 Untitled, 2000 detail of four polaroids |  Time-Delay-Pop-Art, 1998 wigs, dummies, paper, paint, video, surveillance camera, plastic and headphones Approx. 10' x 15' |
 Warhol Camouflage, 1980s (in a motel room), 1998 live video, Warhol painting, surveillance camera, dummies, paint, paper, tape Size: motel room |
 Simulated Painting Installation, 1997 copies of Guston, Warhol, and Lictenstein paintings, video, dummy, mixed media Approx. 20' x 10' |
The nebulous and charged periphery of photography: The moments before and after an image is processed, but not the instant it is created. A developing Polaroid parallels opening a car door, walking across a room, watering a plant, constructing a new identity. All equate in significance and time lapse: minor, routine. Using high technology photography to document personal, low-tech moments, objects.
Domestic constructions: Interiors with human elements subtracted, digitally erased. Backdrops for portraits (painted landscapes and fabrics). Sets, cameras and lights to create spaces and rooms. Cut and paste, click and drag. Or alternately, the simplicity of merely photographing an area.
Where the body meets technology: The distance between mouth and receiver. Telephone conversations. Recordings of speech. The separation between audio and photograph. Background noise as the sound of electrical currents. Spirit photography. Phantom limbs. The in-between. The false.
Identity in constant change: Transitions. Simultaneous coming and going. A dummy. A stand-in. A photo of a head with a new hairline or mustache drawn in. A re-created, instant-replay hybrid or merely a slight alteration.
Carter
272 W 117th St. #4-D,
New York NY 10026
212.864.1883
Email: carter@carteroffice.com
Website: www.carteroffice.com
Education
| 1997 | University of California, Davis,
CA Master of Fine Arts, Department of Art |
| 1994 | Skowhegan School of Painting and Sculpture, Skowhegan ME |
| 1992 | Maryland Institute, College
of Art, Baltimore, MD Bachelor of Fine Arts |
Selected Solo Exhibitions
| 2000 | Southern Exposure, San Francisco
CA - ÏConversation PieceÓ Richmond Art Center, Oakland CA The Future of the Body |
| 1999 | Four Walls Gallery, San Francisco
CA Bring in the Actual Photo
|
| 1998 | New Langton Arts, San Francisco
CA All of Me
Lanai Motel/Four Walls Gallery, San Francisco CA Camouflage
|
| 1997 | Gallery Paule Anglim, San Francisco
CA Introductions Four Walls Gallery, San Francisco CA New Work |
Selected Group Exhibitions
| 2000 | Maryland Institute, College of Art, "Faculty 2000" |
| 1998 | New Langton Arts, SF, CA Covert
Pleasures Southern Exposure, SF, CA Spoon Full of Sugar |
| 1997 | Four Walls, SF, CA Deep Forest |
| 1995 | Pence Gallery, Davis CA Big Bundle of Joy |
Reviews
1999 Flash Art, "Carter at Four Walls", David Hunt
1998 Artweek, "When Urgency Becomes Form at Four Walls Gallery"
1997 San Francisco Chronicle, "Singular Colors with Rainbows of Meaning", Kenneth Baker
1997 San Francisco Bay Guardian, "Hair Piece-Introductions at Gallery Paule Anglim"
Academic Appointments
2000-2001 Maryland Institute, College of Art, Baltimore, Department of Sculpture
1999 University of California, Davis, Art Department