'A Picture of War is Not War', we read in Hito Steyerl's iconic film November (2004), an essayistic Super 8 film tackling the definition of terrorism constructed around the figure of the artist's best friend Andrea Wolf, who was killed as a terrorist in 1998 in Eastern Anatolia after she joined the PKK (Kurdistan Workers' Party). Mixing documentary...
There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced into...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
Eidolon in ancient Greek referred to a ghostly presence or phantasm, for which one needed to look with rigour and with care. A decent term for an artist then, and particularly apt for Anne Noble who has long worked with patient deliberation on subject matter ranging from the Whanganui River to Antarctica. She has most recently trained her formidable powers of observation upon the humble honey bee.
Eidolon II #3 and #6 are a visual requiem for the worker bee. Following the dark grounds of Noble’s Dead Bee Portraits, Eidolon II is the artist once again working white on white (recollecting the subtle tonal shifts of her Antarctic Whiteout series). She photographs casualties from her own hive, 3-D prints them in white resin, and re-photographs them before a white ground – utterly delicate in death.
The initial Eidolon series are quite different, made entirely in camera and printed big and in colour. Conceived in her Fulbright studio at Columbia University, New York in 2014/15, Noble placed plucked bees wings on the lit screen of her cellphone, stacked lenses on top, added side light and photographed looking down from above. The lenses blur edges which lend the photographs real movement and power. The camera focuses on the handsome veined wing struts and rainbows of light refracted through the wings themselves, each wing etched with a surface pattern almost its own. The images look beautiful but feel slightly haunting at the same time – testament to the poetry of the honeybee which faces a future of swirling difficulty.
The tintypes are the darkest presence in the show, which is a little ironic as Noble has obviously reveled in the rich materiality of this old photographic medium. Working the emulsion (almost floridly) onto aluminium sheet, and enjoying the directness of contact printing, A Bee Wing Morphology #6 and #7 combine the qualities of a naturalist’s slide collection with the photographer’s ability to conjure light out of darkness. They are terrific images. One-offs. And typically Noble, in their gentle insistence that art be informed by humanity and by inquisitive research – a pursuit of knowledge almost akin to science.
We have sent you an email containing a link to reset your password. Simply click the link and enter your new password to complete this process.
Scan the QR Code via WeChat to follow Ocula's official account.