Shooting meticulously set-up still lifes on film with a large format camera, Lucas Blalock scans his images and digitally manipulates them, creating tricksy, mind-bending work that plays with the boundary between reality and fiction. Now it’s fashionable to talk about fake news, but Blalock got in early, poking holes in our trust in images.
It’s earned him an enviable career, with books published by respected outfits such as Morel Books and Self Publish, Be Happy, and solo exhibitions at private galleries such as the White Cube. Now he’s got his first solo show at a public gallery in the US, the Institute of Contemporary Art (ICA), Los Angeles, where he’s showing images made since 2014. Initially he might have seemed part of a movement, but Blalock has carved out a career on his own.
With so much to see condensed into one city over the course of five days during Paris Photo (09-12 November), you’d be tempted to skip round the 149 galleries lining the elegant, glass-topped halls of the Grand Palais in a couple of hours, or even miss the main event altogether, as many do. That would be a mistake. You won’t get a better snapshot of what constitutes saleable photography in 2017, from the blue-chip North American dealers such as Gagosian, Pace MacGill and Howard Greenberg, to the work of younger artists championed by the likes of Project 2.0, Trapéz and Taik Persons. And eavesdropping on the sales patter can be a real an eye-opener.
The first time Self Publish, Be Happy was invited into Tate Modern’s Turbine Hall, its programme included selfie stick aerobics and tectonic crystal healing. The second time it focused on the virtual world. This time, SPBH founder Bruno Ceschel wants to focus in on ideas.