The UNLV Artists in Residence for Spring 2017 feature Letha Wilson and Carter Mull, two artists who will guide undergrads and grads through the process of professsional practice two ways; aesthetic thinking and the pragmatic application of career, says Pasha Rafat, Artist Lecture Series Coordinator. "These two artists are in mid-career and have professional exhibitions in their background," says Rafat."It's important for art students to know what to do when they get out into the world." The courses, listed as ART 498 and Art 700, will be held from 2:30 pm to 5:15 p.m. on Tuesdays and Thursdays.
^ Installation view Look With Your Hands solo exhibition, Grimm Gallery, Amsterdam. June 6 2015 - July 18, 2015
"Turning flat images into sculptural objects, Letha Wilson’s photographs in relief and site-specific installations draw attention to the relationship between architecture and nature. Shots of American landscapes—reddish canyons, the ocean, lush vegetation—are cut and folded like an accordion into wall-hung pieces whose cavities and slashes possess the physicality of Gordon Matta-Clark’s or Lucio Fontana’s interventions. With layers of concrete or bases of cement, Wilson’s works are a manmade contrast to the natural subjects of her prints, while their final textures also refer back to natural terrains."
hyperallergic: Your work reminds me of Theodor Adorno’s Aesthetic Theory, and his ideas on nature and the cultural landscape. Is seeing nature with your eyes different from seeing it in a photograph?
Letha Wilson: I think the interesting thing about photography is you’re trying to capture that moment because you want to hold onto it, this vision, this view you see that’s encompassing you, so you’re using photography as an attempt to capture, but then there’s something interesting when you look at that photograph in a different place and time; it conveys another place, a third meaning. That’s what I’m trying to do with my work, using physical or structural components to bring that third element in so it’s not really here nor there, and make it more present at the moment of viewing. I think it fills a gap. I’m really drawn to sculpture, and as a viewer I think it has a lot of possibilities and potential, so I’m really trying to mix the physical presence of an artwork with an image.
Winchester, Tom. "An Analog Path for Photography." Hyperallergic. August 12, 2011. Accessed November 1, 2016. http://hyperallergic.com/32208/an-analog-path-for-photography/.
Carter Mull, ground, 2006, office jet prints, galaxy holographic film, aerosol paint unique photographs, uniquely painted, dispersed from an archive of 1800
Carter Mull work is "derived and conceptualized by the experience, theorization and processing of relationships both in the social field and in our shared, mediated landscape, transposing the social image to the exhibition context."
Carter Mull was born in Atlanta in 1977. He received his BFA from the Rhode Island School of Design and his MFA from CalArts in 2006. His work is in numerous American museum collections including the Museum of Contemporary Art, LACMA, and Hammer Museums in Los Angeles and the Whitney and MoMA collections in New York. Recent exhibitions include solo shows at the Kunst Halle Sankt Gallen in Switzerland, CAPC Bordeaux in France, Fused Space, San Francisco and Ludgren Gallery. Mull spent key formative years in New York. Although he travels often, he has been based in Los Angeles since 2004.
Carter Mull, eleven, 2009, lightjet type-c print on metallic paper and type-r print
Carter Mull‘s work in New Photography 2009 is full of vibrant color and patterns. Beyond the surface is a body of work that explores language, our relationship to images in an image-saturated world, and the spectre of the death of print media and chemical photography.
MOMA: How did you become interested in the Los Angeles Times as the starting point for the body of work on view in New Photography 2009?
Carter Mull: Initially, I was drawn to a question about the psychological impact of an image. Journalism and the media had been in the background of my thinking for a number of years—and I was curious about the question of how one responds to an image of distant trauma, contextualized within the framework of the local newspaper. Also, the very material—the literal placement of advertising next to news—was an intriguing reality.
Artist Lecture Series Coordinator
Professor of Art
UNLV MFA Fine Arts
Master of Fine Arts - Art
College of Fine Arts