Installation Views

2014 akg sarah jones installationview 1 e 1400 0x0x3000x2000 q852014 akg sarah jones installationview 2 e 1400 0x0x3000x2000 q852014 akg sarah jones installationview 3 e 1400 0x0x3000x2000 q852014 akg sarah jones installationview 4 e 1400 0x0x3000x2000 q852014 akg sarah jones installationview 5 e 1400 0x0x3000x2000 q852014 akg sarah jones installationview 7 e 1400 0x0x3000x2000 q852014 akg sarah jones installationview 8 e 1400 0x0x3000x2000 q85

Works

Ak10265 jon therosegardens display vi 1400 0x82x1041x696 q85Ak10287 jon cabinet xi orchid 1400 0x344x1040x694 q85Ak10282 jon cabinet vi twospheres 1400 0x577x1040x694 q85Ak10289 jon cabinet xiii tractatus 1400 0x0x1040x694 q85Ak10270 jon screen i afteratget 1400 0x116x1041x696 q85Ak10274 jon vitrine 2of2 1400 0x0x1039x693 q85Ak10273 jon vitrine 1of1 1400 0x0x1039x693 q85Ak10280 jon cabinet iv redvelvet 1400 0x1126x2408x1607 q85Ak10269 jon wildrose blueflower iv 1400 0x673x2400x1602 q85Ak10271 jon blackhorse profile black iiofi 1400 0x0x2411x1610 q85Ak10279 jon cabinet iii drape 1400 0x965x2401x1602 q85Ak10272 jon blackhorse profile iiofii 1400 0x0x2411x1610 q85
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Press Release

March 27 –
April 26, 2014

For her fourth solo show at Anton Kern Gallery, British photographer Sarah Jones presents twenty-one new images from her Cabinet, Vitrine, Rose Gardens, and Horse series. They are immersed in the deep black tone of highly saturated C-prints, many made from black-and-white negatives, and strike a distinct note between straight un-manipulated documents and profoundly emotive image inventions. Following on from the recent publication of her monograph by Violette Editions as well as her one-person exhibition at the Minneapolis Institute of Arts, Jones’ new photographs continue to explore how subjects are measured and transcribed through the large format view camera and flattened in pictorial space.

 

Over the years themes such as the analyst’s couch, the municipal rose garden as still life in-situ, the drawing studio and the singular female subject have been central to her concerns. Her photographs are often made on location and illuminated with carefully controlled lighting that allows the subject to both emerge from and recede into a darkened space. Through the use of analogue techniques Jones studies the correspondence between the skin of the film, the surface of the photographic print and the surface of her subjects. For Jones this attention to materiality brings to mind the act of mark making in drawing.

 

Jones has previously used the diptych as a formal device and direct reference to early stereographic photographs in order to present two perspectives of a single form. The recent diptychs consider the act of doubling and the alchemic nature of the photographic process by literally flipping an image. One becomes an imprint or reflection of the other recalling the Rorschach inkblot. In such an act of mirroring, Cabinet (II) (After Man Ray) (I) and (II) picture a curved glass object that recalls Man Ray's Le Violon d’Ingres, (1924). Other works in the exhibition reflect on the photographic language of Florence Henri, Karl Blossfeldt and Eugene Atget.

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