ORIRI EX CINERE
The European Journal of Life Writing, Vol. IX, 2020
Spring Hurlbut
New online publication:
Spring Hurlbut_Oriri ex Cinere_The European Journal of Life Writing_Vol IX_2020
https://ejlw.eu/article/view/36914
NEWS
UPCOMING SOLO EXHIBITION
Selected works by Spring Hurlbut will be featured in a solo exhibition at the Musée d’art de Joliette in the winter of 2021.
https://www.museejoliette.org/en/
ARTFORUM.COM’s “Critics’Picks”
Spring Hurlbut, Dyadic Circles, 2019 - 2020
review by Esmé Hogeveen
Spring Hurlbut, Dyadic Circles, Arnaud 1, 2019-2020
CONTACT
SCOTIABANK PHOTOGRAPHY FESTIVAL
Featured Exhibition
Spring Hurlbut, Dyadic Circles, 2019 - 2020
https://scotiabankcontactphoto.com/spring-hurlbut-dyadic-circles-2019-20/
April 23 - May 30, 2020
Presented online by Georgia Scherman Projects
http://www.georgiascherman.com/viewing-rooms
Spring Hurlbut, Dyadic Circles, Eleanor and James, 2019-2020
The Last Image
Photography and Death
C/O Berlin
Opening: 12/07/2018
Exhibition dates: 12/08/2018–03/03/2019
Spring Hurlbut is excited to be showing her Airborne video in the upcoming exhibition The Last Image. Photography and Death curated by
Felix Hoffman at C/O Berlin in Berlin. The show will open for private viewing on December 7, 2018.
It will open to the public on December 8, 2018 and will run through to March 3, 2019.
Spring Hurlbut, still from Airborne (video), 2008
The exhibition includes works by Christian Boltanski, Bertolt Brecht, Broomberg/Chanarin, Larry Clark, Tacita Dean, Thomas Demand, Hans-
Peter Feldmann, Jochen Gerz, Nan Goldin, Douglas Gordon, Peter Hendricks, Thomas Hirschhorn, Damien Hirst, Peter Hujar, Spring Hurlbut,
Adolf Laazi, Arwed Messmer, Duane Michals, Lee Miller, Heiner Müller/Brigitte Mayer, Mark Morrisroe, Nadar, Arnold Odermatt, Arnulf Rainer,
Timm Rautert, Dirk Reinartz, Gerhard Richter, Schels/Lakotta, Andres Serrano, Andy Warhol and Weegee.
Death is treated in a diverse variety of ways and finds somber and poetic expression in the language of photography. In the exhibition The
Last Image . Photography and Death, C/O Berlin will be presenting a unique selection of historic photographs from the nineteenth century up
to the present day. The exhibition explores artistic engagement with social, societal, and media questions surrounding the subject of death in
photography and its theoretical underpinnings.
Living and dying, loving and letting go—pictures, films, books, and songs about death tap into our deepest fears, confronting us with the
finiteness of existence and our own mortality. The photograph represents the death of the moment depicted and the impossibility of ever
bringing it back. Preeminent photography and media theorists like Siegfried Krakauer, Roland Barthes, and Susan Sontag have described the
“fate of photography” and its immutable relationship with death in their writings. Soon after photography’s invention in 1839, there began to
appear numerous photographs of deceased people. Some postmortem photographs were taken for criminological research or other
objective reasons, but above all, these images were created to serve in rituals of remembrance. Photographs of the deceased enjoyed
widespread popularity across all sectors of society between the 1850s and the 1890s, and remained a common form of visual remembrance
into the 1920s. The mediatization of the dead body began in 1914 and increased over the course of the two world wars. Photojournalism
reached its zenith with the liberation of the Nazi concentration camps: For the first time, photography provided visual proof of horrors and
murders, allowing this evidence to be disseminated widely. LIFE Magazine, one of the most important media in the world at that time,
was no longer reporting on war, suffering, and death in a distanced way but showing dead bodies in starkly realistic terms.
C/O Berlin
The Morgan Library & Museum, New York
The Extended Moment: Photographs from the National Gallery of Canada
February 15 through May 26, 2019
Spring Hurlbut, Deuil II, James 5, 2008
The Extended Moment brings forth around seventy works that reveal the historical, technological, and aesthetic breadth of the collection,
which is little known in this country. In the exhibition’s presentation at the Morgan, works of far-flung origins are placed side-by-side to
highlight recurring trends and tensions in the history of the medium. Artists include Edward Burtynsky, [Spring Hurlbut, Arnaud Maggs], Julia
Margaret Cameron, Henri Cartier-Bresson, Lynne Cohen, John Herschel, Richard Learoyd, Lisette Model, Edward Steichen, and Josef Sudek.
Spring Hurlbut’s photograph, A Fine Line, Arnaud 4, 2018, is her posthumous portrait of Arnaud Maggs. Arnaud Maggs, Self Portrait, 1983,
consists of 12 images. These two works will be exhibited side by side. Spring Hurlbut
Spring Hurlbut is awarded the Governor General’s Award in Visual and Media Arts 2018
The artist was honoured to have been awarded the Governor General's Award in Visual and Media Arts 2018, resulting in an exhibition
opening at the National Gallery of Canada in Ottawa in 2018.
Here is a link to a short film on her work directed by Scott Dobson.
“Spring Hurlbut’s contemplative and eloquent works unsentimentally address mortality and our inevitable destiny in death. Her dedication to a subject so commonly avoided in contemporary Western culture is singular and courageous.
Whether in her use of bones as sculptural material, her work with found objects and museum collections of specimens of natural life, or her photographs of cremated ashes, Hurlbut addresses her subjects with a quiet and patient insistence on recognizing - and for the viewer to recognize - their essence. Minimal, solemn and starkly refined, her work is also richly detailed, emotionally charged and sublimely beautiful. Its affective resonance resides in the tension between the clearly stated and the intractably complex. Hurlbut gives form to loss...picturing the dissolution of life as a boundless continuum.”
Spring Hurlbut, A Fine Line, Arnaud 2, 2016