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Jeff Wall

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July 13, 1997 | Suzanne Muchnic, Suzanne Muchnic is The Times' art writer
Jeff Wall makes big pictures. His photographic artworks--usually presented as giant color transparencies in light boxes--occupy up to 4 by 16 feet of space, and they have the commanding presence of film stills or traditional history paintings. He also deals with a daunting range of complicated subjects.
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ENTERTAINMENT
April 20, 2013 | By Geoff Dyer
I wonder if the curators of the excellent "War/Photography" show at the Annenberg Space for Photography were tempted to include Jeff Wall's "Dead Troops Talk (A Vision After an Ambush of a Red Army Patrol, Near Moqor, Afghanistan, Winter, 1986)". It certainly made a strong impression on Susan Sontag, whose book "Regarding the Pain of Others" ends with a long discussion of a work she considers "exemplary in its thoughtfulness and power. " An image of a "made-up event," this huge photograph was constructed in Wall's studio.
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ENTERTAINMENT
April 20, 2013 | By Geoff Dyer
I wonder if the curators of the excellent "War/Photography" show at the Annenberg Space for Photography were tempted to include Jeff Wall's "Dead Troops Talk (A Vision After an Ambush of a Red Army Patrol, Near Moqor, Afghanistan, Winter, 1986)". It certainly made a strong impression on Susan Sontag, whose book "Regarding the Pain of Others" ends with a long discussion of a work she considers "exemplary in its thoughtfulness and power. " An image of a "made-up event," this huge photograph was constructed in Wall's studio.
ENTERTAINMENT
July 19, 1997 | CHRISTOPHER KNIGHT, TIMES ART CRITIC
"What am I looking at?" That deceptively simple question isn't one you often ask yourself when you look at photographs, so ubiquitous are they in modern life. Typically, from the time you get up in the morning to the time you go to sleep at night, you've looked at so many hundreds of camera images that they blend seamlessly with your natural experience of life. And life gets questioned only selectively.
ENTERTAINMENT
July 19, 1997 | CHRISTOPHER KNIGHT, TIMES ART CRITIC
"What am I looking at?" That deceptively simple question isn't one you often ask yourself when you look at photographs, so ubiquitous are they in modern life. Typically, from the time you get up in the morning to the time you go to sleep at night, you've looked at so many hundreds of camera images that they blend seamlessly with your natural experience of life. And life gets questioned only selectively.
NEWS
April 3, 1991 | JONATHAN KIRSCH, SPECIAL TO THE TIMES
To hear Wall Street deal maker Jeff Beck tell it, he earned the nom de guerre of "Mad Dog" as a Green Beret in Vietnam. He was a college football star who played in the Orange Bowl. He stood to inherit a billion-dollar family fortune, but that did not stop him from building a vast business empire of his own. The name of his secret holding company, according to Beck, was Rosebud.
ENTERTAINMENT
September 18, 1996
A panel discussion titled "Art in the Center" will be held at 8 tonight at the MAK Center for Art and Architecture, 835 N. Kings Road, West Hollywood. Panelists include Documenta X curator Catherine David, art historian Jean Francois Chevrier, photographer Jeff Wall, artist Mike Kelley, author Mike Davis and Peter Noever, architect-designer and director of MAK. Admission is $10 for the general public, $5 for students and members of Friends of the Schindler House.
CALIFORNIA | LOCAL
February 3, 1998 | GEOFF BOUCHER, TIMES STAFF WRITER
A coroner's investigation into the Aug. 4 death of a 4-year-old Santa Ana boy after he passed out at a dental clinic has concluded, but police said Monday that it was too early to say whether it will prompt criminal charges. The results of toxicological tests on the body of Javier Villa were forwarded Monday to Santa Ana police, but detectives on the case "aren't going to comment until they go over it with a fine-tooth comb," Lt. Bob Chavez said Monday evening.
ENTERTAINMENT
September 1, 1991 | CHRISTOPHER KNIGHT
True to form, the art scene will use September as the warm-up for the big October push, with commercial galleries and nonprofit spaces offering a steady start to the fall season and the large institutions holding back a bit. The museums won't be completely dry this month. Notably, the Museum of Contemporary Art unveils its mid-career survey of New Yorker Terry Winters' oddly sumptuous paintings of bugs, fungi and other assorted lower-life forms (Sept. 15--Jan. 12).
ENTERTAINMENT
July 13, 1997 | Suzanne Muchnic, Suzanne Muchnic is The Times' art writer
Jeff Wall makes big pictures. His photographic artworks--usually presented as giant color transparencies in light boxes--occupy up to 4 by 16 feet of space, and they have the commanding presence of film stills or traditional history paintings. He also deals with a daunting range of complicated subjects.
NEWS
April 3, 1991 | JONATHAN KIRSCH, SPECIAL TO THE TIMES
To hear Wall Street deal maker Jeff Beck tell it, he earned the nom de guerre of "Mad Dog" as a Green Beret in Vietnam. He was a college football star who played in the Orange Bowl. He stood to inherit a billion-dollar family fortune, but that did not stop him from building a vast business empire of his own. The name of his secret holding company, according to Beck, was Rosebud.
ENTERTAINMENT
October 3, 1997 | SUSAN KANDEL, SPECIAL TO THE TIMES
Philip-Lorca diCorcia's photographs at PaceWildenstein are the stuff of pulp fiction: juicy, theatrical and damning. Seen for the first time on the West Coast, these images of male prostitutes, drifters and addicts, shot on and around Santa Monica Boulevard, revel in the seductions of the Hollywood dream machine while disclosing its utter poverty. DiCorcia's photographs are neither documentations a la Nan Goldin nor setups in the manner of Jeff Wall (though they conjure both).
ENTERTAINMENT
April 10, 1998 | DAVID PAGEL
Roy Arden's big color photographs of Vancouver and its environs belong to a school of photography that can best be described as Designer Marxism. At Patrick Painter, Inc., 33 modestly priced prints made between 1992 and 1997 efficiently survey the style's goals and techniques. In Arden's images (as in those by Jeff Wall, Dan Graham and Allan Sekula), activism and academicism cancel each other out, leaving viewers with generally pretty pictures of generally ugly subjects.
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