibited in solo and juried
in fifteen countries in North America, Europe, Africa and
Asia. In 2005, Madsen’s work was presented in Pressing
Images/Pressing Issues at the Corcoran Gallery
of Art, along with prints by
Richard Mock, William Wiley and Enrique Chagoya, and her Eyewitness photogravures
were selected by Kiki Smith for the New Prints 2005 exhibition
at the International Print Center in New York.
lecture and discussion with the artist are
supported by the Jeanne Scribner Cashin Endowment Fund for Fine
top of page
Photographs from the Mütter Museum
Olivia Parker, Heart, 1994,
Nash digital print
Courtesy of the Robert Klein Gallery, Boston
Photographers and medicine are no strangers. The visual representation
of anatomy and pathology as viewed by the camera dates back to
the early history of photography when doctors and scientists
created anatomical atlases and documented disease and trauma.
Photographs also allowed physicians to keep exact visual records
of cases long after patients died.
The historical bond between photographers and medicine carries
forward to the present day with Extraordinary Bodies: Photographs
from the Mütter Museum, an exhibition that represents more
than a decade of work by contemporary photographers. For some,
the medical manipulation of the body—an act that amounts
to the isolation of a part from the whole—becomes a visual
metaphor for the human condition. Other artists juxtapose real
or artificial body parts and the public and private spaces
of the museum itself.
The exhibition includes images from the museum’s renowned
historical photography collection alongside contemporary images
that extend the boundaries of traditional photographic subject
matter. These works find beauty not in conventional forms, but
in internal marvels and the enigma of those whose bodies—deformed,
broken and disfigured—have suffered physical abnormality,
trauma, or destructive disease.
The Mütter Museum, one of the last medical museums from
the nineteenth century, comprises a sublime anatomical and pathological
collection that originated with Dr. Thomas Dent Mütter,
a professor of surgery who collected unique specimens and models
for teaching purposes. Under the care of the College of Physicians
of Philadelphia, to which Dr. Mütter offered his collection
in 1856, the Mütter Museum has grown and survived where
others did not. According to Malcolm Jones, the collection “teaches
how indelibly strange life can be, how unpredictable and various.
The photographs, sometimes ghastly, sometimes heartbreaking,
are mysterious and mesmerizing, and [the images] revise and
enlarge our idea of what it is to be human.”
Human Head Prepared by Batson,
Courtesy of the artist
Artists in the exhibition
- Shelby Lee Adams
- Max Aguilera-Hellweg
- Gwen Akin and Allan Ludwig
- Candace diCarlo
- Dale Gunnoe
- Steven Katzman
- Mark Kessell
- Scott Lindgren
- Olivia Parker
- Rosamond Purcell
- Richard Ross
- Ariel Ruiz i Altaba
- Harvey Stein
- Arne Svenson
- William Wegman
- Joel-Peter Witkin
Max Aguilera-Hellweg, Prosthetic
Leg in Hallway,
gelatin silver print
Courtesy of the artist
by Laura Lindgren, the exhibition is organized by Curatorial
Assistance Traveling Exhibitions (CATE), Los Angeles, California.
Hokes Medical Arts:
and Drawings from the Hokes Archives
November 9 - December 15, 2006
Planche 144, 1932, lithograph
As proprietor of Hokes Scholarly
Lithography from 1901 to 1933, Everett Ormsby Hokes published
a wide range of scientific books and manuals. While he is best
known for his archaeological [research], particularly his work
on ancient near eastern cultures of the Apasht and the Aazud,
his contributions to the study of medicine are noteworthy. This
exhibition offers a selection of medical and anatomical
prints and drawings from over 1,700 color bookplates, as well
as a series of preparatory drawings.
After studying painting and graphics at the London Academy of
Fine Arts, Hokes worked as an apprentice in two London print
houses in the 1890s. Aside from required courses in figure drawing,
he had no specialized training in medicine or medical illustration,
which occasionally created obstacles to the acceptance of his
work in the academic community. However, the inventive and whimsical
designs, which combined elements of aesthetic beauty and the
grotesque, have made these works popular among amateurs and artists
alike. His prints were collected by Guillaume Apollinaire and
other artists associated with the Surrealist movement such as
Max Ernst and Hans Arp.
Hokes published medical and anatomical illustrations for English,
American, French, German, and Polish journals, including the
Catalogue of Amputated Body Parts. While his work covered a range
of subjects, he developed an international reputation for his
depictions of rare internal diseases and anatomical anomalies.
One of the most unusual bookplates in the exhibition is an unauthorized
English translation of “The Philosophy of Liebniz,” which
features a series of intestinal renderings to accompany one of
Liebniz’s most metaphysical essays. The exhibition also
includes a set of elaborate color pencil “dissection drawings” prepared
for an unpublished anatomical catalogue. Mary Preston Clapp,
who wrote a biography on Hokes, noted that the exact genesis
of this project is unknown.
The library of the Hokes Archives is comprised of most of the
medical works published by Everett Ormsby Hokes. One notable
item that is not included in the exhibition is the full-body,
nine-color lymphatic and circulatory diagram printed in 1908
for Dr. Henrik Günter of the Cleveland Institute for Electro-Magnetic
-Beauvais Lyons, Director of
the Hokes Archives
The University of Tennessee, Knoxville
Dissection Drawing No. 458, 1923-24
lithograph and drawing
In recent decades, numerous scholars and artists have addressed the subject
of the body. Barbara Stafford’s Body Criticism: Imaging the Unseen
in Enlightenment Art and Medicine (MIT Press, 1991) offers a history of medical
and anatomical science that has evolved since the eighteenth century. More
recently, feminism has declared the body a contested territory in relation
to the ideals of personal liberty. Given the current political discourse regarding
access to health care, and the increasing cultural attention given to beauty
and health, the conceptualization and representation of the body suggest multiple
levels of meaning.
The exhibition, Hokes Medical Arts, is comprised of twenty-five
prints and drawings that appear to be authentic depictions
of abnormal human anatomy.
Instead, they are works of academic parody that employ a documentary tone common
to science museums, relating this project to the history of medical quackery.
The prints and drawings in the exhibition are also informed by the visual conventions
of scientific illustration and nineteenth-century color lithography. Critic
Arthur Blade stated that these works “serve as a bridge between the scholarship
of Dr. Gray and the whimsy of Dr. Seuss.”
In 2001, Beauvais Lyons developed The
George and Helen Spelvin Folk Art Collection, an exhibition that examined the creation
and connoisseurship of contemporary
folk and outsider art. Most recently, he was instrumental in bringing a centaur
specimen to the John C. Hodges Library at the University of Tennessee at Knoxville
as a permanent display. In 2002, Lyons was a Fulbright lecturer at the Academy
of Fine Arts in Poznañ, Poland, and subsequently coordinated the IMPACT
4 International Printmaking Conference there and in Berlin, Germany.
More information about the Hokes Archives is
available at web.utk.edu/~blyons.
Monday-Thursday 12-8 p.m.
Friday-Saturday 12-5 p.m.
All exhibitions and related educational programs
are free and open to the public. The
Gallery welcomes individuals and groups for guided tours; please
call (315) 229-5174 for information.