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Jeff Wall

February 16, 2024

For the U.S. Solicitor General, see Jeff Wall (lawyer).

Jeffrey Wall, OC, RSA (born September 29, 1946) is a artist best known for his large-scale back-lit Cibachrome photographs and art history writing. Early in his career, he helped define the Vancouver School[1] and he has published essays on the work of his colleagues and fellow Vancouverites Rodney Graham, Ken Lum, and Ian Wallace. His photographic tableaux often take Vancouver's mixture of natural beauty, urban decay, and postmodern and industrial featurelessness as their backdrop.

Jeff Wall

OC RSA
Jeff Wall at Paris Photo 2014
Born
Jeffrey Wall

(1946-09-29) September 29, 1946 (age 77)
Vancouver, British Columbia, Canada
Alma materUniversity of British Columbia
Courtauld Institute of Art
Known forPhotographer
Notable workPicture for Women (1979)
Mimic (1982)
A Sudden Gust of Wind (after Hokusai) (1993)
MovementVancouver School
AwardsHasselblad Award (2002)

Career edit

Wall received his MA from the University of British Columbia in 1970, with a thesis titled Berlin Dada and the Notion of Context. That same year, he stopped making art. With his English wife, Jeannette, whom he had met as a student in Vancouver, and their two young sons, he moved to London[2] to do postgraduate work from 1970 to 1973 at the Courtauld Institute, where he studied with T.J. Clark.[3][4] Wall was assistant professor at the Nova Scotia College of Art and Design (1974–75), associate professor at Simon Fraser University (1976–87), taught for many years at the University of British Columbia, and lectured at the European Graduate School.[5] He has published essays on Dan Graham, Rodney Graham, Roy Arden, Ken Lum, Stephan Balkenhol, On Kawara, and other contemporary artists.[6]

Artistic practice edit

Wall experimented with conceptual art while an undergraduate at UBC.[3] He then made no art until 1977, when he produced his first backlit photo-transparencies.[7] Most of these are staged and refer to the history of art and philosophical problems of representation. Their compositions often allude to artists like Diego Velázquez, Hokusai, and Édouard Manet,[8] or to writers such as Franz Kafka, Yukio Mishima, and Ralph Ellison.[9]

Presenting his first gallery exhibition in 1978 as an "installation" rather than as a photography show, Wall placed The Destroyed Room in the storefront window of the Nova Gallery, enclosing it in a plasterboard wall.

 
Mimic (1982)

Mimic[10] (1982) typifies Wall's cinematographic style and according to art historian Michael Fried is "characteristic of Wall's engagement in his art of the 1980s with social issues".[11] A 198 × 226 cm colour transparency, it shows a white couple and an Asian man walking towards the camera. The sidewalk, flanked by parked cars and residential and light-industrial buildings, suggests a North American industrial suburb. The woman is wearing red shorts and a white top displaying her midriff; her bearded, unkempt boyfriend wears a denim vest. The Asian man is casual but well-dressed in comparison, in a collared shirt and slacks. As the couple overtake the man, the boyfriend makes an ambiguous but apparently obscene and racist gesture, holding his upraised middle finger close to the corner of his eye, "slanting" his eye in mockery of the Asian man's eyes. The picture resembles a candid shot that captures the moment and its implicit social tensions, but is actually a recreation of an exchange witnessed by the artist.[12][13]

 
Picture for Women (1979). Art critic Jed Perl describes Picture for Women as Wall's signature piece.

Picture for Women is a 142.5 × 204.5 cm Cibachrome transparency mounted on a lightbox. Along with The Destroyed Room, Wall considers Picture for Women to be his first success in challenging photographic tradition. According to Tate Modern, this success allows Wall to reference "both popular culture (the illuminated signs of cinema and advertising hoardings) and the sense of scale he admires in classical painting. As three-dimensional objects, the lightboxes take on a sculptural presence, impacting on the viewer’s physical sense of orientation in relationship to the work."[14]

There are two figures in the scene, Wall himself, and a woman looking into the camera. In a profile of Wall in The New Republic, art critic Jed Perl describes Picture for Women as Wall's signature piece, "since it doubles as a portrait of the late-twentieth-century artist in his studio."[15] Art historian David Campany calls Picture for Women an important early work for Wall as it establishes central themes and motifs found in much of his later work.[16]

A response to Manet's Un bar aux Folies Bergère, the Tate Modern wall text for Picture of Women, from the 2005–2006 exhibition Jeff Wall Photographs 1978–2004, outlines the influence of Manet's painting:

 
Un bar aux Folies Bergère by Édouard Manet, completed in 1882

In Manet’s painting, a barmaid gazes out of frame, observed by a shadowy male figure. The whole scene appears to be reflected in the mirror behind the bar, creating a complex web of viewpoints. Wall borrows the internal structure of the painting, and motifs such as the light bulbs that give it spatial depth. The figures are similarly reflected in a mirror, and the woman has the absorbed gaze and posture of Manet’s barmaid, while the man is the artist himself. Though issues of the male gaze, particularly the power relationship between male artist and female model, and the viewer’s role as onlooker, are implicit in Manet’s painting, Wall updates the theme by positioning the camera at the centre of the work, so that it captures the act of making the image (the scene reflected in the mirror) and, at the same time, looks straight out at us.[17]

Wall's work advances an argument for the need for pictorial art.[9] Some of Wall's photographs are complicated productions involving cast, sets, crews and digital postproduction. They have been characterized as one-frame cinematic productions. Susan Sontag ended her last book, Regarding the Pain of Others (2003), with a long, laudatory discussion of one of them, Dead Troops Talk (A Vision After an Ambush of a Red Army Patrol near Moqor, Afghanistan, Winter 1986) (1992), calling Wall's Goya-influenced depiction of a made-up event "exemplary in its thoughtfulness and power."

 
Jeff Wall A Sudden Gust of Wind (after Hokusai), 1993
 
Katsushika Hokusai Yejiri Station, Province of Suruga, ca. 1832

While Wall is known for large-scale photographs of contemporary everyday genre scenes populated with figures, in the early 1990s he became interested in still lifes.[18] He distinguishes between unstaged "documentary" pictures, like Still Creek, Vancouver, winter 2003,[19] and "cinematographic" pictures, produced using a combination of actors, sets, and special effects, such as A Sudden Gust of Wind (after Hokusai), 1993. Based on Yejiri Station, Province of Suruga (ca. 1832) a woodblock print by Katsushika Hokusai, A Sudden Gust of Wind recreates the depicted 19th-century Japanese scene in contemporary British Columbia, using actors and took over a year to produce 100 photographs in order "to achieve a seamless montage that gives the illusion of capturing a real moment in time."[20]

Since the early 1990s, Wall has used digital technology to create montages of different individual negatives, blending them into what appears as a single unified photograph.[21] His signature works are large transparencies mounted on light boxes; he says he conceived this format when he saw back-lit advertisements at bus stops during a trip between Spain and London. In 1995, Wall began making traditional silver gelatine black and white photographs, and these have become an increasingly significant part of his work.[21] Examples were exhibited at Kassel's documenta X.

First shown at documenta 11, After "Invisible Man" by Ralph Ellison, the Prologue (1999–2000) represents a well-known scene from Ellison's classic novel. Wall's version shows us the cellar room, "warm and full of light," in which Ellison's narrator lives, complete with its 1,369 lightbulbs.[22]

Exhibitions edit

Wall's early group exhibitions include 1969 shows at the Seattle Art Museum, Washington, and Vancouver Art Gallery, and New Multiple Art at the Whitechapel Gallery, London in 1970. His first one-man show was held at Nova Gallery, Vancouver in 1978.[23]

Solo shows include ICA, London (1984), Irish Museum of Modern Art, Dublin, Ireland (1993), Whitechapel Gallery, London (2001), Kunstmuseum Wolfsburg, Wolfsburg, Germany (2001), Museum für Moderne Kunst Frankfurt (2001/2002), Hasselblad Center, Göteborg, Sweden (2002), Astrup Fearnley Museum, Oslo, Norway (2004) and retrospectives at Schaulager, Basel (2005), Tate Modern (2005) and MoMA, New York (2007), Art Institute of Chicago (2007), SFMoMA, San Francisco (2008), Tamayo Museum, Mexico City and Vancouver Art Gallery, Vancouver (2008), and Staatliche Kunstsammlungen, Dresden (2010).[citation needed] Wall was also included in documentas 10 and 11.[24]

For his retrospective at the Palais des Beaux Arts, Brussels in 2011, Wall chose some 130 works by his favorite artists, from 1900s photographer Eugène Atget to film excerpts (Fassbinder, Bergman, the Dardenne brothers) to pieces by contemporaries Thomas Struth and David Claerbout. They were shown alongside 25 of his own pictures.[25]

Recognition edit

Wall was among the names in Blake Gopnik's 2011 list "The 10 Most Important Artists of Today", with Gopnik arguing, "For three decades, Wall has been testing the full range of what pictures can still do and mean, after anti-art had 'proved' them dead."[26] The artist has also gotten the following accolades:

Influence edit

Wall's large-scale images and studied compositions are regarded as influential on the Düsseldorf School of Photography led by Andreas Gursky, Thomas Struth, Thomas Ruff, and Candida Höfer. (Gursky has cited Wall as "a great model for me.")[2]

Bibliography edit

  • Jean-François Chevrier, Thierry de Duve, Boris Groys, Mark Lewis, Arielle Pelenc. Jeff Wall: The Complete Edition. Phaidon, 2009. ISBN 9780714855974
  • Jeff Wall. Selected Essays and Interviews. New York: Museum of Modern Art, 2007. ISBN 0-87070-708-6

Notes edit

  1. ^ Photography with an eye for social relevance
  2. ^ a b Arthur Lubow (February 25, 2007), The Luminist The New York Times.
  3. ^ a b Newman, "Towards the Reinvigoration of the 'Western Tableau': Some Notes on Jeff Wall and Duchamp", p. 83
  4. ^ Hochdörfer Jeff Wall: Photographs
  5. ^ . Saas-Fee,Switzerland: European Graduate School. Archived from the original on 15 May 2011. Retrieved 8 April 2011.
  6. ^ Wall, Jeff (2007). Jeff Wall: Selected Essays and Interviews. New York: Museum of Modern Art.
  7. ^ Newman, "Towards the Reinvigoration of the 'Western Tableau': Some Notes on Jeff Wall and Duchamp", p. 85
  8. ^ Merritt, Naomi Manet's Mirror and Jeff Wall's Picture for Women: Reflection or Refraction?, Emaj, issue 4, 2009, . Archived from the original on 29 September 2010. Retrieved 15 April 2010.
  9. ^ a b Newman, "Towards the Reinvigoration of the 'Western Tableau': Some Notes on Jeff Wall and Duchamp", pp. 83–4
  10. ^ "Jeff Wall: Room guide, room 3".
  11. ^ Michaels, Walter Benn (2010). "The Politics of a Good Picture: Race, Class, and Form in Jeff Wall's "Mimic"". PMLA. 125 (1): 177–84. doi:10.1632/pmla.2010.125.1.177. JSTOR 25614447. S2CID 144533500., https://www.jstor.org/stable/25614447.
  12. ^ Lipsky-Karasz, Elisa (4 September 2015). "Jeff Wall's Unique Photographic Vision". The Wall Street Journal. Retrieved 1 March 2017.
  13. ^ Osborne, Patty. "Mimic". Geist.
  14. ^ "Jeff Wall: room guide, room 1". Tate Modern. Retrieved 30 August 2013.
  15. ^ Perl, Jed (April 1997). "Impersonal Enchantment". New Republic. Vol. 216, no. 17. p. 36.
  16. ^ Campany, David (2007). "'A Theoretical Diagram in an Empty Classroom': Jeff Wall's Picture for Women". Oxford Art Journal. 30 (1): 7–25. doi:10.1093/oxartj/kcl033.
  17. ^ Gallery Guide text for the exhibition Jeff Wall Photographs 1978–2004, Tate Modern, London, 21 October 2005 to 8 January 2006; quoted in David Campany, "'A Theoretical Diagram in an Empty Classroom': Jeff Wall's Picture for Women", Oxford Art Journal 20.1 (2007): 12–14.
  18. ^ Jeff Wall, Diagonal Composition (1993) Christie's Sale, 14 November 2002, New York.
  19. ^ Tate Modern, Jeff Wall: Photographs 1978–2004. Retrieved June 24, 2011. September 3, 2011, at the Wayback Machine
  20. ^ Tate Modern, Jeff Wall: Photographs 1978–2004. Retrieved June 24, 2011. August 5, 2011, at the Wayback Machine
  21. ^ a b Jeff Wall, October 25, 2008 to January 25, 2009 November 25, 2011, at the Wayback Machine Vancouver Art Gallery, Vancouver.
  22. ^ "MoMA | Jeff Wall. After "Invisible Man" by Ralph Ellison, the Prologue. 1999–2000, printed 2001". www.moma.org.
  23. ^ Jeff Wall 3 August 2011 at the Wayback Machine Tate Collection.
  24. ^ Jeff Wall White Cube, London.
  25. ^ Brigid Grauman (May 27, 2011), Jeff Wall's 'Crooked Path' The Wall Street Journal.
  26. ^ Gopnik, Blake (5 June 2011). "The 10 Most Important Artists of Today". Newsweek. Retrieved 25 April 2021.
  27. ^ "Jeff Wall", Hasselblad Foundation. Accessed 13 August 2020.
  28. ^ (PDF). Archived from the original (PDF) on 18 July 2011.
  29. ^ "Order of Canada 2007". Archived from the original on 1 January 2008.
  30. ^ Blouin Artinfo. "Jeff Wall Awarded Audain Prize". Artinfo.

References edit

  • Hochdörfer, Achim, ed. Jeff Wall: Photographs. Cologne: Walther König, 2003. ISBN 3-88375-698-9
  • Merritt, Naomi. ‘Manet's Mirror and Jeff Wall's Picture for Women: Reflection or Refraction?’, Emaj (Electronic Melbourne Art Journal), Issue 4, 2009,
  • Newman, Michael. "Towards the Reinvigoration of the 'Western Tableau': Some Notes on Jeff Wall and Duchamp." Oxford Art Journal 30.1 (2007): 81–100.
  • Del Río, Víctor. La querella oculta. Jeff Wall y la crítica de la neovanguardia. El Desvelo Ediciones, 2012. Spain. ISBN 9788493866389
  • Lauter, Rolf. Jeff Wall: figures & places: selected works from 1978–2000; Frankfurt: Museum für Moderne Kunst, 2001/2002. ISBN 3791326074 ISBN 9783791326078

Further reading edit

  • Burnett, Craig. "Jeff Wall". London: Tate Publishing, 2005. ISBN 978-1-85437-611-4
  • Campany, David. "'A Theoretical Diagram in an Empty Classroom': Jeff Wall's Picture for Women." Oxford Art Journal 30.1 (2007): 7–25.
  • Crow, Thomas. "Profane illuminations: Social History and the Art of Jeff Wall."[permanent dead link] ArtForum Vol. 31 No. 6 (Feb. 1993): 62–69.
  • De Duve, Thierry, Arielle Pelenc, Boris Groys, Jean-François Chevrier and Mark Lewis, Jeff Wall: The Complete Edition, Phaidon, London, 2010. ISBN 978-0-7148-5597-4
  • Fried, Michael (2008). Why Photography Matters as Art as Never Before. New Haven: Yale U Press. Retrieved 18 October 2022.
  • Lubow, Arthur. "The Luminist." The New York Times (February 25, 2007).
  • Lütticken, Sven. "The Story of Art According to Jeff Wall." Secret Publicity: Essays on Contemporary Art. Rotterdam: NAi Publishers, 2005. 69–82. ISBN 9056624679
  • Martin, Stewart. "Wall’s Tableau Mort." Oxford Art Journal 30.1 (2007): 117–33.
  • Merritt, Naomi. ‘Manet's Mirror and Jeff Wall's Picture for Women: Reflection or Refraction?’, Emaj (Electronic Melbourne Art Journal), Issue 4, 2009,
  • Stallabrass, Julian. "Museum Photography and Museum Prose" New Left Review 65, Sept–Oct 2010, pp. 93–125.
  • Vasudevan, Alexander. "'The Photographer of Modern Life': Jeff Wall's Photographic Materialism." Cultural Geographies Vol. 14, No. 4 (2007): 563–588.
  • Wagstaff, Sheena. The Labouring Eye. – introductory essay in Wagstaff, Sheena (2005). Jeff Wall: Photographs 1978–2004. London: Tate Publishing. ISBN 978-1854376138.
  • Whyte, Murray. Canadian Art (May 11, 2006).

External links edit

  • Jeff Wall resources and exhibition at Tate
  • Jeff Wall Exhibition in MoMA
  • June 29 – September 23, 2007
  • Jeff Wall Kapsul Image Collection
  • Pictures Like Poems. An interview with Jeff Wall Video by Louisiana Channel

February 16, 2024
jeff, wall, solicitor, general, lawyer, jeffrey, wall, born, september, 1946, artist, best, known, large, scale, back, cibachrome, photographs, history, writing, early, career, helped, define, vancouver, school, published, essays, work, colleagues, fellow, van. For the U S Solicitor General see Jeff Wall lawyer Jeffrey Wall OC RSA born September 29 1946 is a artist best known for his large scale back lit Cibachrome photographs and art history writing Early in his career he helped define the Vancouver School 1 and he has published essays on the work of his colleagues and fellow Vancouverites Rodney Graham Ken Lum and Ian Wallace His photographic tableaux often take Vancouver s mixture of natural beauty urban decay and postmodern and industrial featurelessness as their backdrop Jeff WallOC RSAJeff Wall at Paris Photo 2014BornJeffrey Wall 1946 09 29 September 29 1946 age 77 Vancouver British Columbia CanadaAlma materUniversity of British ColumbiaCourtauld Institute of ArtKnown forPhotographerNotable workPicture for Women 1979 Mimic 1982 A Sudden Gust of Wind after Hokusai 1993 MovementVancouver SchoolAwardsHasselblad Award 2002 Contents 1 Career 2 Artistic practice 3 Exhibitions 4 Recognition 5 Influence 6 Bibliography 7 Notes 8 References 9 Further reading 10 External linksCareer editWall received his MA from the University of British Columbia in 1970 with a thesis titled Berlin Dada and the Notion of Context That same year he stopped making art With his English wife Jeannette whom he had met as a student in Vancouver and their two young sons he moved to London 2 to do postgraduate work from 1970 to 1973 at the Courtauld Institute where he studied with T J Clark 3 4 Wall was assistant professor at the Nova Scotia College of Art and Design 1974 75 associate professor at Simon Fraser University 1976 87 taught for many years at the University of British Columbia and lectured at the European Graduate School 5 He has published essays on Dan Graham Rodney Graham Roy Arden Ken Lum Stephan Balkenhol On Kawara and other contemporary artists 6 Artistic practice editWall experimented with conceptual art while an undergraduate at UBC 3 He then made no art until 1977 when he produced his first backlit photo transparencies 7 Most of these are staged and refer to the history of art and philosophical problems of representation Their compositions often allude to artists like Diego Velazquez Hokusai and Edouard Manet 8 or to writers such as Franz Kafka Yukio Mishima and Ralph Ellison 9 Presenting his first gallery exhibition in 1978 as an installation rather than as a photography show Wall placed The Destroyed Room in the storefront window of the Nova Gallery enclosing it in a plasterboard wall nbsp Mimic 1982 Mimic 10 1982 typifies Wall s cinematographic style and according to art historian Michael Fried is characteristic of Wall s engagement in his art of the 1980s with social issues 11 A 198 226 cm colour transparency it shows a white couple and an Asian man walking towards the camera The sidewalk flanked by parked cars and residential and light industrial buildings suggests a North American industrial suburb The woman is wearing red shorts and a white top displaying her midriff her bearded unkempt boyfriend wears a denim vest The Asian man is casual but well dressed in comparison in a collared shirt and slacks As the couple overtake the man the boyfriend makes an ambiguous but apparently obscene and racist gesture holding his upraised middle finger close to the corner of his eye slanting his eye in mockery of the Asian man s eyes The picture resembles a candid shot that captures the moment and its implicit social tensions but is actually a recreation of an exchange witnessed by the artist 12 13 nbsp Picture for Women 1979 Art critic Jed Perl describes Picture for Women as Wall s signature piece Picture for Women is a 142 5 204 5 cm Cibachrome transparency mounted on a lightbox Along with The Destroyed Room Wall considers Picture for Women to be his first success in challenging photographic tradition According to Tate Modern this success allows Wall to reference both popular culture the illuminated signs of cinema and advertising hoardings and the sense of scale he admires in classical painting As three dimensional objects the lightboxes take on a sculptural presence impacting on the viewer s physical sense of orientation in relationship to the work 14 There are two figures in the scene Wall himself and a woman looking into the camera In a profile of Wall in The New Republic art critic Jed Perl describes Picture for Women as Wall s signature piece since it doubles as a portrait of the late twentieth century artist in his studio 15 Art historian David Campany calls Picture for Women an important early work for Wall as it establishes central themes and motifs found in much of his later work 16 A response to Manet s Un bar aux Folies Bergere the Tate Modern wall text for Picture of Women from the 2005 2006 exhibition Jeff Wall Photographs 1978 2004 outlines the influence of Manet s painting nbsp Un bar aux Folies Bergere by Edouard Manet completed in 1882In Manet s painting a barmaid gazes out of frame observed by a shadowy male figure The whole scene appears to be reflected in the mirror behind the bar creating a complex web of viewpoints Wall borrows the internal structure of the painting and motifs such as the light bulbs that give it spatial depth The figures are similarly reflected in a mirror and the woman has the absorbed gaze and posture of Manet s barmaid while the man is the artist himself Though issues of the male gaze particularly the power relationship between male artist and female model and the viewer s role as onlooker are implicit in Manet s painting Wall updates the theme by positioning the camera at the centre of the work so that it captures the act of making the image the scene reflected in the mirror and at the same time looks straight out at us 17 Wall s work advances an argument for the need for pictorial art 9 Some of Wall s photographs are complicated productions involving cast sets crews and digital postproduction They have been characterized as one frame cinematic productions Susan Sontag ended her last book Regarding the Pain of Others 2003 with a long laudatory discussion of one of them Dead Troops Talk A Vision After an Ambush of a Red Army Patrol near Moqor Afghanistan Winter 1986 1992 calling Wall s Goya influenced depiction of a made up event exemplary in its thoughtfulness and power nbsp Jeff Wall A Sudden Gust of Wind after Hokusai 1993 nbsp Katsushika Hokusai Yejiri Station Province of Suruga ca 1832 While Wall is known for large scale photographs of contemporary everyday genre scenes populated with figures in the early 1990s he became interested in still lifes 18 He distinguishes between unstaged documentary pictures like Still Creek Vancouver winter 2003 19 and cinematographic pictures produced using a combination of actors sets and special effects such as A Sudden Gust of Wind after Hokusai 1993 Based on Yejiri Station Province of Suruga ca 1832 a woodblock print by Katsushika Hokusai A Sudden Gust of Wind recreates the depicted 19th century Japanese scene in contemporary British Columbia using actors and took over a year to produce 100 photographs in order to achieve a seamless montage that gives the illusion of capturing a real moment in time 20 Since the early 1990s Wall has used digital technology to create montages of different individual negatives blending them into what appears as a single unified photograph 21 His signature works are large transparencies mounted on light boxes he says he conceived this format when he saw back lit advertisements at bus stops during a trip between Spain and London In 1995 Wall began making traditional silver gelatine black and white photographs and these have become an increasingly significant part of his work 21 Examples were exhibited at Kassel s documenta X First shown at documenta 11 After Invisible Man by Ralph Ellison the Prologue 1999 2000 represents a well known scene from Ellison s classic novel Wall s version shows us the cellar room warm and full of light in which Ellison s narrator lives complete with its 1 369 lightbulbs 22 Exhibitions editWall s early group exhibitions include 1969 shows at the Seattle Art Museum Washington and Vancouver Art Gallery and New Multiple Art at the Whitechapel Gallery London in 1970 His first one man show was held at Nova Gallery Vancouver in 1978 23 Solo shows include ICA London 1984 Irish Museum of Modern Art Dublin Ireland 1993 Whitechapel Gallery London 2001 Kunstmuseum Wolfsburg Wolfsburg Germany 2001 Museum fur Moderne Kunst Frankfurt 2001 2002 Hasselblad Center Goteborg Sweden 2002 Astrup Fearnley Museum Oslo Norway 2004 and retrospectives at Schaulager Basel 2005 Tate Modern 2005 and MoMA New York 2007 Art Institute of Chicago 2007 SFMoMA San Francisco 2008 Tamayo Museum Mexico City and Vancouver Art Gallery Vancouver 2008 and Staatliche Kunstsammlungen Dresden 2010 citation needed Wall was also included in documentas 10 and 11 24 For his retrospective at the Palais des Beaux Arts Brussels in 2011 Wall chose some 130 works by his favorite artists from 1900s photographer Eugene Atget to film excerpts Fassbinder Bergman the Dardenne brothers to pieces by contemporaries Thomas Struth and David Claerbout They were shown alongside 25 of his own pictures 25 Recognition editWall was among the names in Blake Gopnik s 2011 list The 10 Most Important Artists of Today with Gopnik arguing For three decades Wall has been testing the full range of what pictures can still do and mean after anti art had proved them dead 26 The artist has also gotten the following accolades Hasselblad Award 2002 27 Fellow of the Royal Society of Canada 2006 28 Officer of the Order of Canada December 2007 29 Audain Prize for Lifetime Achievement British Columbia s annual award for the visual arts March 2008 30 Influence editWall s large scale images and studied compositions are regarded as influential on the Dusseldorf School of Photography led by Andreas Gursky Thomas Struth Thomas Ruff and Candida Hofer Gursky has cited Wall as a great model for me 2 Bibliography editJean Francois Chevrier Thierry de Duve Boris Groys Mark Lewis Arielle Pelenc Jeff Wall The Complete Edition Phaidon 2009 ISBN 9780714855974 Jeff Wall Selected Essays and Interviews New York Museum of Modern Art 2007 ISBN 0 87070 708 6Notes edit Photography with an eye for social relevance a b Arthur Lubow February 25 2007 The Luminist The New York Times a b Newman Towards the Reinvigoration of the Western Tableau Some Notes on Jeff Wall and Duchamp p 83 Hochdorfer Jeff Wall Photographs Jeff Wall Profile European Graduate School Biography and bibliography Saas Fee Switzerland European Graduate School Archived from the original on 15 May 2011 Retrieved 8 April 2011 Wall Jeff 2007 Jeff Wall Selected Essays and Interviews New York Museum of Modern Art Newman Towards the Reinvigoration of the Western Tableau Some Notes on Jeff Wall and Duchamp p 85 Merritt Naomi Manet s Mirror and Jeff Wall s Picture for Women Reflection or Refraction Emaj issue 4 2009 Emaj Online journal of art Archived from the original on 29 September 2010 Retrieved 15 April 2010 a b Newman Towards the Reinvigoration of the Western Tableau Some Notes on Jeff Wall and Duchamp pp 83 4 Jeff Wall Room guide room 3 Michaels Walter Benn 2010 The Politics of a Good Picture Race Class and Form in Jeff Wall s Mimic PMLA 125 1 177 84 doi 10 1632 pmla 2010 125 1 177 JSTOR 25614447 S2CID 144533500 https www jstor org stable 25614447 Lipsky Karasz Elisa 4 September 2015 Jeff Wall s Unique Photographic Vision The Wall Street Journal Retrieved 1 March 2017 Osborne Patty Mimic Geist Jeff Wall room guide room 1 Tate Modern Retrieved 30 August 2013 Perl Jed April 1997 Impersonal Enchantment New Republic Vol 216 no 17 p 36 Campany David 2007 A Theoretical Diagram in an Empty Classroom Jeff Wall s Picture for Women Oxford Art Journal 30 1 7 25 doi 10 1093 oxartj kcl033 Gallery Guide text for the exhibition Jeff Wall Photographs 1978 2004 Tate Modern London 21 October 2005 to 8 January 2006 quoted in David Campany A Theoretical Diagram in an Empty Classroom Jeff Wall s Picture for Women Oxford Art Journal 20 1 2007 12 14 Jeff Wall Diagonal Composition 1993 Christie s Sale 14 November 2002 New York Tate Modern Jeff Wall Photographs 1978 2004 Retrieved June 24 2011 Archived September 3 2011 at the Wayback Machine Tate Modern Jeff Wall Photographs 1978 2004 Retrieved June 24 2011 Archived August 5 2011 at the Wayback Machine a b Jeff Wall October 25 2008 to January 25 2009 Archived November 25 2011 at the Wayback Machine Vancouver Art Gallery Vancouver MoMA Jeff Wall After Invisible Man by Ralph Ellison the Prologue 1999 2000 printed 2001 www moma org Jeff Wall Archived 3 August 2011 at the Wayback Machine Tate Collection Jeff Wall White Cube London Brigid Grauman May 27 2011 Jeff Wall s Crooked Path The Wall Street Journal Gopnik Blake 5 June 2011 The 10 Most Important Artists of Today Newsweek Retrieved 25 April 2021 Jeff Wall Hasselblad Foundation Accessed 13 August 2020 Royal Society of Canada New Fellows 2006 PDF Archived from the original PDF on 18 July 2011 Order of Canada 2007 Archived from the original on 1 January 2008 Blouin Artinfo Jeff Wall Awarded Audain Prize Artinfo References editHochdorfer Achim ed Jeff Wall Photographs Cologne Walther Konig 2003 ISBN 3 88375 698 9 Merritt Naomi Manet s Mirror and Jeff Wall s Picture for Women Reflection or Refraction Emaj Electronic Melbourne Art Journal Issue 4 2009 emaj online journal of art Newman Michael Towards the Reinvigoration of the Western Tableau Some Notes on Jeff Wall and Duchamp Oxford Art Journal 30 1 2007 81 100 Del Rio Victor La querella oculta Jeff Wall y la critica de la neovanguardia El Desvelo Ediciones 2012 Spain ISBN 9788493866389 Lauter Rolf Jeff Wall figures amp places selected works from 1978 2000 Frankfurt Museum fur Moderne Kunst 2001 2002 ISBN 3791326074 ISBN 9783791326078Further reading editBurnett Craig Jeff Wall London Tate Publishing 2005 ISBN 978 1 85437 611 4 Campany David A Theoretical Diagram in an Empty Classroom Jeff Wall s Picture for Women Oxford Art Journal 30 1 2007 7 25 Crow Thomas Profane illuminations Social History and the Art of Jeff Wall permanent dead link ArtForum Vol 31 No 6 Feb 1993 62 69 De Duve Thierry Arielle Pelenc Boris Groys Jean Francois Chevrier and Mark Lewis Jeff Wall The Complete Edition Phaidon London 2010 ISBN 978 0 7148 5597 4 Fried Michael 2008 Why Photography Matters as Art as Never Before New Haven Yale U Press Retrieved 18 October 2022 Lubow Arthur The Luminist The New York Times February 25 2007 Lutticken Sven The Story of Art According to Jeff Wall Secret Publicity Essays on Contemporary Art Rotterdam NAi Publishers 2005 69 82 ISBN 9056624679 Martin Stewart Wall s Tableau Mort Oxford Art Journal 30 1 2007 117 33 Merritt Naomi Manet s Mirror and Jeff Wall s Picture for Women Reflection or Refraction Emaj Electronic Melbourne Art Journal Issue 4 2009 emaj online journal of art Stallabrass Julian Museum Photography and Museum Prose New Left Review 65 Sept Oct 2010 pp 93 125 Vasudevan Alexander The Photographer of Modern Life Jeff Wall s Photographic Materialism Cultural Geographies Vol 14 No 4 2007 563 588 Wagstaff Sheena The Labouring Eye introductory essay in Wagstaff Sheena 2005 Jeff Wall Photographs 1978 2004 London Tate Publishing ISBN 978 1854376138 Whyte Murray Jeff Wall The Visible Man Canadian Art May 11 2006 External links editJeff Wall resources and exhibition at Tate Time article mentioning Jeff Wall Jeff Wall Exhibition in MoMA Jeff Wall Exhibition Art Institute of Chicago June 29 September 23 2007 Jeff Wall Kapsul Image Collection Pictures Like Poems An interview with Jeff Wall Video by Louisiana Channel Retrieved from https en wikipedia org w index php title Jeff Wall amp oldid 1199362903, wikipedia, wiki, book, books, library,

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