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Moshe · 11.20.2007, 03:53 AM

THE INVISIBLE MAN

Hastings Street is certainly a curious corridor to choose for studio space, but I imagine that the veil of poverty lends itself to considerable privacy. As the annual Eastside Culture Crawl demonstrates, there are plenty of artists who find this part of town to be an ideal venue for their work.
Wall’s obscure studio is incongruous with such a prolific career, but provides such a captivating legend:
“I heard there’s a famous old photographer with a high-tech studio just two doors down from Union Gospel Mission.”
“I heard he lives there too, surrounded by photography gear.”
I don’t know anything about Jeff Wall beyond what I’ve learned this past week. I don’t know if he resides in his studio, if he’s connected to his community, if he ever emerges from the darkroom or the lightbox. But every time I walk past the gray walls, I imagine Wall at work in a situation similar to the one he created with his 2000 piece, “Invisible Man.” With 1,369 illegally connected light bulbs strung together over the ceiling, the subject lives quietly and unobtrusively in a New York cellar, going about his business under the otherwordly glow of leftover lightbulbs, completely separate from the city around him.

EXPLORING MORE JEFF WALL

Wikipedia always offers fascinating tidbits, including this gem: did you know that Wall’s photograph “The Destroyed Room” was used as the cover shot for a Sonic Youth EP of the same name?
Read “If You Build It They Will Come,” an article in Time Magazine from February 2007 and written by Richard Lacayo. The revealing essay explores staged photographs and includes Wall in the exploration, calling one of Wall’s shots the “photographic equivalent of a Jackson Pollock drip painting.” (Ouch.)
TateModern has created an exceptional interactive online exhibit of Wall’s work from 1978-2004, featuring detailed views and write-ups for many of his signature pieces. All of the images I have used in this entry have been borrowed from the Tate site. Visit this page to see read up on Wall’s work and career. Be sure to explore my favourite from Wall’s photographs, called “A Sudden Gust of Wind (after Hokusa)” from 1993:

11.20.2007, 03:53 AM	#26
Moshe Super Moderator Join Date: Mar 2006 Posts: 5,865	THE INVISIBLE MAN Hastings Street is certainly a curious corridor to choose for studio space, but I imagine that the veil of poverty lends itself to considerable privacy. As the annual Eastside Culture Crawl demonstrates, there are plenty of artists who find this part of town to be an ideal venue for their work. Wall’s obscure studio is incongruous with such a prolific career, but provides such a captivating legend: “I heard there’s a famous old photographer with a high-tech studio just two doors down from Union Gospel Mission.” “I heard he lives there too, surrounded by photography gear.” I don’t know anything about Jeff Wall beyond what I’ve learned this past week. I don’t know if he resides in his studio, if he’s connected to his community, if he ever emerges from the darkroom or the lightbox. But every time I walk past the gray walls, I imagine Wall at work in a situation similar to the one he created with his 2000 piece, “Invisible Man.” With 1,369 illegally connected light bulbs strung together over the ceiling, the subject lives quietly and unobtrusively in a New York cellar, going about his business under the otherwordly glow of leftover lightbulbs, completely separate from the city around him. EXPLORING MORE JEFF WALL Wikipedia always offers fascinating tidbits, including this gem: did you know that Wall’s photograph “The Destroyed Room” was used as the cover shot for a Sonic Youth EP of the same name? Read “If You Build It They Will Come,” an article in Time Magazine from February 2007 and written by Richard Lacayo. The revealing essay explores staged photographs and includes Wall in the exploration, calling one of Wall’s shots the “photographic equivalent of a Jackson Pollock drip painting.” (Ouch.) TateModern has created an exceptional interactive online exhibit of Wall’s work from 1978-2004, featuring detailed views and write-ups for many of his signature pieces. All of the images I have used in this entry have been borrowed from the Tate site. Visit this page to see read up on Wall’s work and career. Be sure to explore my favourite from Wall’s photographs, called “A Sudden Gust of Wind (after Hokusa)” from 1993:
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