FOR IMMEDIATE RELEASE
Exhibition: ANDREW BUSH - Vector Portraits
Rear Gallery: JONI STERNBACH - Platinum/ Palladium prints
Dates: March 19 - April 18
Reception: March 19, 6-8 pm
The Lieberman and Saul Gallery is pleased to announce an exhibition of ANDREW BUSH's Vector Portraits, and in the rear gallery, platinum prints by JONI STERNBACH.
In our premier exhibition six years ago we showed photographs Andrew Bush made while visiting a group of elderly Anglo-Irish aristocrats in their Irish country home. The work was of domestic interiors, rooms in the process of being lived in but seen momentarily unpeopled. Nevertheless, from what we saw we could discern the identities of the four people who inhabited the house and Mr. Bush's relationship with them. He later arranged this material into the book, Bonnettstown. (Abrams; NY, 1989). In her glowing review of the book, in the New Yorker. Janet Malcolm remarked that what set this book off from "other collections of pictures of domestic interiors is the frank avowal the photographs make of their voyeurism ... that the distinction between public and private space is obliterated by the camera's democratic gaze."
Bush's Vector Portraits at the Lieberman & Saul Gallery again provoke our consideration of the subject of identity as shaped through, in this case, our present technocultural apparatus. Rather than sneaking around a Georgian house photographing domestic interiors Mr. Bush is traveling at 60mph along modern day highways intent on portraying an entire society by making portraits of drivers in their cars.
He has been doing this for the past five years and says his car has become his camera. "A car increases our voyeuristic capabilities and this is part of its seductiveness. Cars are merely camera obscuras on wheels ....Driving is a visual activity and not unlike the cinema.... they both rely on light and engines of movement to condense space and time. We live in a projector and driving a car allows us to be the central character in our own movies. When we drive our cars we live not so much in a space as inhabit an interface where the real and the imaginary blend together... and it is not just a coincidence that LA is known for both cars and movies, speed and fantasy.”
He has recently been working as a consultant to the automotive industry, primarily concerned with developing visual information systems that will inspire designers to make the world a place where machines do not seduce us into solipsistic fantasies, dominate our lives and alienate us from each other. This exhibition presents us with plenty of intriguing material: seventeen 30 x 40" color Vector Portraits accompanied by their lengthy and absurd titles, a transcribing machine accessed by an accelerator pedal that plays insurance company lawyers dictating letters to settle automobile claims, video tapes of traffic, business cards, a raffle?...
Four of these works were exhibited last summer at the Metropolitan Museum of Art in their recent acquisitions show. Since then, the work has been published in articles in Harper's, Domus, and Esquire.
For further information or press prints for either exhibition please contact the gallery.