Selected works by Sean Dack

Sean Dack
Los Angeles Helicopter

2007

Digital C-print

76.2 x 111.8 cm

In spite of everything – the existence of Photoshop and montage, the common use of post-production filters, the ease of deletion and tweaking – there is a residual belief that photography still ought to do what it was invented to do: that is, represent, as faithfully as possible, visual reality. Our surprise at a photograph’s ability to deceive seems perpetual. We never learn. Sean Dack’s work operates within that murky territory of photographic unfaithfulness, taking as its source images that really ought to co-operate, like CCTV footage.
Rearranging the integrity of the source image through a custom script, Dack’s images develop unpredictable glitches and impurities that take on an unexpected beauty, much as conventional printmaking makes use of the ‘happy accident’.

Sean Dack
Building (Hotel)

2008

Digital C-print

96.5 x 76.2 cm

In Dack’s CCTV #2, an image of architectural structures lit by the aquatic green of night vision footage is interrupted by a series of striated glitches that transform the camera’s indifferent eye into an aesthetic device – an interpreter, not a transcriber. That Dack’s source images employ the unblinking eye of political authority as tokens of an archive of power (missile tests, police helicopters) makes his inversions of fidelity discreetly subversive.
The conversion involved – from a disembodied image on a screen to a laboriously printed object – is part of Dack’s elegant reversal of the photograph’s function, the virtual estranged, made real.

Sean Dack
CCTV #2

2007

Digital C-print

113 x 76.2 cm
Sean Dack
Unmarked CIA Plane

2008

Digital C-print

76.2 x 113 cm
Sean Dack
Jigsaw

2007

Digital C-print

76.2 x 91.4 cm
Sean Dack
West Coast Missile Test

2007

Digital C-print

76.2 x 91.4 cm
Sean Dack
Untitled

2008

Consumer electronics encased in rubber

43.8 x 25.4 x 36.2 cm
Sean Dack
Untitled

2008

Consumer electronics encased in rubber

43.2 x 35.6 x 34.3 cm
Sean Dack
Futuresongs: 1983...

2006

C-print

61 x 47.5 cm
Sean Dack
Futuresongs: 1985...

2006

C-print

61 x 47.5 cm
Sean Dack
Futuresongs: 1986...

2006

C-print

61 x 47.5 cm
Sean Dack
Futuresongs: 1989...

2006

C-print

61 x 47.5 cm
Sean Dack
Futuresongs: 1993...

2006

C-print

61 x 47.5 cm
Sean Dack
Futuresongs: 1995...

2006

C-print

61 x 47.5 cm
Sean Dack
Futuresongs: 1997...

2006

C-print

61 x 47.5 cm
Sean Dack
Futuresongs: 1998...

2006

C-print

61 x 47.5 cm
Sean Dack
Futuresongs: 2000...

2006

C-print

61 x 47.5 cm
Text by Ben Street

Articles

ART IN REVIEW: SEAN DACK


Sean Dack's video installation ''No Encore,'' part of his first solo show, is a reasonable representation of the growing genre of what might be called the art music video. Using several short, well-known, extensively manipulated sequences of Kurt Cobain of Nirvana in concert, it meditates on the flamboyant suffering and often self-destructive impulses of the stereotypical young artist, especially the male one.

In blurry slashes of hot color and dark shadow, Cobain is shown ricocheting around, on- and offstage, destroying guitars and speakers, flinging himself into the audience and, in one instance, being pursued by a violent fan. The effect is that of a highly compressed version of the film ''Gimme Shelter'' filtered through Warhol's ''Shadow Paintings.'' (Abstract Expressionist angst and Richard Serra throwing lead may also suggest themselves.)

Read the entire article here
Source: nytimes.com