{"id":6782,"date":"2017-01-30T13:42:01","date_gmt":"2017-01-30T18:42:01","guid":{"rendered":"https:\/\/photographmag.com\/anouk-kruithof-evidence-at-casemore-kirkeby\/"},"modified":"2023-01-24T14:32:39","modified_gmt":"2023-01-24T19:32:39","slug":"anouk-kruithof-evidence-at-casemore-kirkeby","status":"publish","type":"post","link":"https:\/\/photographmag.com\/reviews\/anouk-kruithof-evidence-at-casemore-kirkeby\/","title":{"rendered":"Anouk Kruithof: #EVIDENCE at Casemore Kirkeby"},"content":{"rendered":"<figure id=\"attachment_29427\" aria-describedby=\"caption-attachment-29427\" style=\"width: 600px\" class=\"wp-caption alignnone\"><img decoding=\"async\" class=\"size-full wp-image-29427 lazyload\" data-src=\"https:\/\/photographmag.com\/wp-content\/uploads\/2022\/12\/carry_on_final_small-600x400-2.jpg\" alt=\"\" width=\"600\" height=\"400\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" style=\"--smush-placeholder-width: 600px; --smush-placeholder-aspect-ratio: 600\/400;\"><noscript><img decoding=\"async\" class=\"size-full wp-image-29427\" src=\"https:\/\/photographmag.com\/wp-content\/uploads\/2022\/12\/carry_on_final_small-600x400-2.jpg\" alt=\"\" width=\"600\" height=\"400\"><\/noscript><figcaption id=\"caption-attachment-29427\" class=\"wp-caption-text\">Anouk Kruithof, <em>Carry On<\/em>, 2015. Courtney Casemore&nbsp;Kirkeby<\/figcaption><\/figure>\n<p>Forty years ago, for their seminal appropriation project <em>Evidence<\/em>, Larry Sultan and Mike Mandel gained access to the lonely corporate, industrial, and government archives of public and private institutions to select images produced by each. Out of context, these self-promoting pictures seem mysterious and sometimes entertainingly ridiculous. The project also questioned the veracity of images and their use in contemporary culture. Dutch artist Anouk Kruithof\u2019s <em>#Evidence<\/em>, on view at <span style=\"color: #3366ff;\"><a style=\"color: #3366ff;\" href=\"http:\/\/casemorekirkeby.com\/exhibition\/anouk-kruithof-evidence\/\" target=\"_blank\" rel=\"noopener\">Casemore Kirkeby<\/a><\/span> through March 18, adds more than a hash tag to the concept as she references and rethinks the 1977 project for the digital age.<\/p>\n<p>What Kruithof mines in her project \u2013 Instagram feeds of a number of large corporations, government agencies, and research facilities (NASA, Berkeley Lab, Google, and the White House among them) \u2013 are vaster in scale and easier to access than when Mandel and Sultan engaged the process. &nbsp;But if the gathering of her 650 source images is easier, getting to the varied two and three-dimensional forms she produces in <em>#Evidence<\/em> involves more meddling and manipulation. The artist cuts, collages, prints on malleable surfaces, and employs strategic sculptural elements including metal armatures, surveillance camera brackets, and selfie-sticks.<\/p>\n<figure id=\"attachment_29428\" aria-describedby=\"caption-attachment-29428\" style=\"width: 600px\" class=\"wp-caption alignnone\"><img decoding=\"async\" class=\"size-full wp-image-29428 lazyload\" data-src=\"https:\/\/photographmag.com\/wp-content\/uploads\/2022\/12\/evidence-39-600x859-2.jpg\" alt=\"\" width=\"600\" height=\"859\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" style=\"--smush-placeholder-width: 600px; --smush-placeholder-aspect-ratio: 600\/859;\"><noscript><img decoding=\"async\" class=\"size-full wp-image-29428\" src=\"https:\/\/photographmag.com\/wp-content\/uploads\/2022\/12\/evidence-39-600x859-2.jpg\" alt=\"\" width=\"600\" height=\"859\"><\/noscript><figcaption id=\"caption-attachment-29428\" class=\"wp-caption-text\">Anouk Kruithof, <em>Neutral (openhearted)<\/em>, 2015. Courtesy Casemore Kirkeby<\/figcaption><\/figure>\n<p>The works, which would fit right in to Charlotte Cotton\u2019s contemporary compendium of recent practices <em>Photography Is Magic<\/em>, aren\u2019t easy to parse \u2013 their shapes and structures can be ungainly and their images blurred beyond recognition. In a newsprint broadside accompanying the exhibition, Kruithof suggests that the monolithic, anonymous sources \u201ccan still lead to interesting photographs, but their intent robs the image of its innocence.\u201d Sometimes it seems that the artist attempts to re-imbue the images with some innocence by blurring to the point of abstraction. Her works on fabric, latex, and vinyl play with notions of transparency and obscuring, as they often contain private information, like ID cards and license plates, that are made illegible with image filters. They become soft-focus elements that suggest the arbitrary and subjective hash tags can be. Kruithof rigorously grapples with the complexities of the continually evolving role of images. If the results aren\u2019t always pretty, the energy she imbues the project with is palpable and intriguingly confounding.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Forty years ago, for their seminal appropriation project Evidence, Larry Sultan and Mike Mandel gained access to the lonely corporate, industrial, and government archives of public and private institutions to select images produced by each. Out of context, these self-promoting pictures seem mysterious and sometimes entertainingly ridiculous. The project also questioned the veracity of images [&hellip;]<\/p>\n","protected":false},"author":5,"featured_media":6783,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_seopress_robots_primary_cat":"none","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"6558,6978,1690,6618,6730,7088,7227,6891,6088,7225,21722,6374","_relevanssi_noindex_reason":"","footnotes":""},"categories":[12],"tags":[],"issues":[87],"acf":[],"_links":{"self":[{"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/posts\/6782"}],"collection":[{"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/comments?post=6782"}],"version-history":[{"count":0,"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/posts\/6782\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/media\/6783"}],"wp:attachment":[{"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/media?parent=6782"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/categories?post=6782"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/tags?post=6782"},{"taxonomy":"issues","embeddable":true,"href":"https:\/\/photographmag.com\/wp-json\/wp\/v2\/issues?post=6782"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}