Peter Schjedahl on a perfect moment where art’s real function intersects with an attempt at analysis. Of course, Schjedahl knows exactly what to do:

I remember my first encounter, in Germany, in 1992, with Koons’s famous “Puppy,” the forty-three-foot-high Scottie dog enveloped in living flowers. As I was judiciously taking descriptive and analytical notes, a bus arrived bearing a group of severely disabled children in wheelchairs. They went wild with delight. Abruptly feeling absurd, I shut my notebook and took instruction from the kids’ unequivocal verdict.

from Funhouse: A Jeff Koons Retrospective, The New Yorker, June 9 & 16, 2008

filed on 06.12.08 by Luke | 0 comments | Share this with del.icio.us Digg it

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This past weekend I was the “artist in residence” at the home of my good friends Willie and Angela, hosts of the Oxford Occasional. The monthly p(art)y get-together takes place at their Philadelphia home and invites artist friends to use their spare room as an installation / performance / gallery space.

It was a perfect venue for camera obscura prints and projections. The view from the back window features a foreground of angular shapes (fences, rooftops, and powerlines) along with the Center City skyline in the far distance.

I created a unique paper negative by tiling paper (the entire piece is 130″ x 34″) and also used a movie screen of Willie’s to create a live projection. You can see more images of the installation at my website: Oxford Occasional @ lensless.net

Thanks to Willie and Angela, and to all the people who came out to see the work!

filed on 06.4.08 by Luke | 0 comments | Share this with del.icio.us Digg it

related posts [Oxford Occasional This Weekend] [Chairs of the Visual Studies Workshop on 20×200] 

I’ll be in Philadelphia this coming weekend to participate in Edition IV of Oxford Occasional, a monthly arts get-together at the home of my friends Willie and Angela:

Oxford Occasional: edition iv features a site-specific installation in our very own home by photographer Luke Strosnider whose camera-obscura projections will grace our walls. Witness the impermanence of fleeting moments and revel in the act of seeing without recording. Arrive before sunset (8:17 pm) to experience the full glory of the work and stay into the darkness to enjoy drinks, good company and a secret revealed. Bring a friend and join us!

For more info (past editions, how to get there, etc.), visit oxfordoccasional.wordpress.com.

filed on 05.27.08 by Luke | 0 comments | Share this with del.icio.us Digg it

related posts [Photos From Oxford Occasional, Edition IV] [Sound and Vision: Jason Lazarus] 

I was surprised to see how similar Elinor Carucci’s photographs of blogger Emily Gould (Exposed, May 28, 2008) were to images from Carucci’s 2002 book Closer.

The style is amazingly similar in lighting, composition, color, and detail - right down to the orange peels!

(More photos and comment on Carucci’s artwork versus her editorial work on the Photoshelter blog.)

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related posts [Low Moon By Jason] [Link Link at New York Times] 

Outdoor Couch, Wonderland Ballroom, Washington, DC (2007 and 2008)

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related posts [52 Polaroids: 07 of 52] [FOUND Polaroids Book] 

Desire Path, Rochester, New York (2006)

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related posts [52 Polaroids: 07 of 52] [FOUND Polaroids Book] 

My Friend David’s Refrigerator, Beacon, New York (May 4, 2008)

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related posts [52 Polaroids: 07 of 52] [FOUND Polaroids Book] 

Monument to Daguerre, Washington, DC (2008) 

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related posts [52 Polaroids: 07 of 52] [FOUND Polaroids Book] 

A huge “thank you” to everyone who made my 20×200 edition of Every Chair at the Visual Studies Workshop a success. I am humbled that it sold out, and did so in such a short time!

filed on 04.28.08 by Luke | 0 comments | Share this with del.icio.us Digg it

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Prints from my Every Chair at the Visual Studies Workshop project are now available through Jen Bekman’s 20×200!

You can choose from three different print sizes, and - unlike most 20×200 editions - the three prints are unique unto themselves. Let me explain:

• The small edition (200 prints at 8.5×11) is actually 200 “editions of one”; I chose 200 of the 521 chairs to be printed individually.
• The medium edition (20 prints at 17×22) is a grid of forty-five different chairs.
• The large edition (2 prints at 30×40) is an eye-popping grid of all 521 chairs.

So hurry on over to 20×200 and grab yourself one - or why not several small prints for a nice big grid?

Link: Every Chair At the Visual Studies Workshop on 20×200

Thanks to Jen, Sarah, and Eric at 20×200 for making this possible!

filed on 04.23.08 by Luke | 6 comments | Share this with del.icio.us Digg it

related posts [Wow! Thanks!] [Every Chair at the Visual Studies Workshop Now on Flickr]