Calling Beauty

Anna Molska, Tanagram, 2006-2007
Eve Sussman and The Rufus Corporation, Dog Rolls, 2004
Thorsten Brinkmann, Villa Silverbaum, from the series Portraits of a Serialsammler, 2005–present
Darren Waterston, Beata, 2008
Elizabeth Gerdeman, Grandeur: From Cole, Church, Bierstadt and Moran, 2010
Matts Leiderstam, Paris, 15-03-1999, Returned. Parc des Buttes-Chaumont,
Moyra Davey, Photographs from Paris, 2009
Ryan McGinley, Marcel, Ann, Coley, 2007
Bureau for Open Culture

Anna Molska, Tanagram, 2006-2007

video, DVD copy, 5:10 minutes

courtesy of the Foksal Gallery Foundation, Warsaw

Eve Sussman and The Rufus Corporation, Dog Rolls, 2004

video still from 89 Seconds at Alcazar, 11 minutes

courtesy of Eve Sussman and The Rufus Corporation

Thorsten Brinkmann, Villa Silverbaum, from the series Portraits of a Serialsammler, 2005–present

13 c-prints and installation

courtesy of the artist and Galerie Kunstagenten, Berlin

Darren Waterston, Beata, 2008

oil on wood panel; 47 x 36 inches

courtesy of the artist and Haines Gallery, San Francisco

Elizabeth Gerdeman, Grandeur: From Cole, Church, Bierstadt and Moran, 2010

latex paint, site-based mural; 27 x 11 feet

courtesy of the artist

Matts Leiderstam, Paris, 15-03-1999, Returned. Parc des Buttes-Chaumont,

made after Nicolas Poussin's Spring or The Earthly Paradise, Rome 1660-1664, 2000-2001

courtesy of the artist and Andréhn-Schiptjenko, Stockholm

Moyra Davey, Photographs from Paris, 2009

16 c-prints, postage, tape, ink; 11.75 x 17.75 inches each

courtesy of the artist and Murray Guy, New York

Ryan McGinley, Marcel, Ann, Coley, 2007

c-print, 16 x 20.5 inches

courtesy Mr. and Mrs. Charles Newman

Bureau for Open Culture

Anna Molska, Tanagram, 2006-2007  thumbnail
Eve Sussman and The Rufus Corporation, Dog Rolls, 2004 thumbnail
Thorsten Brinkmann, Villa Silverbaum, from the series Portraits of a Serialsammler, 2005–present  thumbnail
Darren Waterston, Beata, 2008 thumbnail
Elizabeth Gerdeman, Grandeur: From Cole, Church, Bierstadt and Moran, 2010  thumbnail
Matts Leiderstam, Paris, 15-03-1999, Returned. Parc des Buttes-Chaumont,  thumbnail
Moyra Davey, Photographs from Paris, 2009  thumbnail
Ryan McGinley, Marcel, Ann, Coley, 2007  thumbnail
Bureau for Open Culture thumbnail

In her essay “An Argument About Beauty” Susan Sontag traces the evolving definition of beauty from concepts of rarity and exclusivity to less discriminatory notions of it. While beauty is historically aligned with high culture, class and refinement elicited by old master and modernist art, for instance, Sontag delves into alternative notions of what is beautiful, pondering beauty in that not always considered as such. While Calling Beauty does not serve to illustrate Sontag’s essay, her words serve as valuable points of entry for considering what has been traditionally viewed as beautiful, how that view has influenced contemporary art, and how it has shaped, paradoxically, an aesthetics of the everyday.

Calling Beauty is organized around four pillars of reflection: still life, landscape, nude and portraiture. It includes work that draws peripherally and specifically on traditional subjects typically deemed beautiful within the realm of art. But, the works bring to the surface a retreat from that tradition to a contemporary reconsideration of it, thus a renewed engagement with historic artistic conventions.

Calling Beauty archive

Flickr photostream

 

Thorsten Brinkmann, Moyra Davey, Elizabeth Gerdeman, Ellen Harvey, Matts Leiderstam, Ryan McGinley, Anna Molska, Susan Sontag, Eve Sussman/The Rufus Corporation, Darren Waterston

Curator

James Voorhies

Institution

Columbus College of Art & Design, OH
Feb 17—Apr 10, 2010

Made possible with grants from Greater Columbus Arts Council and Ohio Arts Council with support from Columbus College of Art & Design