Waking Dream, 2018, HD video, 14 min
Bill Jones: Waking Dream
May 8 – June 8, 2018
Organized by and presented in partnership with John B. Aird Gallery, 900 Bay St, Toronto, Ontario
Curated by Taryn Foss and Carla Garnet
Waking Dream is a multimedia project by New York-based artist Bill Jones that traces the first hundred years of photography, from its invention in 1839 to its modernist triumphs in the early 20th century. The exhibition integrates still and moving imagery and a wide range of media techniques to reinterpret historical works. Looking to the composite images of 19th-century British photographer Henry Peach Robinson and the sequenced motion studies of Robinson’s contemporary Eadweard Muybridge, through to the advent of cinema, Jones maps early analogue history onto the contemporary digital landscape.
The origins of photography and the evolution of its aesthetic forms has informed Jones’ work throughout his career, from his early years in California, where he grew up near Muybridge’s photography studio, to his involvement with the Vancouver School of conceptual photography in the 1970s, to his later collaborative explorations in interactive video. His work breathes new life into the history of the photographic medium, bringing forth a sense of freely moving forward and backward through time and space.
Throughout Waking Dream, the consumptive sleeping figure from Robinson’s composite photo She Never Told Her Love (1857) repeatedly appears. Here she is cast as Hypatia, a pagan woman who was said to have witnessed Christ’s image appear in a piece of cloth submerged in the water. For Jones, Hypatia’s miracle in some ways presages the invention of photography in the late 1830s, establishing the medium’s essence as a metaphysical experience rather than as a series of evolving recording devices. In Waking Dream, Hypatia travels through time and witnesses the birth of photography and its subsequent growth. Throughout, she is attended by figures animated from Muybridge’s sequential motion studies.
The title Waking Dream references the 1993 Metropolitan Museum of Art exhibition The Waking Dream: Photography’s First Century, curated by Maria Morris Hambourg. For Hambourg, the titular turn of phrase is suggestive of “the haunting power of photographs to commingle past and present, to suspend the world and the artist’s experience of it in unique distillations.” Jones dramatizes this commingling of past and present in his installation through the use of archival materials, animation software and innovative digital techniques. To accompany the visual components of Waking Dream, Jones has written a score based on the 1839 folk song “Kathleen Mavourneen,” which was popular during the American Civil War.
Muybridge’s early stop-motion photography experiments first posited photography as a durational art form and presaged motion picture projection. These explorations are echoed in Jones’ work, which is equally concerned with the temporal and incremental aspects of images in motion. Further, Muybridge’s post-production addition of clouds into his landscapes, and Robinson’s use of multiple negatives stitched together into elaborate tableaux are techniques paralleled in Jones’ use of sampling technology and layered loops in the networked software he has used to produce his work of the last two decades. Preliminary experiments in photography have alternately collapsed, expanded, and suspended time; the works that comprise Waking Dream take up this thread, unspooling it into the present.
Fox Talbot’s Pond, 2018, HD video, 4:51 minutes
Visit: Waking Dream for more images and video
Bill Jones in conversation with Stephen Andrews, May 12, 2018 at The John B. Aird Gallery, Toronto, Ontario: Introductory remarks by Carla Garnet, Director and Curator, The John B. Aird Gallery, May 12, 2018
“We are the children of the divorced parents of art and science.” Bill Jones in conversation with Stephen Andrews, Part 1:
The multiple layers of meaning in Waking Dream. Bill Jones in conversation with Stephen Andrews, Part 2
The expanding element of time or the “10 year idea” in both art and science. Bill Jones in conversation with Stephen Andrews, Part 3
How digital technology and contemporary ways of seeing affect how we view the early history of photography. Bill Jones and Dr. Matthew Brower in conversation at the John B. Aird Gallery, May 11, 2018, Part 1
Fine art photography versus the democratization of the image. Bill Jones and Dr. Matthew Brower in conversation, Part 2
The materiality of the photographic print. Bill Jones and Dr. Matthew Brower in conversation, Part 3
The meaning of the pond imagery in Waking Dream. Bill Jones, Dr. Matthew Brower in conversation, Part 4
“It’s jazz.” Ephemerality and the VJ mix. Bill Jones and Dr. Matthew Brower in conversation, Part 5