Posts made in September, 2010
CATHERINE DAY
(Photo credit: Catherine Day, “Curtain“)
(Photo credit: Catherine Day, “Quilt”)
Ironic or sad – I’m not sure which – that what we so often curse in digital images we encourage in analog mediums. The heavy grain in photographer Catherine Day‘s works radiates the warmth of a heavy slumbering household. It is not difficult to imagine stumbling into these domestic vignettes still bleary eyed from sleep.
You can see more of Catherine’s “Fabric” series at www.catherineday.net
Read MoreGOING LOW-TECH
(Photo credit: Leigh Anne Langwell, Abyssal)
Our fall line up kicks off with the Low-Tech exhibition reception, taking place this Friday, October 1st from 6-9 pm. Juror Crista Dix will join us at the reception and take part in a panel discussion on Saturday from 1-4pm. Both the reception and talk are FREE and open to the public.
Juror and Directors’ Awards have been made – congrats to all selected! We’re looking forward to seeing their liveBooks and Blurb projects.
Juror’s Award/liveBooks Website Award/Blurb book award: Leigh Anne Langwell, “Drift”
Juror’s Honorable Mention: Ben Panter, Mint Tin Bridge
Director’s Award/liveBooks Website Award/Blurb Book Award: Eric Pickersgill, “Drift”
Director’s Honorable Mention: Sean Stewart, “Evacuated Space no. 211″
See you this weekend!
LEIGH ANNE LANGWELL
(Photo credit: Leigh Anne Langwell, “Drift”; Juror’s Selection)
Leigh Anne Langwell’s photograms burst across the paper surface like so many dying stars and exploding galaxies, the stuff of science fiction or microscopic cellular analysis – either/or would fall in line with Langwell’s thinking.
She writes:
Read MoreMy professional background in biological and medical imaging has had a considerable impact on my artistic process. My earlier work was specifically concerned with the historical conventions of scientific imaging that often appeared in outdated scientific texts from the late nineteenth and early twentieth centuries.
What I found interesting were the outmoded conventions of logic that dictated how the information was presented in relationship to a body of presumed facts that were either no longer valid or had simply ceased to exist outside of their own obsolete relationships. When the context of these images ceased to adequately inform them, fact became rather pliant metaphor that called into question the veracity of the nature of observation and the presumed objectivity of both the observer and the scientific document itself.
MARITA GOOTEE
(Photo credit: Marita Gootee, Lobster)
(Photo credit: Marita Gootee, Shadows)
Photographer Marita Gootee taps into that youthful disquiet regarding the goings on beneath the languid surface of a swimming pool. Using an 8X10 view camera with prolonged exposures, Gootee shifts attention between the obvious and the nearly invisible.
She notes:
The water looks placid until one looks deeper and sees the ghost images of other floating aquatic creatures…This series explores the dialogue between dreams and reality.
Visit www.maritagooteephotography.com to see more of Marita’s work
Read MoreS. GAYLE STEVENS
(Photo credit: S. Gayle Stevens, Pool Diving Board Near Everitt)
(Photo credit: S. Gayle Stevens, Pool West Beach and Barkley from the Ser)
Haunting – is there another word as suited to the sudden absence of thousands of homes and the displacement of thousands more that once lived there? Haunted perhaps is an equally apt description for the remnants of destruction. Photographer S. Gayle Stevens examines the detritus of civilization that was Pass Christian, a lesser publicized victim of Hurricane Katrina.
In her own words:
Pass Christian, a community on the Mississippi gulf coast, lost all but 500 of its 8,000 homes when Katrina’s storm surge topped the high water markers at over 30 feet and drove destruction more than half a mile inland. This series is composed of wet plate tintypes and salt prints which immerse viewers in the long-term impact of Katrina on the homes and buildings central to life in this community that has received much less attention than New Orleans.
I hope to provoke reflection about the degree of almost universal destruction. This project will evoke conflicting emotions in viewers witnessing the terrifying impact on residents while experiencing the beauty of the almost skeletal remains of homes and buildings, reduced to their starkest and most stable elements.
If you haven’t dropped by just yet, check out more of S. Gayle Stevens ‘ work
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