MITCHELL: Abstracts, 2011, Archival Pigment prints - 36 x 36 (44 x 44 inch paper size) - A Solo Exhibition at the RMA Institute, Bangkok, Thailand opens May 21 at 4:30 pm. Concurrently, works from this collection will be available from Lynn Dunham Fine Art in the United States.

ABOUT THE WORK: Mitchell’s Abstracts 2011 collection is comprised of 39 images which follow the rudiments of Concretism, a non-objective art form of the 1940’s that defied all the norms of the Contemporary Art of its time. The central characteristic of this art movement produced works without the influence of any external factors, such as nature, people, or things. By definition, Concrete Art does not require the artist to have a definitive concept or subject. It is about the inventive play of lines, planes, and color, forming unspecific patterns and true expression of an artist's spirit. It is this movement which gave birth to Constructivism, Suprematism and Neo-Concretism, Minimalism and Op Art, all periods in art history which are embodied in Mitchell’s work since his departure from the commercial arena. He has recently employed the process of creating assemblages which he chronicles through the lens putting a contemporary spin on the principles art movements of the past century.

Mitchell’s prominent and innate sensibility is clearly related and is presented particularly in the culmination of two years’ work with the Abstracts 2011 collection, a portion of which has been selected to be exhibited in this solo at the RMA Institute. With his fresh perspective, he employs a 21st century point of view and establishes a new personal archetype. Mitchell states, “The conventional notion that photography is about representation is/has been rejected in favor of pure abstraction. The images themselves along with the process of image making are the subject rather than the depiction of something identifiable.”

Sara Vanderbeek: Four Photographers, 2008 (detail 1 of 2)

I just received the latest issue of Blind Spot (BS) - stunning as usual! This is a tri-annual art journal that publishes unseen work by living photographers. Remarkably it is free of commercial and editorial content. Images are selected and published collaboratively rather than curatorially. While today, the de rigueur artists’ statements and essays to support work seem to have become as important as the work itself, BS presents artists and their works without any introductory, biographical or explanatory text. This is enlightening in the art world where over intellectualizing has sometimes spoiled the pure experience of viewing and appreciating art. As its creators have stated, BS is not about photography - it is photography.

BS juxtaposes emerging artists with those who are established creating a significant milieu where each can benefit from the other. By publishing accomplished artists on an intimate scale, BS enriches its readers viewers. Since its launch in 1993, BS has featured over 300 living photographers including Uta Barth, Gregory Crewdson, Tim Davis, Rineke Dijkstra, Adam Fuss, and Vik Muniz, many of whom have gained critical and audience acclaim through their exposure in the magazine.

Blind Spot is a photography publication of exemplary design: This tri-annual journal is a "must have" for fine art collectors and artists. To view the BS archive of the past fifteen years click here. It is distributed internationally and is found in some of the best independent bookstores, museums, and larger booksellers around the world. For information on where to find BS click here.

For the link for BS artist submissions click here.