Tim Best’s lens-based images begin to whittle away at 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 because of 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 construction of narratives 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 but the burden of responsibility lingers.
– Lauren Richman, PhD Candidate in Art History at Southern Methodist University
May 13th – May 31st, 2020 A group survey featuring works evoking concepts of time, solitude, and reflection. “Hear My...
The Demented Goddess interviews Tim Best about his recent Poser project and themes found in his work in "I call this my mask: Tim Best’s Poser Project"
Tim Best will be heading to Berlin for a residency at Das Institut für Alles Möglich from November to December 2017. Liliana Bloch Gallery will hold a fundraiser to support Tim.
October 15 - November 12, 2016