Exhibition: 14 Dec – 17 Dec 2012
Duncan Miller Gallery
2525 Michigan Avenue, Unit A7
CA 90404 Santa Monica
Chris McCaw “Sunburned” works in Geneva and Paris
Daniel Miller, gallery director of Duncan Miller Gallery, will be meeting with specific collectors in Geneva and Paris, showing new works by photographer Chris McCaw. These are works not yet seen in Europe.
Duncan Miller Gallery introduced McCaw’s “Sunburned” unique paper negatives to Europe with a solo booth for the artist in 2009 at the fair PhotoOff in Paris. Since then the gallery has had two more shows of McCaw’s work, McCaw had his first book published, and his labor-intensive works are becoming in increasingly short supply.
If you would like to schedule a meeting to view and consider acquiring some of these new photographs, Daniel is arranging private meetings in Geneve on Tuesday, December 11, and Paris between December 14-17. Please contact him directly at email@example.com to discuss an appointment.
See the Los Angeles Times review of McCaw's recent exhibition here:
Los Angeles Times
WEDNESDAY, OCTOBER 17, 2012
When too much sun is beautiful
By LEAH OLLMAN
Chris McCaw's stunning photographs start with a small act of defiance: shooting directly into the sun, a basic no-no. Other deviations follow, but the work never strays from its grounding in awe and reverence.
The pictures pay homage to photography's nature as a record written by light, and they chronicle, with profound beauty and elemental simplicity, what it means to occupy a specific place on earth at a specific time.
McCaw's third show at Duncan Miller extends the "Sunburn" series he launched, by accident, nearly a decade ago when an overnight exposure burned a hole through his negative. The 21 prints on view, most from this year, were made by placing out-of-date photographic paper inside cameras that McCaw has built or customized. Long exposures track the sun's rise or fall as a streak or arc.
The sun's lens-concentrated rays scorch the paper, and often slash straight through it, leaving ash-edged absences. Whatever violence is implied, or registered, is counted by the life-endowing energy in play.
The strange moon that appears stamped out of one 4-by-5-inch print is actually the interrupted sun during an eclipse. A triptych of 30-by-40-inch prints, made in Alaska, charts sunset and sunrise as one continuous bowl of a line, dipping behind a mountain, skimming a lake and then lifting again, the sun's path at first a light smudge, then a luminous streak and finally a dark comet. The extraordinary is everywhere in his work.
Copyright Los Angeles Times 2012