CHART is pleased to present our upcoming exhibition, JARED BARK: STACKS. Best known for his experimental photobooth assemblages from the 60’s and 70’s, Bark will debut this new body of sculptural work culled from stacked books, drawing inspiration from nature, personal history, and the aesthetics of chance.
Shape of Light: Defining Photographs from the Frances Lehman Loeb Art Center presents a survey of Vassar’s renowned collection of close to 4,500 photographs. Spanning the history of the medium, the exhibition features numerous innovations in the history of photography including various types of photographic practices from daguerreotypes and gelatin silver prints to large-scale Polaroids and digital color prints as well as a wide range of styles and geographic focuses. This extensive exhibition, the first of its kind at the Art Center, aims to highlight the Art Center’s long interest and dedication to the photographic medium and present the unique character, depth, and diversity of the collection. Shape of Light also celebrates twenty years of commitment from the Advisory Council for Photography for supporting photography acquisitions.
Yancey Richardson is proud to present Jared Bark: Public/Private, a focused selection of his celebrated photobooth assemblages created between 1971 and 1974. The works in this exhibition highlight Bark’s use of popular culture imagery sourced from magazines, posters and television sets, occupying a unique position between photography, performance and appropriation.
For the first time, Tate Modern tells the intertwined stories of photography and abstract art
Yancey Richardson Gallery is pleased to present Photobooth Pieces, Jared Bark’s debut exhibition with the gallery. Comprised of unique vintage photo booth assemblages made between 1969 and 1975, the exhibition demonstrates Bark’s innovative and experimental use of this prosaic and restricted photographic format to explore a wide range of artistic concerns from performance to seriality, minimalism and abstraction. Arranged side by side, the assembled strips of four exposures become a ground for geometric abstractions, public interventions, time-based performances and appropriation.