barrystone

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	<title>barrystone</title>
	<link>https://barrystone.com</link>
	<description>barrystone</description>
	<pubDate>Thu, 31 Dec 2020 00:07:35 +0000</pubDate>
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		<title>Drift blog</title>
				
		<link>https://barrystone.com/Drift-blog</link>

		<pubDate>Wed, 30 Dec 2020 23:59:48 +0000</pubDate>

		<dc:creator>barrystone</dc:creator>

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ONCE AROUND THE SUN
NEW PORCH SWING ORCHESTRA ALBUM
Available now for pre-order. Click the link below.

Once Around the Sun (2018-2019) by Porch Swing OrchestraPorch Swing Orchestra (PSO) began in 2018 as a web project featuring a weekly improvised field recording of acoustic guitar and an image taken at the recording site. Each new piece displaces the last. The project now includes well over a hundred pieces. The recordings and images celebrate chance encounters with birds, crying toddlers, tide pools, passing cars, and all sorts of weather. 
Once Around the Sun (2018-2019) collects 16 of these recordings and images made during PSO's first year. While most of the pieces were made on my porch in Austin, Texas, a few were also created in faraway places such as Spiral Jetty in Utah, Bailey Island, Maine, and under a massive bridge near Del Rio, Texas.
The album will be available in Deluxe Limited edition of 25 in lathe-cut clear vinyl, which includes a 36-page full color booklet featuring the images that correspond to each track. Lathe records take time to make and each order takes about 8 weeks to complete and orders will be placed as payments are recieved.The pre-order price for the lp and book is $100. This will include high res digital audio files for your streaming pleasure.
Drift Reviewed in April 2021 Edition of ARTFORUM
&#60;img width="810" height="616" width_o="810" height_o="616" data-src="https://freight.cargo.site/t/original/i/506c578a04e8efba5a0718049bfdc699aab14cdbbfbd970b34d9da03af3c21ed/artforum_image.jpeg" data-mid="104335679" border="0"  src="https://freight.cargo.site/w/810/i/506c578a04e8efba5a0718049bfdc699aab14cdbbfbd970b34d9da03af3c21ed/artforum_image.jpeg" /&#62;Barry Stone, Box of Prints Thrown from the Car, US I-59 Outside Fort Payne, Alabama, 2018, ink-jet print, 13 × 19
Barry StoneKLAUS VON NICHTSSAGEND GALLERY
Every picture tells—no, needs a story. The eleven mostly black-and-white photographs (and a zine-like publication assembled from photocopies) that made up “Drift,” Barry Stone’s solo exhibition here, are striking enough at first sight—but they’re also mysterious, both individually and as an ensemble. Water is a recurring element: as the backdrop for the hands holding the vulnerable-looking little sea creature in Hermit Crab, Bailey Island, Maine, 2018, or the substance on which a couple of kids back-float in Floating, Birmingham, Alabama, 2018. In Rainbowed Seaweed, Bailey Island, Maine, 2017–20, we see no figurative presence, just the strangely scrambled-looking wave patterns with subtle resonances of color here and there. Water can even be conspicuous by its absence: Why, for instance, in Floating on the Grass, Bailey Island, Maine, 2018, is that girl ensconced in an inflatable lounger not in a pool but on a wide expanse of lawn? But then some of the works depart from this theme, as does Road Marks, US I-59 Outside Fort Payne, Alabama, 2018, which images skid tracks going off into the distance and crossing the broken white line of the highway.

Some of the images are meta-images, and with these the titles start to give some clues as to the show’s backstory: Take Box of Prints Thrown from the Car, US I-59 Outside Fort Payne, Alabama, 2018, in which a hand holds up a bashed and scuffed-up photograph of a kneeling kid prostrate in shallow water, framed, so to speak, by half of an equally damaged storage box. This image connects to Truck Driver’s Wife Picks Up Prints, US I-59 Outside Fort Payne, Alabama, 2018, in which a woman, her hands full of paper and cardboard, stoops by the roadside to pick up some more. But the full explanation comes only in the gallery press release: The images record, as we learn,

a car accident Stone’s family survived while on a summer road trip from their home in Austin, Texas, to Bailey Island, Maine. In addition to smashing the family car, the crash caused a portfolio of Stone’s photographs taken the previous summer to scatter across the highway. . . . Stone at once began photographing the scene of the accident, and as the family resumed their journey north, he continued to take pictures of their trip.
It would be too facile but not entirely wrong to read this story as a reiteration of the old saw about lemons and lemonade—a demonstration of the necessary resilience and resourcefulness elicited by the artmaking impulse. Of course, the ability to recover is also dependent on luck: That Stone could think of using his camera in the wake of the collision suggests that, thank goodness, no one was badly hurt. In any case, the tone of these works is hardly one of triumph, or even of relief at having escaped a worse fate. What unites the images made after the accident—those taken at the scene, and the ones created earlier, then reworked—is a mood that is pensive and a worldview in which people, like hermit crabs, seem quite small, isolated, and (this is not a photography pun) exposed. The photos show bodies, but faces are hardly to be seen, which I think implies that existence is not locked into the illusory security of identity. Living life and making art mean being caught up in a fluid medium, one not under control, and staying with it.

— Barry Schwabsky

Read original article here.

DriftKlaus von Nichtssagend Gallery, NYCOpens January 15 and runs until February 20, 2021
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Floating, Birmingham, Alabama, 2018 Archival Inkjet Print 24 × 36 inches


	Drift is an exhibition of straight, rephotographed, and glitched
photographs spanning a three-year period which all orbit around an auto accident
on an interstate highway.


The first thing you should know is that we lived. For a
second there, I wasn’t sure if we would. They say when you think you’re about
to die, your life flashes before your eyes. I don’t think that’s necessarily
true* 


 The word drift dates back to the early 14th century. It
is possibly a suffixed form of the verb “drive” and is defined as "…
being driven, hence anything driven, especially a number of
things or a heap of matter driven or moving together.” The word contains
the figurative sense of "aim, intention, what one is getting at" (on
the notion of "course, tendency") from 1520s. Maybe the most apt pair
of etymologies of “drift” apply to a path and its diversion, and the twining
of ocean voyages and high car velocities contained in the nautical sense described
as a "deviation of a ship from its course in consequence of currents"
from 1670s and from 1955, a "controlled slide of a sports car.” 


	We had been clipped by an eighteen-wheeler. We spun twice
before hitting the side of the road and bouncing off of that. However, I do
remember getting out of the car. I was shaking so hard despite the fact that it
was ninety degrees outside. We stood on the side of the road for about ten
minutes before my mom started crying. I held her in my arms as I stared blankly
at our wrecked car. Then it hit me.
I could have died. And with me my family. Tiny oceans
flowed from my eyes. There stood my sister, my mom and I, crying so hard it
seemed like there was no other sound in the world.

My dad came over to us sometime after.* 
I had been making photographs of the scene. I told myself that the images were for insurance
or legal purposes. I was also doing what I have done most of my adult life, establishing an order out of chaos with a camera. I photographed skid marks, our totaled car,
and the partner of the driver who hit us picking up prints of my daughters marked
by tire treads and grass stains. 


	I was enraged of the capriciousness of it all,
and how figuratively and metaphorically this stranger held our lives in their hands.
I was also troubled that I found a small pleasure in making pictures in the face
of such trauma. 
We could have turned around or flown home. Instead, we rented a car and
kept driving, right up to Maine. We had just experienced the most traumatic
moment in our family’s history, but we persisted. Things may happen, bad things
that you can’t predict. They change you but they don’t stop you.*


 It is commonly suggested that in order to overcome trauma, we must change
our narratives surrounding the root cause of our unease. I began to reframe, rephotograph,
and alter the digital code of the images that surrounded the event to reconsider
the accident not as a senseless near fatal accident, but one of miraculous survival.


 *passages written by my daughter who was thirteen at the time of its writing
in 2018


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		<title>Where We Live 122520</title>
				
		<link>https://barrystone.com/Where-We-Live-122520</link>

		<pubDate>Thu, 31 Dec 2020 00:07:35 +0000</pubDate>

		<dc:creator>barrystone</dc:creator>

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Where We Live (12.25.2020)&#38;nbsp;

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Where We Live is a series of images that result from combining the code of front page of the New York Times with a photograph taken during a neighborhood walk.&#38;nbsp;</description>
		
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		<title>Overview</title>
				
		<link>https://barrystone.com/Overview</link>

		<pubDate>Thu, 11 Jun 2020 14:52:06 +0000</pubDate>

		<dc:creator>barrystone</dc:creator>

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		<title>Future of Things Past</title>
				
		<link>https://barrystone.com/Future-of-Things-Past</link>

		<pubDate>Thu, 11 Jun 2020 15:58:35 +0000</pubDate>

		<dc:creator>barrystone</dc:creator>

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	FUTURE OF THINGS PAST
Klaus von Nichtssagend Gallery, New YorkFebruary 26 - March 27, 2016
What now is clear and plain is, that neither things to come nor past are. Nor is it properly said, “there be three times, past, present, and to come”: yet perchance it might be properly said, “there be three times; a present of things past, a present of things present, and a present of things future.” For these three do exist in some sort, in the soul, but otherwhere do I not see them; present of things past, memory; present of things present, sight; present of things future, expectation.
–The Confessions of Saint Augustine, Book XI, an autobiographical work between AD 397 and 400
Barry Stone’s new show at Klaus, The Future of Things Past, reflects on the personal and the existential as filtered through photography, looking toward the impulse to create one’s own history and to recast memories and perceptions. &#38;nbsp;Several of Stone’s images have been &#38;nbsp;“databent,” a process in which the artist hacks into and manipulates the programming code of the photos, causing unpredictable glitches, while others remain “straight” photography. Two photographs installed near the entrance of the gallery act as a framing device for the show. The first, previously exhibited at Stone’s first show with the gallery over a decade ago, depicts his wife, Ann, peering out a window, pregnant with their daughter. In the second, taken in 2015, Ann reclines with an e-reader in hand, while the same daughter, now 10, stands in the background with her back to us, her position facing a window echoing that of her mother in the earlier photo. Stone bridges the time that has lapsed between the images through his use of photography, creating a relationship through two moments, past and present, and sealing memory in the images.Stone extends the relationship between time and image into a wider array of subjects. Two larger works feature his daughters, each seemingly caught in suspended animation. One of the girls is partially submerged in a lake, evoking Ophelia, while another stands in the family backyard, frozen as she faces away from the viewer, emitting bubbles from a wand in her hand. In another large photo, Stone looks toward a much longer, geological time, depicting a mountain landscape shot from a plane flying above. In two others, the same photograph of clouds are glitched in two different versions, rendering the imagery even more ephemeral through the databending process.


The Future of Things Past is an exploratory memoir of chance operations. Stones’ two realms of experience and image making inform and distort one another, using photography to cast and recast photography perceptions of how the present came to be and pondering what form the future may take.


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		<title>The World Is Round From Here</title>
				
		<link>https://barrystone.com/The-World-Is-Round-From-Here</link>

		<pubDate>Thu, 11 Jun 2020 16:23:34 +0000</pubDate>

		<dc:creator>barrystone</dc:creator>

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THE WORLD IS ROUND FROM HERE
Gaa Gallery, Wellfleet, MAJuly 22 – August 9, 2015
Works presented in the exhibition represent two modes in Stone’s work – more conventional, straightforward photography and the in-depth digital alteration of images.&#38;nbsp; Presenting documents of digital, Technicolor glitch Stone works with a process of databending, a process of manipulating photographs by altering the digital code of image files.&#38;nbsp; In this process images are first converted into text files. &#38;nbsp; Modifications are then made to the code of the image and then reconverted.&#38;nbsp; The resulting image bares the intentional and chance malfunctions of the image, coded artifacts, and distortion, creating realities, which reflect the malleability of meaning in the photographic image.

 
The title for this exhibition, The World is Round From Here, comes from the artist’s mis-reading of a passage from Wolf Hall by Hilary Mantel.&#38;nbsp; In the text Oliver Cromwell forcefully describes to another character that the world is run from geographical centers and systems of capital. 

 
“How can he explain that to him? The world is not run from where he thinks. Not from border fortresses, not even from Whitehall. The world is run from Antwerp, from Florence, from places he has never imagined; from Lisbon, from where the ships with sails of silk drift west and are burned up in the sun. Not from the castle walls, but from counting houses, not be the call of the bugle, but by the click of the abacus, not by the grate and click of the mechanism of the gun but by the scrape of the pen on the page of the promissory note that pays for the gun and the gunsmith and the powder and shot.”

-Wolf Hall by Hilary Mantel.

 
From the first portion of this text Stone misread run as round. &#38;nbsp; In thinking of the world as round from these places, radiating out, Stone ties in the idea of the rainbow, a recurring motif in his work.&#38;nbsp; Stone elaborates on rainbows stating, “…Each rainbow is created from this unique orientation; the observer is always placed in the center for each rainbow they see.&#38;nbsp; Rainbows, in other words, are always round from your place within them.”&#38;nbsp; Photographs function as analogies of the world, of ideas and experience. &#38;nbsp; Not necessarily a truth or fiction but a hybrid, these images are displayed, hung, read, mis-read, interpreted- in infinite iterations, creating in a way their own centers, their own worlds, their own roundness. 


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		<title>Footer</title>
				
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		<pubDate>Thu, 11 Jun 2020 14:52:08 +0000</pubDate>

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		<description> CARGO 2018 / TOOLS FOR THE WEB &#38;nbsp;/ &#38;nbsp;LOS ANGELES CALIFORNIA 90039</description>
		
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