John Brill (photographer)

This article is about the 20th-century photographer. For other uses, see John Brill (photographer) (disambiguation).

John Brill
Born	1951 New Jersey
Occupation	Photographer
Known for	Photography

John Brill (born in Newark, New Jersey in 1951) is a photographer, known for his conceptual and subversive approach to the techniques and language inherent in the photographic process.

Life

John Brill has been creating photographic records of his everyday existence since 1959. Self-taught in photography, his shift to art in 1981 followed his formal studies within the field of physiological psychology. From the mid-1970s through the 1980s, the artist drove a beer truck in the northeast corner of New Jersey, absorbing the raw visual beauty of a vast industrial wasteland, where he began shooting his seminal series of portraits and self-portraits. He is a self-taught photographer, who has exhibited regularly since the 1980's when Bill Arning of White Columns discovered his work and subsequently gave him his first solo show. Brill has been a school bus driver in Madison, New Jersey for over 20 years and is represented by Kent Fine Art in New York.

Work

John Brill has created several thematically coherent, discrete bodies of work, which include; Family Holiday Album, engrams, ennui, Reliquary, and Cosmophelia. Although his ouvre is composed of versatile and seperate bodies of work, all of his images have been created with specific regard for their dual role as two-dimensional representations as well as physical art objects.

Leah Ollman reflects on the artist's early work in the introduction to the 2002 monograph, The Photography of John Brill:

Beginning with staged portraits and self-portraits, his imagery became increasingly nebulous, reflecting his interest “in how resonance could remain unaffected by the systematic removal of content.” Toward the end of the „80s, he began seriously toying with the idea of the “thoughtograph.” He scavenged for pictures, made some from life and others from the television screen, then worked to distance the images from their origins through multiple printings, fragmentation, tonal shifts and value reversals. In the end, the pictures derive more from mind than from matter. They‟re projections of his will, contrived out of pure desire. Physical representations of the incorporeal.

He is present in every step of the creative process, from taking the picture, printing, cutting the glass, and framing the images. Although each of the images he produces necessarily begins its genesis with pure camera vision, all of them undergo an extensive process of post-exposure construction, transcending the seminal act of exposure and inevitably culminating in a polar extreme on the continuum of image transformation. As stated in the text that accompanied his exhibition, Cosmophilia (2003), "The image that is ultimately perceived in the final print is not merely an interpretation of the original camera vision, but is an image—as well as physical object—that exists entirely on its own terms."