With the much-revived interest in Europe in the work of Jo Spence (now deceased) We thought it only fair to present something interesting to North Americans. Jo Spence and Terry Dennett's joint projects 'Remodelling Photo History"which was was included prominently in the last Documenta 12 in Kassel 2007 and which appeared in many publications - explores the relationship between the human body and the industrialized landscape and it's innocent conjugate in a singular and powerful statement about and againt the effects of the mechanization of society. While this work was created/published at the beginning of the 1980s, it is all the more prescient and important to see now.

At left: excerpt from the show: "Industrialisation", 1982, Silver Gelatin Print, 50"x40".

A recreation of Smithson's landmark conceptual photography exhibit of 1968. The original exhbiition at the Musuem of Modern Art defined and framed structuralist art conceptual work for decades to come. His gridded assemblages of instamatic pictures of the disaffected industrial wastelands - though not in and of themselves an 'attractive' subject matter for the time - came to redefine practices of contemporary photography as we know them. One need look no further than Bernd and Hilla Becher for example, to see a modern extension of this tradition - however more innately scientific and topological their interests were.

Landscape/Control II
an exploration of the meaning of the landscape photograph

Opening TBA

A survey exhibition exploring the origins and meaning of the landscape photograph featuring works from the 19th century through today. The exhibition will trace the use of representations of landscape through diverse cultural aspects, from romantic through technical. For the most part, expressive ideation of landscape has changed little since pastoral renderings in paint of two centuries ago. New paradigms of landscape have appeared through the progress of new photographic technologies and new demands placed on it by science and culture. One of it's major revolutions occurred in the 1960s and early 1970s at the hands of practitioners of 'Land Art' - a move which, arguably, more radically challenged popular ideas about the representation of landscape than before. It could easily be argued that scientific / technical uses were at this point absorbed into 'cultural channels'.