Posts Tagged "New Visions"
NEW VISIONS // PATRICIA FOSCHI
(Credit: This is Not a Woodblock Print by Patricia Foschi)
“Familiar art and ‘non-art’ materials are intermixed … Visual ambiguities are paired with conceptual ambiguities.”
Patricia Foschi’s digital photomontage on canvas, This is Not a Woodblock Print, is featured in the Center’s “New Visions” exhibition. It is from her series of photographs, photomontages, and photo etchings that provide two-dimensional representations of three-dimensional objects. In this image, wood blocks are dematerialized and flattened by the photographic plane.
Read MoreTERRI GARLAND
(Photo Credit: Fire Eater, 2009 by Terri Garland)
Terry Garland, a photographer based in the American South, documents Southern customs by often investigating issues of racism and xenophobia, as well as religious convictions. Garland’s image Fire-Eater, 2009 from The Good Books series is featured in the Center’s “New Visions” exhibition. The piece examines a dilapidated dictionary—a once bound hardback salvaged from the aftermath of Hurricane Katrina. To find this book and others like it, Garland walked through Central City and the Lower Ninth Ward of post-Katrina New Orleans recovering discarded publications in deserted buildings and churches. Garland then scanned the books she found—documenting them in all of their desecration. Her series reveals more than just torn, burnt, and weathered pages. Each tattered book symbolizes the trauma of its previous owners and embodies the repercussions and abandonment of a hurricane-ridden New Orleans. While the bibles in the series suggest devastated faith, the dictionary shown in Fire Eater, 2009 suggests a loss of communication—a city shut-off and isolated from the rest of the country.
More images from The Good Books series:
(Photo Credit: Zebra Bible, 2006 by Terri Garland)
(Photo Credit: Lapis Bible, 2006 by Terri Garland)
NEW VISIONS // MASSIMO CRISTALDI
(Photo Credit: Refinery Flock Triptych (Panel 1) by Massimo Cristaldi)
“This project, [which] starts from the utilitarian relationship between flocks of birds and the heat emitted by a Refinery, investigates [the] precarious equilibrium between industries and animals—between manmade artifacts and Nature.”
Massimo Cristaldi’s photograph Rifinery Flock Triptych (Panel 1) from his Refinery Flocks series was given the Director’s Honorable Mention in the “New Visions” exhibition. Cristaldi’s series depicts the fluid intuitions of bird swarms. In his own words, Cristaldi uses his series to present “a certain ‘synergy’ between the monstrous products of progress and natural species.”
More of Massimo’s work can be found at:
http://www.massimocristaldi.com
NEW VISIONS // JOHN Y. CHANG AND BRETT VAN ORT
John Y. Chang
(Photo Credit: Ice Paint Series (1) by John Y. Chang)
“My work expresses my cultural milieu in a context of hope: from the beauty of traditional painting techniques to the search for meaning in digital media.”
John Y. Chang uses his Ice Paint series to blend “cultures, aesthetics, and media.” Using ice as a metaphor for the impermanence of being, Chang also questions differences in color—both painterly and racial. By photographing ice, Chang essentially halts the process of its temperamental nature to melt.
Brett Van Ort
(Photo Credit: PROM MINE by Brett Van Ort)
“I want to portray the landmines as products in a magazine or catalogue on sale to the general public. To present them as beautiful objects contradicts how we should feel about them.”
(Photo Credit: Brett Van Ort)
More of Brett’s work can be found at:
http://www.brettvanort.com
NEW VISIONS // NATHANAEL TURNER
(Photo Credit: Closet Studio by Nathanael Turner)
“I met Larson while I was living on Barton Street in the 19th ward of Rochester. I call, find out where he is, and drive across the river. I am artificial. I am willingly forced into something that I do not merge with. The camera creates a divide, and although I sometimes break across that line and become a participant, I am never fully a part of his life … The Closet Studio gives Larson a voice. His words are captured and projected out into the world. It is this need to communicate that ties our lives together.”
Nathanael Turner’s photograph, Closet Studio from his Larson series, was selected for the Center’s “New Visions” exhibition. In this series, Turner often turns his camera directly at his subject, who–as alluded to in the series’ title–is identified as Larson. Symbolically, Turner also examines his subject’s existence by picturing Larson’s surroundings, home, and neighborhood.
More images from the Larson series:
(Photo Credit: Nathanael Turner)
(Photo Credit: Nathanael Turner)
More of Nathanael’s work can be found at:
http://www.nathanaelturner.com
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