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Bookmark: https://artcollection.carleton.edu/objects-1/info/1770
Words and Images: Jill Mathis and Caleb Cain Marcus
200521st century
16 in. x 20 in. (40.64 cm x 50.8 cm)
Caleb Cain Marcus, American, b. 1978
Object Type:
Photographs
Creation Place:
North America, United States
Medium and Support:
digital chromogenic prints on paper
Credit Line:
Carleton College Art Collection, gift of Arthur D. Kowaloff, class of 1968
Accession Number:
2007.001.11
Jill Mathis introduction:
One of the most interesting characteristics of our modern culture has been the intensive, almost compulsive collaboration between practitioners of the word and practitioners of the image. We live in a world inundated with composite pictorial-verbal forms (films, television, newspapers) but we see the most sophisticated example of this collaboration in the world of art. This project is about this collaboration but it is more than just optical phraseology. The fundamental ground finds its base in etymology and through the symbiotic fusion of words and images, the work becomes a semantic, syntactic, communicative effort that encodes messages, recounts history, expresses ideas and captures emotions.
Caleb Cain Marcus introduction:
The honesty of his vision removes the gauze from reality unveiling its beautiful and mysterious undertones. He brings us through the lens to a place where myth and reality become inexorably entangled and without distinction. Here the images evoke a primal memory of the unexplainable, which flows through and connects all things. They resonate with a poetic light, which invites us into the space and allows us to explore it on our own terms.
One of the most interesting characteristics of our modern culture has been the intensive, almost compulsive collaboration between practitioners of the word and practitioners of the image. We live in a world inundated with composite pictorial-verbal forms (films, television, newspapers) but we see the most sophisticated example of this collaboration in the world of art. This project is about this collaboration but it is more than just optical phraseology. The fundamental ground finds its base in etymology and through the symbiotic fusion of words and images, the work becomes a semantic, syntactic, communicative effort that encodes messages, recounts history, expresses ideas and captures emotions.
Caleb Cain Marcus introduction:
The honesty of his vision removes the gauze from reality unveiling its beautiful and mysterious undertones. He brings us through the lens to a place where myth and reality become inexorably entangled and without distinction. Here the images evoke a primal memory of the unexplainable, which flows through and connects all things. They resonate with a poetic light, which invites us into the space and allows us to explore it on our own terms.
Keywords
Click a term to view the records with the same keyword
This object has the following keywords:
21st Century,
American*,
Contemporary*,
gelatin silver prints*,
gelatin silver process*,
paper (fiber product)*,
photographic paper*,
photographs*
- 21st Century
- American - Refers to the context of or associated specifically with the modern political entity of the United States of America.
- Contemporary - Refers to painting, sculpture, graphic arts, and architecture dating from the recent past and present. It differs from modern art in that the term 'contemporary art' does not carry the implication of a non-traditional style, but instead refers only to the time period in which the work was created. 'Modern' and 'contemporary' are inherently fluid terms. The term 'contemporary' is sometimes more narrowly used to refer to art from ca. 1960 or 1970 up to the present.
- gelatin silver prints - Refers to photographic prints having gelatin as the binder, holding silver as the final image material; always black-and-white, though they may be toned to a monochrome hue.
- gelatin silver process - Refers to any of several photographic processes that use gelatin as the binder and silver as the final image material. Most commonly used on a paper support for prints, but may employ a glass plate (in which case use "gelatin dry plate process") or film as the support.
- paper (fiber product) - Refers generally to all types of matted or felted sheets or webs of fiber formed and dried on a fine screen from a pulpy water suspension. The fibers may be animal, such as hair, silk or wool, or mineral, such as asbestos, or synthetic. However most paper is made from cellulosic plant fiber, such as from wood pulp, grass, cotton, linen, and straw.
- photographic paper - Paper used for making photographic prints that consists of a base material with a white or near-white surface that is coated with one or more emulsion layers. It is typically a high grade of paper traditionally made from 100% cotton or linen rags, because lignin and other residues in other paper would react with the photosensitive salts and destroy the image. Photographic paper is strong, uniform, and dimensionally stable when wet and dry. For increased wet-strength, the papers are sized with animal glue, starch, stearic acid, or synthetic resins, such as melamine (used since 1948). One or more fillers, such as barium sulfate, titanium dioxide, clay, starch, or polyacrylamide, are also added for opacity, color, and strength. The papers were calendered to produce a smooth, nonporous surface. Since the late 1960s, most color photographic papers have been made from cellulose fibers coated on both sides with polyethylene.
-
photographs
- Refers to still images produced from radiation-sensitive materials (sensitive to light, electron beams, or nuclear radiation), generally by means of the chemical action of light on a sensitive film, paper, glass, or metal. It does not include reproductive prints of documents and technical drawings, for which descriptors found under "
" are more appropriate. Photographs may be positive or negative, opaque or transparent.