THIS LONG CENTURY is an ever-evolving collection of personal insights from artists, authors, filmmakers, musicians and cultural icons the world over. Bringing together such intimate work as sketchbooks, personal memorabilia, annotated typescripts, short essays, home movies and near impossible to find archival work, THIS LONG CENTURY serves as a direct line to the contributors themselves.
Photography has two relations to art. It can be an art in itself – expressive, subjective, creative, inventive. It can be the mechanical means by which all the other visual arts – from painting and sculpture to performance – are documented, reproduced and publicized. What we know of art, we often know through photographic images of it. Paintings we have never seen in real life. Sculptures we have never walked around.
As part of Topic's Federal Project No. 2: Re-examining America, Justine Kurland on Fulton, New York is published alongside Walker Evans on Altanta, Georgia from 1936.
I want to tell you why I sold my van. It’s not the first van I’ve left behind but it might be the last. I would like to publicly renounce a belief system that once seemed useful and true to me; I’ve outgrown the romantic escapism of this mode of travel. The boy who bought my van was excited to have it. He had just graduated from Bard and was planning to use it to drive to Marfa, where he had an internship. I felt like I was passing a baton. But exactly what kind of baton was it? Few things in the popular imagination are as symbolically loaded as cars. Or as guitars, for that matter. But let me start with vans.
American photographers and mothers Justine Kurland and Winona Barton-Ballentine make work about the search for self-defined space, from inside of the home to out on the road. In celebration of Winona Barton-Ballentine's site-specific Photo Walls n Picture Collection exhibition Wild Stainless, Kurland and Barton-Ballentine converse about how culture, gender, social class, and motherhood, among other things, affect the desire for self-reinvention through the shaping of one’s surroundings; and how this is explored in photography and literature.
Justine Kurland is included in the Montclair Art Museum group exhibition Work and Leisure in American Art: Selected Works from the Collection.
Justine Kurland and Alec Soth In Conversation with Denise Wolff
Presented by the Aperture Foundation
Artists Justine Kurland and Alec Soth (Weinstein Gallery) will speak with “Aperture” Photobook Editor Denise Wolff about “The Open Road: Photography and the American Road Trip,” the first survey book to consider the American road trip as a photographic genre. The book presents some of the best-loved photography, and the story of the open road as photographer’s muse.
Justine Kurland: Sincere Auto Care has been selected for the opening night of this year's season of The Review Panel hosting by artcritical. This popular discussion forum, at the National Academy Museum, sees three critics join David Cohen, artcritical Editor and Publisher, as the moderator, each month for live discussion of current exhibitions in New York recorded for later podcast at artcritical.com.
Featuring the works of Catherine Opie and Justine Kurland, America in View reveals a nation's ambitions and failings, beauty and loss, politics and personal stories through about 150 photographs spanning nearly 150 years.
Photographs : photographs by Justine Kurland CEPA Gallery 617 Main Street Buffalo, New York June 27 - August 22, 2009 New York City based Justine Kurland was born in Warsaw, NY, and is returning to her Western New York roots for her first exhibition in the region.
Dargerism: Contemporary Artists and Henry Darger Featuring Amy Cutler, Henry Darger, Jefferson Friedman, Anthony Goicolea, Trenton Doyle Hancock, Yun-Fei Ji, Justine Kurland, Justin Lieberman, Robyn O'Neil, Grayson Perry, Paula Rego, and Michael St. John Brooke Davis Anderson, curator