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| 2017 photographing Recipes for Disaster, our political intervention #4 |
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| 1988 Portrait |
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| l992 Opening - New Stone Age - Milwaukee Art Museum |
6.28.2017
All Things - Images since 1988
A recent reorganization of Barbara's Magnolia Street studio resulted in the discovery of some forgotten images. I'm glad to say Barb is continuing to reach new photographic heights in the Prospect Avenue studio.
Museum of Advice II at Woodland Pattern
We joined Anja Notanja Sieger and her cadre of brilliant advisors for the second Museum of Advice at Woodland Pattern during River West Locust Street Festival. This year we were Double your Pleasure-Double your Fun as we provided a double barrel blivet of advice thanks, in part, to our study session the night before.
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| inspirational cheat sheet |
3.28.2017
Publication - Generous Magazine - highlights collaboration
We were please that our work was included, with an interview about
collaboration by Kyle Seis in Generous Magazine Issue 2, Winter 2016.
Generous is a periodic publication that foregrounds new work by those
who create outside the confines of the cannon. Generous takes risks and
values spontaneity.
Our work was commissioned as Exquisite Duos.
INTERVIEW
Barbara Ciurej
How to argue. I used to back away from arguments but now see them as part of a rigorous practice. There is tension in collaborating but good tension that suspends the work between our divergent points of view. We argue over everything – from exasperatingly trifling topics like how small is a small dog to big issues like social responsibility. Learning to reason through and defend your choices is articulation of vision.
Lindsay Lochman
How does a collaborative art practice compare to a traditional marriage?
I’m not sure what a traditional marriage is.…..like Adam and Eve? Ward and June Cleaver? Maybe you mean a traditional artist marriage, like Eleanor and Harry Callahan?
So consider these comparisons:
We have not made collaborative vows to each other at church or in city hall,
but you must not assume that the images we have produced are illegitimate. We have never had sex, but when mind-melds sometimes occur, it is thrilling. It may be possible to consider our collaboration to be like a menage a trois: photographs, Barbara and me.
Prior to Barbara, did you ever envision sharing a practice with someone?
Prior to meeting Barbara, I considered myself a potential artist. This notion was not encouraged, however, because it was feared I might turn out like my Aunt Cordelia.
At that time, the dawn of post-modern art, artistic collaboration was only beginning to be a way of making artwork.Our collaboration was totally unanticipated or premeditated. After so many years, it remains very organic in it’s structure and somewhat mysterious, even to us. It’s not an arrangement for the faint hearted artist.
What did your first work together look like?
Like ritualistic nose-thumbing in White Sands, New Mexico.
What are the biggest differences between you and Barbara?
Our brains. Although we share a similar visual aesthetic and production standards, differences can be seen in the way we process information and in our working methods.
My work is a non-linear embrace of ideas, processes and research which I combine and transform through manipulation with my fingers. I produce objects and images for evaluation. Barbara is wide open to experience, fulfilled by communication and interaction with humanity. Her process displays focus, patience and optimism; she is skilled in the use of InDesign.
What does the future look like?
I don’t know, but that is why we are beginning a project concerning Divination. We do continue to explore the bleak metaphorical landscape of childcare in America and we have also made plans to flee the four walls of our studio and make photographs en plein air.
Future exhibitions include Forged Worlds in DUMBO organized by Sam Barzillay at United Photo Industries (July 29th 1916 through July 2017); Processed Views at the Colorado Photographic Arts Center (October 14 - November 23, 2016). The rest is a surprise for us to know, and for you to find out…Our work is currently featured in Lost in Space: Contemporary Photographers and the New Landscape at Rick Wester Fine Art, NYC through July 29th.
Our work was commissioned as Exquisite Duos.
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| Exquisite Duos Interviews by Kyle Seis |
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| Founders/Editors - Khine Hline, aryn kresol, Nate Pyper, designer |
INTERVIEW
Barbara Ciurej
How does a collaborative art practice compare to a traditional marriage?
I have wilder dreams when I sleep in the studio.
What were you making before connecting with Lindsay?
I
was obsessed with a pair of red spiked heels that belonged to my
mother. I was setting up and photographing narratives starring the
shoes. Turns out Lindsay fit into those shoes. I was also working on a
project trying to picture infinity.
How has living in different cities affected your process?
Double
everything. We can be in two places at the same time. Information
multiplies and migrates. Spheres overlap. I appreciate that distance
gives space and time to think and research separately before coming
together in the studio. As I make the two-hour trek from Chicago for a
stay at the studio in Milwaukee, it is a welcome meditative interlude.
Would your practice be radically different as an individual?
I
would still be working with photography but I wouldn't be having as
much fun and I certainly would not get as much done. We started working
collaboratively so early in our formative years, trying to move beyond
our individual experience into the collective realm, that it is hard to
imagine how I would tackle those themes without finding another
collaborator. Because I have maintained a dual career as a photographer
and a graphic designer, I think my formalist tendencies would be more
evident.
What have you learned from Lindsay?
How to argue. I used to back away from arguments but now see them as part of a rigorous practice. There is tension in collaborating but good tension that suspends the work between our divergent points of view. We argue over everything – from exasperatingly trifling topics like how small is a small dog to big issues like social responsibility. Learning to reason through and defend your choices is articulation of vision.
The value of experimenting.
Lindsay is a tireless experimenter. Just when I think we are finished
with a project, she will tear it apart, print it backwards, turn it
upside down, see what happens if we bend the frame. I am more reluctant
to do that but admit that approach yields surprises and pushes the work.
Even when we throw away all the experiments, there is a sense we have
left no stone unturned in testing the work.
An irreverant attitude.
She has always had a more heightened worldly sense while I tend to
float in idealism. I have learned to do more research and critically
question assumptions, canons and historical narratives, which is
essential to the projects we produce.
How does a collaborative art practice compare to a traditional marriage?
I’m not sure what a traditional marriage is.…..like Adam and Eve? Ward and June Cleaver? Maybe you mean a traditional artist marriage, like Eleanor and Harry Callahan?
So consider these comparisons:
We have not made collaborative vows to each other at church or in city hall,
but you must not assume that the images we have produced are illegitimate. We have never had sex, but when mind-melds sometimes occur, it is thrilling. It may be possible to consider our collaboration to be like a menage a trois: photographs, Barbara and me.
Prior to Barbara, did you ever envision sharing a practice with someone?
Prior to meeting Barbara, I considered myself a potential artist. This notion was not encouraged, however, because it was feared I might turn out like my Aunt Cordelia.
At that time, the dawn of post-modern art, artistic collaboration was only beginning to be a way of making artwork.Our collaboration was totally unanticipated or premeditated. After so many years, it remains very organic in it’s structure and somewhat mysterious, even to us. It’s not an arrangement for the faint hearted artist.
What did your first work together look like?
Like ritualistic nose-thumbing in White Sands, New Mexico.
What are the biggest differences between you and Barbara?
Our brains. Although we share a similar visual aesthetic and production standards, differences can be seen in the way we process information and in our working methods.
My work is a non-linear embrace of ideas, processes and research which I combine and transform through manipulation with my fingers. I produce objects and images for evaluation. Barbara is wide open to experience, fulfilled by communication and interaction with humanity. Her process displays focus, patience and optimism; she is skilled in the use of InDesign.
What does the future look like?
I don’t know, but that is why we are beginning a project concerning Divination. We do continue to explore the bleak metaphorical landscape of childcare in America and we have also made plans to flee the four walls of our studio and make photographs en plein air.
Future exhibitions include Forged Worlds in DUMBO organized by Sam Barzillay at United Photo Industries (July 29th 1916 through July 2017); Processed Views at the Colorado Photographic Arts Center (October 14 - November 23, 2016). The rest is a surprise for us to know, and for you to find out…Our work is currently featured in Lost in Space: Contemporary Photographers and the New Landscape at Rick Wester Fine Art, NYC through July 29th.
11.27.2016
Sistine Chapel Ceiling - in Miniature
Sign-writer Gary Bevans spent five-and-a-half painstaking years painting the ceiling at the church in West Sussex. Mr Bevans, 60, began his masterpiece after being inspired on a pilgrimage to the Vatican. He started the project in 1987 despite never having an art lesson. The end product, although 30ft nearer the ground and only 3,500 sq ft to the original’s 5,000 sq ft, remains the only full copy in the world.
10.30.2016
The Spain Project - October 2016
We were recently approached by Patricio Binaghi who requested we participate with a collection with an assortment of artists and writers in his project, "Autores, Interpretes y Compositores," published by Paripé Books. Using a photographic archive about American Life in the 50's & 60’s, we will be providing a photo interpreting a photograph from this archive.
The book will be presented with an exhibition in Buenos Aires, Germany and Madrid as a part Photo España in July 2017.
The book will be presented with an exhibition in Buenos Aires, Germany and Madrid as a part Photo España in July 2017.
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| Beyo Real from the series, Still Wet from the Cocoon, 1977 |
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| Turkey from the series, Glory on a Budget: A Domestic Mythology, 1980 |
Publications 2015
February 2015
Feed a Different Imagination
A selection of photographic projects, each of which offers a special contribution into the relevant discussion of feeding the world. The works were chosen through juried competition organized on the occasion of the Universal Exhibition of Milan EXPO 2015, Feeding the Planet, Energy for Life.
editor Steve Bisson
Grafiche del’Artiere
ISBN 978 88 87569 63 6
____________________________________________________________________
June 26- August 8, 2015
Pacific Midwest 2.0 Exhibition Catalogue
Including the Milwaukee, Milwaukie MuseumINOVA Gallery, Milwaukee WI
organized by the collective Milwaukee Comma
in conjunction with Sarah Krajewski, Curator
____________________________________________________________________
July 2015
A Lasting Vision:
Photographs from the Institute of Design
1970 - 2001
Exhibition Catalogue edited by Anne Neri Kostinerintroduction by John Grimesessays by David Travis and Barbara Crane
IIT Press ISBN 13 978 0 692 47798 4
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August 2015
Black&White&Read:
An Ekphrastic Exhibition Catalogue
Curated by Robert TomlinsonAn exhibition featuring 15 black and white photographs of women by 15* artists,
and accompanying poems by 15 different poets in response
to each image, creating a distinct dialogue between the portrait and poem.
The entire autumn issue of Picture Sentence will be dedicated to the exhibit,
documenting the entire show. The show will run at WOU for 4 weeks, opening
in late September, 2015.
Train Bell Press
____________________________________________________________________
Publications 2016
February 16 - March 26, 2016
2016 Wisconsin Artists Biennial Exhibition Catalogue
Wisconsin Visual Artists in conjunction withthe Museum of Wisconsin Art
ISBN 978 1 36 440989 0
____________________________________________________________________
March 2016
Changing Circumstances: Looking at the Future of the Planet
curated and conceived by Wendy Watriss, Steven Evans and Fredrick Baldwin
essays by Wendy Watriss, Thomas E. Lovejoy and Geof Rayner
Fotofest International/Schilt Publishing, Amsterdam
ISBN 978 90 5330 862 2
March 2016
Changing Circumstances: Looking at the Future of the Planet
curated and conceived by Wendy Watriss, Steven Evans and Fredrick Baldwin
essays by Wendy Watriss, Thomas E. Lovejoy and Geof Rayner
Fotofest International/Schilt Publishing, Amsterdam
ISBN 978 90 5330 862 2
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