SAT—MARCH 10—12 PM
$5 (free for ASF Members and Students)
On the occasion of The Experimental Self, and in partnership with the Armory Show’s 2018 VIP Programs, please join us for a conversation about the innovation of Edvard Munch’s photography.
Featuring artists Lori Nix, Torbjørn Rødland, and Teija Isorättyä, and moderated by curator Dr. Patricia Berman, this panel will consider the ways in which Munch experimented with photography in his private practice, and how the artist’s early experimentation and self-reflective strategies corresponds to the innovative, performative, and creative measures employed by artists working in photography today.
Examining how artists working today respond to the constant evolution of technology, the panel will also discuss the means by which artists reconcile their private and public output.
Special thanks to the Royal Norwegian Consulate General in New York.
About the Speakers
LORI NIX (b. 1969, Norton, Kansas) is a Brooklyn-based photographer who has been building and photographing dioramas since the early nineties. Originally from the American Midwest, Nix has collaborated with her partner, Kathleen Gerber, for over 16 years. Their miniature fake landscapes and interiors reflect a love of science fiction and dystopian entertainment, an appreciation for great architecture, and an affinity with the Sublime painters of the Hudson River School. Their images of faux landscapes and gritty urban interiors have gained wide acclaim in both the U.S. and Europe, and Nix is a 2014 Guggenheim Fellow in photography. Their work is represented in the permanent collections of the Smithsonian American Art Museum, Washington, DC; Museum of Fine Arts, Houston, Texas; George Eastman House, Rochester, New York; among many others.
TORBJØRN RØDLAND (b. 1970, Stavanger, Norway) is a Los Angeles-based photographer known for portraits, still lives and landscapes that transcend their often banal settings and motifs and move into the otherworldly. Since the late nineties, his work has been exhibited widely. He has been the subject of a number of institutional solo exhibitions, including the current show Torbjørn Rødland: Back in Touch at C/O Berlin and Torbjørn Rødland: The Touch That Made You at Serpentine Sackler Gallery (Fall 2017), as well as shows at Henie-Onstad, Oslo, Norway (2015); Kunsthall Stavanger, Stavanger, Norway (2014); Hiroshima City Museum of Contemporary Art, Hiroshima, Japan (2010); Contemporary Art Museum, St. Louis, United States (2010) and P.S.1 Contemporary Art Center, New York, United States (2006). Group exhibitions include What People Do For Money, MANIFESTA 11, Zurich, Switzerland (2016); 9th Berlin Biennial, Berlin, Germany (2016); Billboard, Whitney Museum of American Art, New York, United States (2016); and many others.
Working as a family unit with their young son, Iisakki, PEKKA & TEIJA ISORÄTTYÄ (both born 1980, Finland) work together in a shared process of creating. They work with various media, but perhaps most notably with kinetic sculptures and electromechanical sculptures. The Isorättyäs live and work in various places. Their artistic career started in Mexico City 2007 where they exhibited in various art museums and worked with the Polka Madre orchestra until 2010. The Isorättyäs then ran their own art space called Invalid Robot Factory in Berlin’s Neukölln neighborhood until 2013. From 2013-2015 the Isorättyäs were traveling in different environments related to the sea in Japan, Mexico, and around the Baltic in a sailboat. The Isorättyäs have been working in Artist Residencies such as Gängeviertel of Hamburg, C.A.P Kobe in Japan and ISCP residency in New York. They have exhibited internationally at a number of galleries, museums, and institutions. The Isorättyäs were nominated for the 2017 Ars Fennica Award. Upcoming solo exhibitions include Ierimonti gallery, NY in April, 2018.
About the Moderator
A professor of art history at Wellesley College, DR. PATRICIA BERMAN is a leading specialist in early modern Scandinavian art and the author of numerous important scholarly publications in the field. From 2010-2015, she held a faculty position at the University of Oslo, Norway, where she continues to be part of a research project entitled “Edvard Munch, Modernism, and Modernity.”
Her curatorial work has included Munch|Warhol and the Multiple Print (2013, New York and Ankara, Turkey); Luminous Modernism: Scandinavian Art Comes to America, A Centennial Retrospective 1912-2012 (2011, American-Scandinavian Foundation); In Munch’s Laboratory: The Path to the Aula (2011, Munch Museum, Oslo), Edvard Munch and the Modern Life of the Soul (2006, Museum of Modern Art, NY).