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EVENT DETAILS:
Date:
September 12, 2008
Time:
7:30 pm
Location:
San Francisco Art Institute Lecture Hall 800 Chestnut Street San Francisco, Ca (at Jones Street)
Ticket Information:
$10.00 general admission $5.00 students with ID tickets available at the door
Fall 2008 Lecture Series
Paul Berger with Brian Taylor
INTRODUCTORY PRESENTATION BY BRIAN TAYLOR
Paul Berger has been making photographs utilizing the computer since 1981. He co-founded the photography program at the University of Washington in Seattle and has taught there for 30 years. Working in series, his art illuminates the methods and processes that occur when we read and interpret images.
Rod Slemmons has written that “He has refused to forget, or ignore, that photographs that simplistically appear to be factual statements are really just flat, frame-bound, closed arenas of evidence that do not admit to anything without the introduction of a human eye, without human experience to support their abstract claims.”
The resultant collages are complex pictures that combine elements relating to photography, television, computers and public and private experience. There is a decided intelligence at work here, but also a keen sense of humor. Berger plays off of the predictable, and organized way that machines generate outcomes with a decidedly human and inventive response. This counterpoint makes work which, on the surface seems calculated, become accessible and engaging to experience.
Paul Berger has been making photographs utilizing the computer since 1981. He co-founded the photography program at the University of Washington in Seattle and has taught there for 30 years. Working in series, his art illuminates the methods and processes that occur when we read and interpret images.
Rod Slemmons has written that “He has refused to forget, or ignore, that photographs that simplistically appear to be factual statements are really just flat, frame-bound, closed arenas of evidence that do not admit to anything without the introduction of a human eye, without human experience to support their abstract claims.”
The resultant collages are complex pictures that combine elements relating to photography, television, computers and public and private experience. There is a decided intelligence at work here, but also a keen sense of humor. Berger plays off of the predictable, and organized way that machines generate outcomes with a decidedly human and inventive response. This counterpoint makes work which, on the surface seems calculated, become accessible and engaging to experience.
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