Press: Katy Niner of Jackson Hole News and Guide.
Thomas Macker looks for interesting juxtapositions. Like a standoff between stranger-neighbors or a digital traffic sign interrupting a Teton panorama. On summer break from a Master of Fine Art program in photography and media at the California Institute for the Arts in Valencia, Calif., Macker has driven around the state and region scouting scenes of contrast. He has photographed scenes such as a trio of Flat Creek floaters stopping beside a fenced-off solar panel setup, or a carcamping couple embracing nature by trimming their dogs toenails and powering up their laptop. Western Heritage: Expansion/Consumption/New Age, his new show at Teton Artlab, collects ideas about car camping, pilgrimage, environment, ethnicity, the psychedelic, American Indians, migrant labor, intergalactic communication, Gaia, national park conquests and natural phenomenon, among others. First Friday opening spotlights the show and all its disparate topics from 7 to 9 p.m. Friday at the Artlab. Macker uses Wyomings Equal Rights motto as a jumping off point for exploring concepts writhing within the state and the region. The voyage is encapsulated by a photograph of two female tourists poised to conquer a Teton peak. A lot of my work is trying to connect with nostalgia versus a sense of urgency and progressiveness, he said. The show weaves separate elements into a conversant whole considering tourism spiritual, cultural, environmental. An artist residency in Wisconsin found him driving with photographer Zach Allen through fields of genetically modified crops. Plastic signs labeling each row by company have become a fixture of the modern agrarian landscape. The signs Macker swiped now form rows on the floor of the Artlab. Steeped in agricultural vernacular, they convey nostalgia for co-ops, unions, customer service and seedmanship, but also scientific and corporate muscle with words and phrases such as agVenture, test site, experimental and science with service. To explore spirituality, Macker props an egg-shaped digital picture frame corporate swag given to his fiancee, a paralegal on a Faberge stand, atop a stone pedestal. In lieu of images, he loaded a Black Elk portrait and quotation: And when I breathed, my breath was lightning. His pixilated ode to Black Elk follows Western heritage to its place of origin, or people native to this land. Mulling the frontier, Macker screens the final moments of a film he made, Territory Ahead. In its closing frames, shot while driving along Interstate 5 only 20 miles outside of Los Angeles, he films himself trying to close his eyes for as long as possible. In a darkroom he built, Macker mixes the terrestrial with the extraterrestrial. A strobe set to the Earth Gaia frequency tuned to natures rhythm, obscured in cities flickers across a war scene enacted by plastic cowboys and Indians. The light casts the toys shadows in red. On the darkroom walls, black lights illuminate three posters. One lists greetings made in many different languages for inclusion on the Voyager spacecrafts Golden Record, a human compendium curated for an alien audience. The greetings are set against the Crab Nebula, whose scientifically rendered palette Macker then used to color Ansel Adams iconic black-andwhite photograph, The Tetons and the Snake River, which was also included on the Golden Record. Beyond installation art, the show includes nearly a dozen photographs he took with an 8-by-10 camera. Ducking beneath the clunky cameras cloth, he likes the idea of hiding in plain sight. Macker expects Western Heritage, up until Sunday at Artlab, will evolve with future installations.
Also, check out:
JH Weekly's writeupand the
Jackson Hole Artblog------------------------------------------------------------------------------------------------------------