The environments depicted within the images are sites that conjure up subconscious memories pointing out the familiarity within the redundancy of blandness within postindustrial space. These non-spaces that exist in the images are the enclosed public arenas in which you are viewed and exposed to the scrutiny of others. They reveal an emptiness that is particularly banal, and commonplace, that has become the current prominent state within the post-industrial spaces that we as a modern society navigate and inhabit.
I photograph these interiors and out of sight exteriors from a direct, frontal point of view, at sufficient distance to include the entire space creating a flat and melancholic state. The sites show where the individual vanishes in the glare of fluorescent light or scale of open facades. These are architectural portraits that become a matter-of-fact, which demonstrates a primary function of the still photographic image, to record a temporal space. The photographs are of spaces in which a building facade, alley or a corridor is virtually indistinguishable from another; repetition and redundancy collapse into an architectural singularity. Within the images, the subjects who otherwise occupy these spaces are engulfed into the void of here-could-be-anywhere, into the monumental dissolution of space in contemporary architecture.
The men within the photographs are performers in an area of identity, a lifestyle. Many of my subjects do not fully embrace the persona of the uniform as masculinity, nor do they reject concepts of role-play. Instead, they step away from the trappings of male code and choose the parts of masculinity that they want to bring into the mainstream. The uniforms these subjects are wearing become extensions of their fulfilled imagination, creating a universe, which they occupy. The images are intended to be of male archetypes, exhibiting extremely masculine roles or career choices showing the pageantry of the uniform as an affirmation of identity.
I photograph these individuals from a direct frontal point of view and within situations that embody possibilities of freedom of political commentary, from the imaginary into the familiar. I am fascinated by the gap between what we are, and what we think identity should be. Through the photographic medium, I collaborate with these individuals that have formed ideal masculine personas. Using this intimate process, I search for ways to awaken the irony of the male body and elicit the self through the construction of characters.
Daniel Mirer is a New York-based artist and photographer, was born in Brooklyn. He received his Bachelor of Fine Art from Pratt Institute and his Masters of Fine Art in Photography from the California Institute of the Arts. Mirer has participated in prestigious emerging artist programs including: the Whitney Museum of American Art, Independent Study Program and the Bronx Museum of the Arts, Artists in the Marketplace and the Regional Central American & Caribbean Contemporary Art Forum in Honduras. He also received the New York Foundation for the Arts Fellowship for photography in 2002. Mirer has taught photography at institutions both in the United States and in Europe including Brooklyn College, Fashion Institute of Technology in New York, Ohio State University and Ramapo College. Mirer was also a visiting lecturer at the Tampere Polytechnic School of Art & Media in Tampere, Finland. Daniel Mirer is currently teaching photography at Webster University, Leiden, Netherlands
Critical essays that cite Mirer’s work and publications that have published his artwork include: “Visualizing the City” by Alan R. Marcus & Dietrich Neumann 2010; A portfolio of ten images reproduced in Fotograf magazine of photography and visual culture from the Czech Republic, February / March 2008; “Six Notes on Vanishing” Wexner Center for the Arts, by Hal Foster 2006; “Ft Ground, The Completist” WordPress 2006. “Viajeros: North American Artist/Photographers Working in Cuba" (Lehigh University) by Ricardo Viera, 2004; Six images were reproduced in the December 2003 issue of Influence Magazine, “The City Without Qualities: Photography, Cinema, and Post-Apocalyptic Ruin” by Walead Beshty; “Rethinking Disney: Private Control, Public Dimensions” By Mike Budd, Max H. Kirsch, 2002. Select images appeared from the photographic series “ArchitorSpace” were published in the 2001 Art Journal, titled “Wishing Rooms”. Fifteen images from ArchitorSpace titled “ArchitorSpace, Via Cuba”, were published in the winter issue of Art Journal accompanied by Mirer’s essay recounting his experience documenting the disappearing architectural sites of old Havana. Daniel Mirer’s work was also included in exhibition catalogs from the Brooklyn Museum of Art, Curated by Chariotta Kotik 2004, and Pittsburgh Center for the Arts.
Other exhibition included "Stepping back, moving forward, human interaction in an interactive age" at the Pittsburgh Center for the Arts, curated by William Stover from the Museum of Fine Arts, Boston. In 2004, Mirer had a solo exhibition of work from the series at the Priska Juschka Fine Art Gallery titled "No Where but Here" and his work was also included in "Working in Brooklyn" at the Brooklyn Museum of Art. In 2005, these images are included in a three-year traveling exhibition and book project at the Lehigh University Art Galleries, Zoellner Arts Center titled "Viajeros: North American Artist/Photographers Working in Cuba" curated by Ricardo Viera. The project continued as part of an exhibition titled "Vanishing Point" exhibition at the Wexner Center for the Arts in Columbus, Ohio, curated and catalog essay by Claudine Ise. Daniel Mirer's last solo exhibition in 2012 was at Gallery Vassie, Amsterdam, Netherlands
Daniel Mirer photography