Tag Archives: photography

KMAC Goes to the Library

Text as Material: Nina Katchadourian’s “Sorted Books”

photo by Emily Miles
photo by Emily Miles

On September 19, 2015 the museum opened a special KMAC In The Community exhibition featuring Nina Katchadourian’s Kansas Cut-Up from her ongoing “Sorted Books” project. The exhibition is located in the newly designed 40,000 square foot award-winning Southwest Regional Library building that directly serves the Shively, Pleasure Ridge Park and Valley Station areas. It is the first of three new similar libraries to be constructed in underserved neighborhoods.

KMAC initially established plans to present one of Katchadourian’s photo based projects to run concurrent with the 2015 Louisville Photo Biennial. When the idea arose to collaborate with the Louisville Free Public Library, using their beautiful new space, it provided an ideal fit for her “Sorted Books” series. It also supplied KMAC with an opportunity to create a public art exhibition featuring an internationally acclaimed contemporary artist who would typically never show in that area of town. 

photo by Emily Miles
photo by Emily Miles

Kansas Cut-Up is the newest installment of Katchadourian’s “Sorted Books” series, which began over 20 years ago while she was pursuing her MFA at the University of California, San Diego. It was during this time that she began to hone her skills at creating art that focuses on the everyday and the close observation of the finer details of everyday objects and daily activity. Her work is made in common and sometimes unlikely spaces, such as libraries and commercial airplanes.

For her “Sorted Books” projects Katchadourian works in a particular book collection, culling books from a vast range of subjects and juxtaposing them sequentially so that their spines read like a short story, visual poem, or proverbial statement. This reveals the cross-sections of subjects contained in a specific book collection and also Katchadourian’s own commentary on these subjects inflected by her unique sense of humor.

“Vampires” (2014), digital C-print from Nina Katchadourian’s “Kansas Cut-Up.” Photo: Nina Katchadourian. Courtesy of the artist and Catharine Clark Gallery, San Francisco
“Vampires” (2014), digital C-print, 12.5″ x 19″, from Nina Katchadourian’s “Kansas Cut-Up.” Photo: Nina Katchadourian. Courtesy of the artist and Catharine Clark Gallery, San Francisco

Katchadourian subverts the normal function of the book by recasting them as objects to be arranged—not in alphabetical order by author, title or subject, but according to their proper place in the artist’s own narrative clusters. The clusters created by the artist behave not just as portraits of the library from which the books originate, but also as a portrait of the library’s owner. That person’s sensibilities, preferences, fixations, inclinations and fascinations are contained within the specific titles.

“The Hospital” (2014), digital C-print from Nina Katchadourian’s “Kansas Cut-Up.” Photo: Nina Katchadourian. Courtesy of the artist and Catharine Clark Gallery, San Francisco
“The Hospital” (2014), digital C-print from Nina Katchadourian’s “Kansas Cut-Up.” Photo: Nina Katchadourian. Courtesy of the artist and Catharine Clark Gallery, San Francisco

In the case of the 23 photographs on view at the southwest branch of the Louisville Free Public Library, all the books were culled from the personal library of the American writer William S. Burroughs. Katchadourian’s title for the series, Kansas Cut-Up, refers to Lawrence, Kansas, where Burroughs spent the last sixteen years of his life, as well as to the literary cut-up technique that Burroughs popularized in the 1960s. His approach to creating abstract narratives consisted of cutting up the linear text from newspapers, books and writings from himself and his friends and resequencing the material into new and often non-linear texts.

Burroughs was inspired by the work of the experimental multi-media artist Brion Gysin, who had himself rediscovered the potency of such collage techniques from the Dadaists, a group of European avant-garde artists and poets from the 1920’s who originated the use of appropriation techniques in art, music, and literature. As she manipulates the inherent features and characteristics of the book form, Katchadourian reveals her own personal literary collage practice, as well as providing insight into the interests and literary attractions of the complicated and compelling character of William S. Burroughs.

photo by Emily Miles
photo by Emily Miles

On October 1, 2015 Katchadourian gave a public talk at the Southwest Regional Library about the history of the “Sorted Books” series and provided further details on how the Burroughs project was conceived and implemented. After spending close to a week going through about fifty boxes of books, and a handful of bookshelves, she created 26 book clusters. Among the curiosities that occupied Burroughs, titles related to guns, medical thrillers, animals, and wildlife pervaded the collection. His obsession with cats was evident by the particularly large number of books he had on the subject.

Cats (Opium for the masses)
“Cats (Opium for the masses)” (2014), digital C-print, 12.5″ x 19″, from Nina Katchadourian’s “Kansas Cut-Up.” Photo: Nina Katchadourian. Courtesy of the artist and Catharine Clark Gallery, San Francisco

Nina Katchadourian: Kansas Cut-Up is on view at the Southwest Regional Library until November 8, located at 9725 Dixie Highway.

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Photo as Document on KMAC Radio

Tune in Mondays to KMAC Radio on ArtxFM from 11am to 12p where we use radio as a vehicle for exploring art, music, and social ideas. It’s simple to listen: Go to artxfm.com and click PLAY on the embedded player located in the upper left corner of the website. Monday’s show will be hosted by KMAC’s Communications Director Julie Gross and she’ll be discussing Photo as Document. Documentary photography can serve as a historical marker in time or spur social and political change. The captured images are painstakingly raw and equally beautiful in their candor, which is testament to the artful eye of the photographer. Photographer Bob Hower and Artist Todd Smith will participate in an in-studio interview to talk further about this topic. They are both part of the Louisville Photo Biennial happening this month and are exhibiting at Swanson Contemporary (Hower) and Bernheim Arboretum and Research Forest (Smith). This topic was derived from KMAC’s current exhibit of Gene Spatz photographs that document the celebrity social life of 70s New York. The artwork discussed on today’s radio hour will be:

Bob Hower, Couple with White Cadillac. Jefferson County 1977
Bob Hower, Couple with White Cadillac. Jefferson County 1977
Bob Hower, Family in Perry County KY, 1977.
Bob Hower, Family in Perry County KY, 1977.

See more images from Rough Road: The Kentucky Photographic Documentary Project

Bob Hower, Coal Miners
Bob Hower, Coal Miners
Bob Hower
Bob Hower
Bob Hower, The Parklands of Floyds Fork
Bob Hower, The Parklands of Floyds Fork
Todd Smith a la Daily Climb
Todd Smith a la Daily Climb

T.Smith2

Todd Smith, Great Prairie Weeping Beech. Photo: Natalie Biesel
Todd Smith, Great Prairie Weeping Beech. Photo: Natalie Biesel
Todd Smith. Lake Nevin Sycamore. Photo Natalie Biesel
Todd Smith. Lake Nevin Sycamore. Photo Natalie Biesel

Music Playlist:
Blue Moon of Kentucky – Ben Sollee
Red-Winged Blackbird – Kathy Mattea
Golden – My Morning Jacket
Hetch Hetchy – Father President
Drew – Goldfrapp

Kentucky Through the Lens

Image: Guy Mendes, Tobacco Hanging, 1991. Silver gelatin print, 12 x 10 in.

By Stephanie Hamilton, KMAC Intern

Guy Mendes is one of the most well known and respected photographers of the region. He was born in New Orleans, but in 1966 attended the University of Kentucky to study journalism. The following year he attended a rally where Kentucky writer Wendell Berry spoke out against the Vietnam War and the two young artists became friends instantly. This friendship eventually led to Mendes  meeting photographer Ralph Eugene Meatyard.

Meatyard, whose work was featured in our previous exhibit Storytelling as Craft, Chapter One, was an optician and photographer living in Lexington, KY. The eyeglass company he worked for also sold photography equipment leading Meatyard to become a member of The Lexington Camera Club. He shot photos of people wearing masks to skew their individual identities creating bizarre and haunting images. Meatyard’s photographic style sparked Mendes’ interest and he became an unofficial student of Meatyard’s during the 60’s and early 70’s. He  learned mostly by watching him, trying to truly see through Meatyard’s eyes.

Mendes shoots his photographs on black and white film, holding true to traditions of photography. He uses a darkroom to develop his photographs on silver gelatin paper. Mendes’ interest in travel and story-telling, things he often did with his mentor Meatyard, led him to a full-time career as a writer, director and producer for Kentucky Educational Television for 35 years. A career in television meant he didn’t have to rely on his photographs for income, which gave him the freedom to photograph the subject matter that he wanted and without restrictions.

Guy Mendes is famous for his portraits and landscapes, most of which focus on the people and places of Kentucky. Of the eight pieces currently in The 7 Borders exhibit at KMAC, four of them are portraits of Kentucky natives. This is just a small portion of the work Mendes has done in capturing Kentucky history. More can be found in his books 40/40: Forty Years Forty Portraits, which are a collection of portraits taken over the last four decades and Light at Hand, which is the first book collection of portraits and landscapes from 1970 though 1985. Both can be purchased online or in person at the KMAC Museum Shop.

Much of Mendes’ work has been widely published in books and magazines and his prints are in many public and private collections. Mendes has also won several Emmy Awards as a documentary writer, director and producer for Kentucky Educational Television. He lives in Lexington, KY with his wife and two sons.

Bradley Pickelsheimer with Princess 1984 600

Bradley Harrison Picklesimer, with Princess
Lexington, KY
Silver Gelatin Print, 1986

Bradley Harrison Picklesimer was born in Lexington. Here he is pictured with the eldest of his three pit bulls, Princess. His dogs were very important to him, and very sweet. He began decorating parties at the age of 14, and later went on to decorate parties for Kentucky Educational Television, where Guy Mendes worked. Picklesimer also started several night clubs in Lexington, including Cafe LMNOP, where he said anyone could feel at home. He felt he was doing a public service, bring people together from all walks of life. Mendes says of Picklesimer in the book 40/40: “Bradley was always a real man’s kind of drag queen: he didn’t do fake tits and he didn’t have a stage name, but he sure cut a striking figure carrying in a keg of beer wearing six-inch heels.”

Guy Mendes, JonathanWilliams

Jonathan Williams
Shakertown, Pleasant Hill, KY
Silver Gelatin Print, 1988

 Jonathan Williams and Guy Mendes were very close friends, writing letters to one another and traveling together along with Williams’ partner, Tom Meyer. Although Williams lived in North Carolina and England, he was anointed Kentucky Colonel in 1974 for service to the arts. Williams came to Kentucky in search of his contemporaries, including Gene Meatyard and Wendell Berry. Mendes says “Jonathan was the straw that stirred the drink.” Willaims was a poet, publisher, essayist, and photographer. He, along with David Ruff, founded the Jargon Society in 1951, wanting to publish obscure poets. His poetry uses “found language”. He spent much of his time listening to people and gathering their words, much in the same way avant-garde filmmakers use “found footage.” Williams died of pneumonia in 2008. He is survived by his partner of 40 years, Tom Meyer.

Guy Mendes, Martha Nelson Thomas

 Martha Nelson Thomas with her Doll Babies
Louisville, KY
Silver Gelatin Print, 1987

 Martha Nelson Thomas created her Doll Babies as a source of income so she could concentrate on her paintings. Each Doll Baby was unique, and came with adoption papers and an introductory letter. At the Guild Gallery in Lexington, the parents had family reunions. There was even a waiting list for those wanting to adopt. In 1978, a man in Georgia that had inflated the price on Martha’s Doll Babies, causing her to take back her dolls, claimed to have invented his own kind of doll.

In a letter he wrote to Nelson Thomas he said “If I can’t sell your dolls, I’ll sell some just like them.” He then created the popular Cabbage Patch Kids. She took the man to court, and after five years, she won a settlement and tightened copyright laws for artists in doing so. This photograph Mendes took of her could now serve as proof of copyright, whereas before, she was denied copyright because she hadn’t signed her dolls. Martha responded, “I wanted them to be as real as possible, and there’s no place to sign a baby.” Martha spent much of her life working with children in workshops and schools. She died in May of this year at the age of 62.

Guy Mendes, Captain Kentucky

Captain Kentucky, a.k.a. Ed McClanahan
Lexington, KY
Silver Gelatin Print, 1972

Ed McClanahan, also known as Captain Kentucky, is a novelist, essayist, and professor at University of Kentucky in Lexington. He is best known for his novel The Natural Man, but is also famous for the people he surrounded himself with in the ’60s and ’70s. He was part of Ken Kesey’s “merry pranksters.” The group took trips around the country in the 1960s in a painted bus, while Tom Wolfe documented their experiences with psychedelic drugs.

Mendes has taken many photos of Ed McClanahan throughout the years. This photograph in particular is now the cover of McClanahan’s latest book, I Just Hitched in From The Coast.