Editor’s Note: This feature was originally published on our previous platform, In the In-Between: Journal of Digital Imaging Artists, and the formatting has not been optimized for the new website.
For the last few years I’ve been using “installation view” photographs as sources for works examining our online encounter with art set in physical spaces. As someone who lives away from major art cities and centers, I’m drawn to the material and conceptual conditions that surround the careful composition, presentation, and consumption of such gallery-based images. Beyond documentation, these photographs seem to suggest a kind of unsettledness between the values of the immediate and distant, the physical and the virtual.
In the case of John Baldessari’s text painting, Pure Beauty (1966-8)—or more correctly, the image of it in a gallery that I found online—I became interested in animating what seemed like a back and forth relationship generated by the painting’s literal content and the wall label next to it. The proximity of the piece to a common didactic implementation does much to echo, inform, and anchor works of art to certain architectures and institutions.
Project Site: http://installation-views.tumblr.com/
Sherwin Rivera Tibayan (Subic Bay, Philippines, 1982) is an artist whose projects address digital culture and its relationship with the history of images. In 2012, The Histograms was given the Society for Photographic Education’s SPE Award for Innovations in Imaging in Honor of Jeannie Pearce. He received an MFA in Photography from the University of Oklahoma and is currently a PhD student in American Studies at the University of Texas, Austin.
Text & Images © Sherwin Rivera Tibayan
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