Saturday, May 20, 2017 from 7:00pm – 9:00pm
Liliana Bloch Gallery is proud to announce that Tim Best has been accepted into a residency with Das Institut für Alles Möglich in Berlin from November to December 2017! The space is in the Wedding neighborhood of the city, north of Kreuzberg, the artistic heart of the city. It has a storefront with an apartment in back.
As Tim is bound for Berlin, he is bound to Dallas physically, emotionally and financially. The gallery is holding a fundraiser to help Tim overcome the gravity of his finances so that he can take advantage of this opportunity to work on his project FLASH in Berlin.
We will have T-SHIRTS available for pre-sale and at the event. We are offering 8″ x 8″ unique ARTIST PROOFS of Tim’s previous work, printed on museum grade fiber based paper. Tim will also be the subject of a Shibari style BONDAGE performance with Dallas-based Bondage Educator James Nawashi founder of Dallas Kink and Denver Kink.
FLASH will be a collection of photographs that reveal and revive memories of the past using bodies and objects in different locations. It is a realization that the distant memories behind these situations can never be recaptured with photography. In the face of this dystopian reality, Best creates something else entirely revealed by the camera and its flash.
Join us in celebrating Tim’s send off Saturday, May 20th from 7:00pm – 9:00pm.
ALL PROCEEDS WILL GO TO ROOM, BOARD AND TRAVEL EXPENSES TO BERLIN.
October 15 – November 12, 2016
Tim Best’s Polished series is titled by the artist after the double entendre referring to oral sex. Best’s work is based on what he calls Gender Logic: a hierarchy of biological and social characteristics of appearance that constitute gender in our society. He rearranges these visual characteristics to defy social expectations of gender appearance of the body. Best feels that the traditional roles of Photographer and Model embody this established logic where the photographer assumes all power through his or her gaze. This power is not transmitted to the viewer in this series as faces and body parts are rubbed out of the print echoing E. J. Bellocq’s The Storyville Photographs that simultaneously wince and wink at the sexual desire in these images. Finally, the artist puts himself in the shoes of the model with makeup as a gesture of empathy for the vulnerability of the model.
Tim Best’s lens-based images begin to whittle away at the strident hierarchies of gender, power, and desire within the spectator. Best is careful to implement various thematic intersections: the cinematic yet the denial of the scopophilic, the psychological and the natural world. Series such as Love Letters (2015), Polished (2015-16), and CRUSH (2014-15) incorporate jarring physical acts of violence on the surface of the photographs, be it aggressive rubbing to the point of surface penetration, the surgical rejoining of crumpled prints, or careful incisions that reveal the presence of language beneath. Unsettling not only due to the images’ generally depopulated or lonely locales, Best also provokes the viewer to make a judgment call: male or female, sexual deviance or abuse, obsessive or adoring. These relationships complicate the narrative construction of gender, power, and desire in Best’s work due to constraints placed on the outflow of information. Viewers are left in an uncomfortable place beyond visual and behavioral codes however the burden of responsibility lingers.
– Lauren Richman, PhD Candidate in Art History at Southern Methodist University
pictured above: Tim Best, Tithed Tulip Minty, 2015, archival inkjet print, 48”w x 48”h (framed)