98:"On initially arriving I would move through the house looking for areas or situations to photograph. If nothing seemed to interest me I would move things around or do some spray painting. The painting was done in much the same way that one might doodle on a piece of paper. At that point I would return to the camera and explore what ever new potentials existed."
111:"My acts, my painting, my photographing, my considering, are part of, not separate from, this process of evolution and change. These photographs are not so much about this process as they are remnants from it. My participation was not so much one of intellectual consideration as one of visceral involvement."
118:
are images of dogs in the desert captured in the midst of running wildly after the car. Emphasising the grain of the image, these black and white photographs capture a haunting moment in which there is a duality between a sense of absence and presence. The behaviour of the dogs suggest a lack of
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project, he has described being interested in the relation between real artworks and representations of them, and the issues of the natural and the artificial. Divola said "I attempted ... to develop a practice in which there could be no distinction between the document and the original." In his
127:
In the "Dark Star" series, dark circles have been painted on the walls of an abandoned house. Creation and destruction are held in a delicate equilibrium, the white rooms of the house, are tattered and derelict. The domestic ruins suggest social collapse, secret renditions of something darkly
102:
These cyclical images skillfully juxtapose romantic skies and sunsets with a seaside structure that, frame by frame, deteriorates into ruin as it is vandalized by the artist and others who eventually set it on fire. Divola's works trace a schematic desire for escape, movement and
22:(born 1949) is an American contemporary visual artist and educator, living in Riverside, California. He works in photography, describing himself as exploring the landscape by looking for the edge between the abstract and the specific. He is a professor in the art department at
123:"It could be viewed as a visceral and kinetic dance. Here we have two vectors and velocities, that of a dog and that of a car and, seeing that a camera will never capture reality and that a dog will never catch a car, evidence of devotion to a hopeless enterprise".
278:
Part of Six by Six series, set 3. Nazraeli, 2012. The other volumes are by
William Christenberry, Eduardo del Valle & Mirta Gómez, John Divola, LAX NAZ, Daido Moriyama, Karin Apollonia Müller, and Carrie Mae
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One
Picture Book 45. Portland, OR: Nazraeli, 2007. Edition of 500 copies. "A book of seven reproductions and one original color photograph.".
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In the "As Far As I Can Get" project, he made photographs by pushing the self-timer button on his camera. An exposure is made in 10 seconds.
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sinister illuminating our conflicted recent history, updating "Zuma" and "Vandalism" for our age of foreclosure.
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previous stimuli, a loneliness at the same time as an all-consuming reaction to the now, a presence.
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94:. He photographed the ocean from the house's interior through windows and cracks. Divola states:
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Into the Sunset: Photography’s Image of the
American West, Museum of Modern Art, New York, 2009
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Three Acts: Vandalism, Los
Angeles International Airport Noise Abatement Zone (LAX NAZ), Zuma.
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LAX NAZ: Los
Angeles International Airport Noise Abatement Zone (Exterior Views), 1975.
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293:. Edition of 500 copies. "A book of 7 reproductions and one original photograph".
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362:. Skinnerboox, 2022. With an essay by David Campany. Edition of 750 copies.
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307:. Edition of 350 copies. There are 18 volumes in total by various authors.
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496:, San Francisco: 8 prints and a series of 12 prints (as of January 2021)
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Divola was born in 1949 in Los
Angeles, CA. He received a B.A. from
1047:"The jewels of the new SFMOMA photography collection – in pictures"
999:"Philadelphia Museum of Art - Collections Object : Zuma #12"
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He has held the position of
Professor in the art department at
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Divola's work is held in the following permanent collections:
216:. With an introduction by Jan Tumlir. Edition of 1000 copies.
86:
series of photographs from 1977, he used deserted houses on
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in New York in 1978, 1989 and 2000 and in the 1981 and 2017
727:"Deerhunter – "Snakeskin" Video + Fading Frontier Details"
338:. With a transcription of an interview between Divola and
448:, Winterthur, Switzerland: 20 prints (as of January 2021)
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460:, UCLA, Los Angeles, CA: 15 prints (as of January 2021)
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Mirrors and
Windows: American Photography since 1960
285:One Picture Book 81. Portland, OR: Nazraeli, 2013.
951:"John Divola (American, born 1949) (Getty Museum)"
45:His work was included in group exhibitions at the
155:was used as the cover art for American rock band
172:used "Zuma 33" as the front cover of his Album "
466:, University of Washington, Seattle, Washington
454:, Rochester, NY: 17 prints (as of January 2021)
472:, Los Angeles: 156 prints (as of January 2021)
407:California Photography: Remaking Make-Believe
8:
1121:University of California, Riverside faculty
502:, New York: 14 prints (as of 29 April 2023)
168:In 2020 Italian electronic music producer
69:in 1971 and later received an M.F.A. from
1126:University of California, Berkeley alumni
716:". John Divola, 2004. www.faculty.ucr.edu
662:John Simon Guggenheim Memorial Foundation
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484:, New York: 8 prints (as of January 2021)
442:, Chicago: 13 prints (as of January 2021)
384:John Simon Guggenheim Memorial Foundation
684:"Navigating John Divola's 1970's Output"
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478:, Chicago: 3 prints (as of January 2021)
299:NZ Library, set 1, v.2. Nazraeli, 2014.
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67:California State University, Northridge
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409:, Museum of Modern Art, New York, 1989
372:Individual artist fellowship from the
812:"Carnegie Museum of Art's Collection"
776:Divola, John; Nazraeli Press (2013).
578:. Aperture Foundation. Archived from
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71:University of California, Los Angeles
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975:"Museum of Contemporary Photography"
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264:Gothenburg, Sweden: Farewell, 2008.
1136:21st-century American photographers
1131:20th-century American photographers
879:"John Divola - Artist - Collection"
554:University of California, Riverside
436:, University of Arizona, Tucson, AZ
494:San Francisco Museum of Modern Art
476:Museum of Contemporary Photography
220:Dogs Chasing My Car in the Desert.
141:University of California Riverside
24:University of California Riverside
14:
757:. Portland, Or.: Nazraeli Press.
714:DOGS CHASING MY CAR IN THE DESERT
252:and an interview with Jan Tumlir.
116:Dogs chasing my car in the desert
39:Dogs Chasing My Car In The Desert
955:The J. Paul Getty in Los Angeles
330:Jesi, Italy: Skinnerboox, 2020.
834:Center for Creative Photography
434:Center for Creative Photography
374:National Endowment for the Arts
751:Divola, John; Nazraeli Press.
1:
1111:Photographers from California
570:Campany, David; Tumlir, Jan.
859:The Art Institute of Chicago
222:Tucson, AZ: Nazraeli, 2004.
208:Tucson, AZ: Nazraeli, 2001.
90:and covered their walls in
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800:– via Open WorldCat.
765:– via Open WorldCat.
488:Philadelphia Museum of Art
1116:Artists from Los Angeles
607:The Museum of Modern Art
440:Art Institute of Chicago
376:, 1973, 1976, 1979, 1990
342:. Edition of 800 copies.
61:Early life and education
53:. In 1986 he received a
903:"Works of: John Divola"
29:Divola's books include
816:Carnegie Museum of Art
428:Carnegie Museum of Art
348:. London: Mack, 2021.
262:As far as I could get.
125:
113:
100:
1141:Photography academics
907:George Eastman Museum
883:Fotomuseum Winterthur
452:George Eastman Museum
446:Fotomuseum Winterthur
380:Guggenheim Fellowship
159:'s 2015 studio album
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55:Guggenheim Fellowship
482:Museum of Modern Art
470:J. Paul Getty Museum
401:Museum of Modern Art
297:San Fernando Valley.
186:Gallery Min Catalog.
151:Divola's photograph
47:Museum of Modern Art
1003:www.philamuseum.org
686:. Ahornmagazine.com
248:. With an essay by
836:. 17 December 2019
703:John Divola, 1980.
147:In popular culture
550:"Faculty: Divola"
464:Henry Art Gallery
391:Group exhibitions
354:978-1-913620-08-0
336:978-88-94895-33-9
305:978-1-59005-384-3
51:Whitney Biennials
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1084:Official website
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1053:. 9 May 2016.
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1023:"Divola, John"
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979:www.mocp.org
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143:since 1988.
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1101:1949 births
779:Supermarket
634:whitney.org
419:Collections
256:Seven Dogs.
194:Ram, 1998.
192:Continuity.
43:Three Acts.
20:John Divola
1095:Categories
1064:2023-04-29
1032:2021-01-05
1008:2021-01-05
984:2021-01-06
960:2021-01-05
936:2021-01-06
912:2021-01-06
888:2021-01-06
864:2021-01-05
840:2021-01-06
754:Seven dogs
737:2019-11-18
690:2011-11-12
668:2018-04-13
639:2023-04-29
612:2021-01-05
574:Three Acts
532:2011-11-12
507:References
311:Vandalism.
200:0963078542
157:Deerhunter
88:Zuma Beach
31:Continuity
1059:0261-3077
798:869831210
763:236077104
731:Stereogum
382:from the
73:in 1974.
346:Terminus
316:, 2018.
240:, 2006.
238:Aperture
135:Educator
92:graffiti
328:Chroma.
81:In his
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1027:SFMOMA
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386:, 1986
367:Awards
360:Scapes
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279:Weems.
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41:, and
188:1987.
77:Works
1055:ISSN
794:OCLC
784:ISBN
759:OCLC
350:ISBN
332:ISBN
318:ISBN
314:Mack
301:ISBN
287:ISBN
266:ISBN
242:ISBN
224:ISBN
210:ISBN
196:ISBN
153:Zuma
83:Zuma
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