| | | |  | | | Lot 458 + Lot 459, 2016, from the series Contemporary Art
© Daniëlle van Ark / courtesy De Nederlandsche Bank | | | | | | Gold and Silver | | | | a modern-day look at the nineteenth century gold rush in the United States | | | | 20 April – 10 June 2018 | | | | The exhibitions open on Thursday 19 April 2018, from 5.30 pm in the presence of Daniëlle van Ark | | |  | | | | | | | | | | | | | |
| | | | | | | | | |  | | | Easy does it, 2017, from the series Share Moments. Share Life
© Daniëlle van Ark / courtesy tegenboschvanvreden | | | | | | | 20 April – 10 June 2018 | | | For Dutch artist Daniëlle van Ark (1974) photography is the most ephemeral of all media. With the development of steadily more advanced reproduction technologies, the expiration date of a photograph seems to diminish exponentially. Where the photograph was a unique and precious item in the nineteenth century, today everyone can record and reproduce memories at just a push of a button. But amidst the deluge of fleeting images produced and consumed every day, to what extent can something or someone still be truly immortalised?
Van Ark is interested in the opaque systems of value creation in an era where everything seems to have become reproducible. Scouring flea markets and online auction sites, she acquired antiquated image archives that formed the starting point for new work. No image was sacred in the process, and the rear side, the printer’s proof and the negative were considered just as significant as the final reproduction. Her own archive was subjected to the same scrutiny: works she produced in the past were deconstructed and reused with the same unscrupulous rigour.
Artists’ Proof contains works from Van Ark’s most recent series. Common premise is the volatile meaning and value of the photograph as a reproducible art form. In addition to her most recent work, the exhibition presents an installation created specifically for Foam’s exhibition rooms. The installation consists of ‘old’ work, which is ‘stored’ on depot carts and shelves in the museum. Her installation is a playful protest against the power of the curator to position her work in the public eye – or to withhold it from view.
The works in the exhibition were generously lent by the artist, tegenboschvanvreden, De Nederlandsche Bank, Museum Voorlinden, Family Servais Collection, Jo Crützen, Monique Jennen and Marc Meuwissen.
The exhibition is made possible by the Gieskes-Strijbis Fonds and Kleurgamma Fine-Art Photolab.
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, City of Amsterdam, Delta Lloyd, Olympus and the VandenEnde Foundation. | | |
| | | | | | | | | |  | | | Portrait of Daniel J. Butler with Gold and Mining Tools, c. 1850
©National Gallery of Canada, Ottawa. Gift of Archive of Modern Conflict
Daguerreotype with applied colour | | | Gold and Silver | | | | a modern-day look at the nineteenth century gold rush in the United States | | | | 20 April – 10 June 2018 | | | Contemporary projections, nineteenth century daguerreotypes and albumen photographs allow you to travel along the rivers of California and across the snow-covered mountaintops of the Yukon to fathom the ambitions, dreams and illusions of an entire generation of gold seekers.
The young adventurers differ in their postures, expressions and clothing from the usual portrait photography of that time, which was far more solemn. They are shown in combination with the landscape in which the search for gold took place.
In the middle of the nineteenth century two great dreams became reality: the possibility of filling your pockets with gold, the most valuable of metals, and the possibility of having your likeness recorded by means of two metallic salts: gold and silver. The exhibition stresses this relationship between the gold rush and early photography
A collaboration between the Canadian Photography Institute of the National Gallery of Canada and Foam, in partnership with Library and Archives Canada.
This exhibition was made possible thanks to the gift of “The Origins of Photography” from the Archive of Modern Conflict to the Canadian Photography Institute.
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, City of Amsterdam, Delta Lloyd, Olympus and the VandenEnde Foundation. | | | | | | unsubscribe here
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