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Photo credit:
Daniel Joseph Martinez:Self Portrait #9a, Fifth attempt to clone mental disorder or How one philosophizes with a hammer, After, Gustav Moreau, Promethesus, 1868; David Cronenberg, Videodrome, 1982; digital lightjet print. Courtesy of the artist and The Project, L.A/New York.
Photo credit:
Daniel Joseph Martinez:Self Portrait #9c, Fifth attempt to clone mental disorder or How one philosophizes with a hammer, After, Gustav Moreau, Promethesus, 1868; David Cronenberg, Videodrome, 1982; digital lightjet print.Courtesy of the artist and The Project, L.A/New York.
Photo credit:
Daniel Joseph Martinez:Self Portrait #15, Seventeenth attempt to clone mental disorder or How one philosophizes with a hammer, After Michelangelo Merisi-Caravaggio, Salome, 1609-1610; digital lightjet print. Courtesy of the artist and The Project, L.A/New York.
 Photo credit:
Daniel Joseph Martinez:Self Portrait #3, Eighteenth attempt to clone mental disorder or How one philosophizes with a hammer, After J.G. Ballad, Crash/notes toward a mental breakdown; digital lightjet print. Courtesy of the artist and The Project, L.A/New York.
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Without Anesthesia OR This Isn't A Nice Neighborhood
Recent Work by Daniel Joseph Martinez
Curated by Sharon Bliss
San Francisco Camerawork presents Without Anesthesia, recent work of Daniel Joseph Martinez. In his art making of the last two decades, Martinez has embraced the role of a catalyst through installation, visual arts, performance, public art, writing and curating. He currently finds himself "cycling back" to the medium of photography, which has been the basis for his two latest projects, the Deception of Perfection series, 1998-1999, and More Human than Human, 1999-2000.
Without Anesthesia will present selections from More Human Than Human and new animatronic sculptures. Though visually disparate, all of the work presented uses the body as the locus for a dialogue on the psycho-social dynamics of identity within public and private space, while examining the role of photography in representations of reality. In each, the photograph remains as residue of both public and private actions, thoughts, beliefs, desires and fears.
The first of these series engages viewers in a dynamic process of seduction and repulsion.
The animatronic sculptures were created as Martinez’s contribution to the Lima Bienale, in April 2002.
Gallery Hours: 12-5 pm, Tuesday-Saturday
Gallery Admission is F R E E
Gallery Talks are available for classes and community groups. Please call to schedule: 415-863-1001 or e-mail us.
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