Tag Archives: Sietsema

Figure 3 : Paul Sietsema / Cornelia Butler

Figure 3 : Paul Sietsema / Cornelia Butler ; interview by Bruce Hainley.

Publisher: New York, N.Y. : Museum of Modern Art, [2009]Description: 80 pages : illustrations (some colour) ; 26 cm.ISBN: 9780870707766.
Paul Sietsemas ethereal drawings, sculptures and films explore combinations of colour, space and movement through subjects spanning a broad geographic and temporal range. For his third and newest project, Figure 3 (2008), Sietsema takes as his inspiration a collection of indigenous ethnographic objects found in various locations, including Africa, Indo-Asia and the South Pacific region of Oceania prior to European colonization, that he has collected since 2001. He reimagines these objects through drawings and intricately detailed, handcrafted sculptures, then captures the sculptures onto 16mm film; the end result is a flickering, mostly black and white moving image that slips between abstract and figurative representations. Through his multi-medium depictions, he investigates how different portrayals affect viewers understanding of particular objects. This volume brings together for the first time a comprehensive study of the film and related objects, which together explore ideas of cultural production and the relationships between drawings, materiality and film. The book situates this body of work in the broader context of the Sietsemas production of the last ten years, with a focus on how drawing functions in relation to his films

The photographic negative and casting- articles

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Degas’ amazing photographic negatives – used composite images and combinations of negative and positive.

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Deals with relation between casting and photographic printing

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Very good article by Jonathan Crary about Lutters work which also deals with the photographic negative and its relation to spectrality.

Also have copy of George Baker’s The Black Mirror – on Paul Sietsema. (October 158, Fall 2016) Very interesting writing on the negative (and on Sietsema in general) for example

“suspended between negative and positive, Degas’ between images body forth the negative as medium, middle space relay between photograph and object, camera and image. But in this ‘medium’ we find something medium specificity was never supposed to allow: the opening, through inversion, of photography to film, drawing, writing, even to sculpture ( as cast, double, ….it is this afterimage of the afterimage, this opening of the open image, that Sietsema has claimed in his play with the negative today.”

On Anticultural positions

” …this is a film that establishes a position on photography as a model of reverberation, transformation, involution, and reversal, a structure of self-difference, spreading to all the cognates-such as history and memory-that photography will support….place us in the realm of the index, the material trace, the accident and the residue that photography has long been considered to embody and perhaps to prioritise”

” we thus arrive in the end, at another meaning of the word medium.  Beyond matrix or material – beyond even the notion of a medium as hybrid, as middle-space, as neither-nor- a medium is also simply this: a seer, a psychic, a visionary.  A medium is a vehicle of visions”

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