Andrew Moore's "Blue Sweep"

moore abandoned.jpeg

Blue Sweep, an exhibition of new photographs taken in Alabama and Mississippi by American artist and MFA Photo/Video faculty Andrew Moore, is on view this month at Yancey Richardson Gallery in New York. Following in-depth explorations of the economically ravaged city of Detroit (2007 – 2009) and the mythic high plains region along the 100th meridian (2011 – 2014), Blue Sweep continues the artist’s investigation of “the inner empire” of the United States.

moore table.jpeg

The result of twelve trips over three years, Moore’s work in the American South uses historic homes, both grand and modest, the preserved backroom of a Jewish social club, the curtained entry to a Freemason’s temple, a worm-eaten map of Hale County and a ruined bridge in a verdant swamp to suggest the economic, social and cultural divisions that characterize the South and the love of history, tradition and land that binds its citizens. The exhibition juxtaposes three different views of domestic dwellings which allude to these themes: the richly adorned library of a grand plantation house; a modest bare-floor bedroom decorated with emblems of God and country hung on unpainted wooden walls; and a remote trailer home with a dirt swept yard, a traditional landscaping practice brought to the south by West African slaves.

The son of a Connecticut architect, Moore has frequently used architectural structures as a means to explore themes of time, culture and a complicated history of place. While he has often undertaken a study of place on the verge of change - the shuttered theaters of New York’s 42nd Street preceding its remaking as a vortex of consumerism, Havana just prior to the suspension of U.S. travel restrictions and early post-Cold War Russia before the embrace of western capitalism - the images in the exhibition Blue Sweep suggest a place lost in time and in full embrace of the old.

moore niceplace.jpeg

Born in 1957, Andrew Moore lives and works in New York City. His work has been featured in solo and group museum exhibitions at the National Gallery of Art, the Akron Art Museum, the Queens Museum of Art, Colby College Museum of Art, and the National Building Museum, Washington D.C. He will be featured in upcoming exhibitions at the Museum of Fine Arts, Boston and the San Francisco Museum of Art. Moore’s photographs have been acquired by numerous museums in the United States and internationally, including the Metropolitan Museum of Art, the Whitney Museum of American Art, the Library of Congress, the Israel Museum, the San Francisco Museum of Modern Art, the Los Angeles County Museum of Art, Yale University Art Gallery, and the Detroit Institute of Arts, among others. Five monographs of his work have been published: Inside Havana (2002, Chronicle), Russia (2005, Chronicle), Detroit Disassembled (2010, Damiani), and Andrew Moore: Cuba (2012, Damiani). In 2019, Damiani will release Blue Alabama, a monograph on Moore’s work in the American South.

William Miller '17

WE TRAVEL TO AND SHALL BE LOST IN ALWAYS

a thesis by William Miller

MILLERThesis_JPGPortrait_2.jpg

This project is different from anything I’ve done before. It’s much more personal and intimate. In fact, it goes deep into my chromosomes and the cells of my brain. Eight years ago, when I was 40 years old I found out that I had Huntington’s disease. We Travel To And Shall Be Lost In Always uses video, installation and photography to highlight my personal experiences with this fatal neurodegenerative disease as well as draw relationships between my own failing memory and the crisis of the deterioration of digital files, media and storage known as “bit rot.”

Huntington’s disease (HD) is an inherited neurodegenerative disease that causes the progressive breakdown of nerve cells in the brain. The early physical symptoms include loss of balance, reduced dexterity, involuntary jerking or writhing (called chorea), slurred speech and difficulty swallowing. Victims are often given to bouts of unpredictable and even violent behavior. HD is typically diagnosed between the ages of 35 and 45, proceeding inexorably to death in 10 to 20 years. There is no cure and no treatment to slow or halt the progression. It’s been called the cruelest disease known to man.

Due to my short-term memory loss and cognitive fogginess, I’ve become reliant on smart devices to help remind me of appointments, keep track of the days, to retain my thoughts and ideas. These mnemonic devices have become an extension of my memory but study after study shows that the machines we’ve surround ourselves with to enhance our memory are actually damaging it. Certainly, with them we have more access to facts, figures and our personal memory archive of notes, images and correspondences but without them we’re becoming more forgetful. Furthermore, much of the technology we use are flawed, vulnerable to corruption and subject to obsolescence.

While my thesis is built around a suite of videos, which I describe below, it also includes the photographic series JPG Portrait (2017, Archival Pigment Print. Starting as conventional studio portraits of myself, I use Photoshop to resize and compress the digital file thereby erasing a great deal of information from the files. Rebuilt using 3D tools, these images emulate the tendency of human memory to deteriorate but then rebuild itself, sometimes inaccurately.

In the video Unlucky (2016, Video, 3:45 minutes) an audio track features a lone voice telling a first-person story about going to the hospital and receiving a diagnosis for Huntington’s disease. As the story progresses it becomes clear that mistakes, miscues and flubs have been kept in the audio, highlighting the fact that the reading is a performance. But is it from memory, an account, or read from a script? The video’s visuals show a 3-D scan of my head. It seems to be turning intermittently by an unseen force.

In the video Sullen Entropy (2016, Video, 6:11 minutes) I appropriated text from a closed group Facebook page for victims of Huntington’s disease their families and caregivers. They share their intensely personal and occasionally harrowing stories about living with HD. I then print the posts, with their sloppy spelling, poor grammar and other marks of emotional and physical haste, I scan the prints and put the files through a photogrammetric process that causes the text to decay and distort and break apart. I piece several of the posts together to form a loose narrative in which I’m trying to convey something more than the account of their individual experiences. This piece is projected on a wall or screen, highlighting its ephemerality.

The video Hexenzsene (2017, Video, 1:19 minutes) is shown on a vertical screen. It opens on a table devoid of objects or people. Soon a violet ball floats down, in slow motion, from the top of the screen. It hits the table hard with a distorted crash and slowly bounces up to the top of the screen. The ball bounces in extreme slow motion several more times until it moves inexplicably toward the precipice of the table edge and comes crashing down out of sight but still within earshot.

The video, Self Test (2016, Video, 2:38 minutes), features me in a studio environment doing a standard neurological exam that is given by doctors to assess motor and sensory responses, especially reflexes, to determine whether the nervous system is impaired. People with HD are frequently giving themselves these kinds of tests, looking nervously for ticks or hand shaking associated with early stages of Huntington’s. For them, the consequence of finding flaws in these neurological self tests are profound and life changing.

The video Frames and Focus (2017, Video, 1:53 minutes) pens of a shot of my face in a studio environment. A child’s hands emerge from the bottom of the screen and start to push my cheeks together. A low, slowed down voice can be heard encouraging the action. The child, who is my son, slaps, squeezes and smushes my face, sometimes enthusiastically, sometimes reluctantly, while I try to keep my eyes straight ahead.

Lastly, my thesis includes a sculptural installation, Untitled (In Lieu) (2017, artificial flowers, electric turntable, foam core), using fake plastic flowers often used to memorialize gravesites. Flowers are a powerful symbol of birth and death, of celebration and mourning, of commemoration and memory. During my own trips to cemeteries, I noticed fresh graves typically have freshly cut flowers whereas older graves tended to have artificial flowers— grief and mourning over time is replaced by commemoration and memory. Collected and sorted by color, the plastic petals are placed them on a rotating surface in the graduated color wheel. The spinning color wheel looks similar to an Apple computer’s expression of thinking when it gets hung up in operations. The “spinning wheel of death” is the computer’s signal that it is struggling to remember.

MILLERThesis_JPGPortrait_1.jpg

Jacqueline Bates curates "At Home: in the American West" at Aperture

Mary Dambacher, Taos, NM ; Photo by Ahndraya Parlato & Gregory Halpern

Mary Dambacher, Taos, NM; Photo by Ahndraya Parlato & Gregory Halpern

In a year when thousands of migrant children have been sent to live in tent cities, rents for a San Francisco apartment average $3,750, and wildfires have destroyed entire communities, the question of how people define “home” has never felt more urgent. Some feel nostalgic about where they came from, some never left the towns they grew up in, and others couldn’t wait to leave. At Home, organized by MFA Photo/Video alumni and California Sunday Magazine Photography director Jacqueline Bates in conjuction with Aperture Gallery, features a variety of emerging and established photographers who traveled through ten states in the American West and spoke to people about what, and where, home is. At Home will be on view December 6, 2018 – January 4, 2019, with an opening reception on Thursday, December 6 from 6:00-8:30 pm.

Derrick Washington & Kurt Gramm, Los Angeles, CA;  Photo by Erica Deeman

Derrick Washington & Kurt Gramm, Los Angeles, CA; Photo by Erica Deeman

The series includes a formerly homeless woman who finally feels settled in her tiny house in Seattle, a single mother who found her sanctuary living off the grid in the New Mexico desert, a couple who built their dream mansion in the mountains, a DACA recipient who has proudly purchased his first home in Utah, and a Los Angeles native who feels at peace by the ocean.

This exhibition coincides with the publication of The California Sunday Magazine’s December special issue in which all stories will be told through photography, focusing on a single theme: Home.

Jacqueline Bates is Photography Director of The California Sunday Magazine, which won the National Magazine Award for excellence in photography two years in a row, in 2016 and 2017, and Pop-Up Magazine. Previously, she was senior photo editor of W Magazine and worked in the photo departments of ELLE, Interview, and Wired. Bates holds an MFA in photography from the School of Visual Arts, and her work has been exhibited internationally.

Melvin Harper featured in "It is astonishing the lengths to which a person, or a people, will go in order to avoid a truthful mirror"

Project for Empty Space is pleased to present It is astonishing the lengths to which a person, or a people, will go in order to avoid a truthful mirror, an exhibition in collaboration with the For Freedoms initiative, featuring MFA Photo/Video alumni Melvin Harper. The exhibition was inspired by James Baldwin’s short story "This Morning, This Evening, So Soon," and explores the themes that are still relevant over half a century after Baldwin’s work was published. It is astonishing the lengths to which a person, or a people, will go in order to avoid a truthful mirror will be on view through January 2019.

still from  Watch  (Melvin Harper, 2016)

still from Watch (Melvin Harper, 2016)

Baldwin's “This Morning, This Evening, So Soon,” was published in The Atlantic Monthly, in 1960, and later included in a collection of short stories, “Going to Meet the Man,” this piece follows it’s protagonist through a series of memories and reflections on the eve of his return to the United States after years of living in Paris. As with many of Baldwin's delicate and visceral short stories, the thematic underpinnings of “This Morning, This Evening, So Soon,” are racism and violence, invisibility and imposed identity, love and loss, pain and precarity, and, perhaps most importantly, the intersections of all of the aforementioned human phenomena. In It is astonishing..., these themes are explored within a contemporary framework.

still from  3017  (Melvin Harper, 2017)

still from 3017 (Melvin Harper, 2017)

Founded in 2016 by artists Hank Willis Thomas and Eric Gottesman, For Freedoms is a platform for creative civic engagement, discourse, and direct action. Inspired by American artist Norman Rockwell’s paintings of Franklin D. Roosevelt’s Four Freedoms (1941)—freedom of speech, freedom of worship, freedom from want, and freedom from fear—For Freedoms’ exhibitions, installations, and public programs use art to deepen public discussions on civic issues and core values, and to advocate for equality, dialogue, and civic participation.

Melvin Harper is an English born Creative Art Director and Visual Artist based between Hollywood, Ca, and NYC. His recent exhibitions include: Volta Art Fair, NYC; Art Basel, Miami Beach; and Re: Art, NY.

Yi Qian '18

Life Drawing

a thesis film by Yi Qian

7_QIAN_YI_2018_19.jpg

Family is of the utmost concern to me. I started making art works using my family members as the main subject at the very beginning of my career as an artist. For my thesis project I decided to make a film based on my family history. There are three generations of artists in my family tree, going back to my grandfather on my mother’s side. This film is about roles artists play in culture and history which can be manifested in how we walk on the road to becoming artists. I hope it will give viewers an opportunity to learn about what it is like to be an artist in China and that encourages them to think about their own future developments.

As artists, my grandfathers on both my father and my mother’s side, my parents and I are different in many ways. Why and how did we enter the gate of art? How did we learn the skills of making art? What do we think are the biggest challenges artists face? For those watching the film, all those questions will be answered or discussed. And viewers will not only learn about the personal experiences of the artists in my family, but also understand a bit about the dramatic changes that happened in China after World War Two and how we each formed our worldviews and sense of values under the influence of the political and economic environments of the time periods we’ve lived in and through.

1_QIAN_YI_2018_17.jpg

Speaking of worldviews, there are huge experiential and aesthetic differences between the different generations in my family. To be more specific, painting posters for the government was my grandfather’s job to make a living. The most influential event during his lifetime was the Cultural Revolution (1966 – 1976). At that time, not only artists but all highly educated people were considered dangerous to society by our government. They and their families were humiliated and persecuted like public enemies. Before that era started, my grandfather spent his spare time painting portraits for my grandmother and going into nature to make landscape paintings. But in 1966, he was forced to stop painting landscapes and the only portraits he could paint were of the great leader of the Communist Party and the country, Chairman Mao.

My grandfather has no desire to fight for free will in his heart, because he thought there was nothing wrong in the idea that all art related activities were serving the government as the party’s propaganda tools. What he chose to believe in kept him and our family out of the harm’s way. But not every artist or those who did art related works was as ‘lucky’ as he was. Giving up making his own art was not the only compromise he made. When my mother showed her interest in painting, he was not happy about it at the very beginning, because he thought becoming a painter was not a good career choice for a girl. But after my mother proved her determination, he chose to respect that and gave her his full support. Coincidently, the same plot twist happened between my father and me, after I told him that I wanted to be a filmmaker. How history repeats itself fascinates me.

For my parents, they had the chance to make their own art and their love for painting came from the bottom of their hearts. Unfortunately, after the Economic Reform and Opening in 1978, Chinese society changed again, and this time was filled with and shaped by material desires. In order to survive, lots of artists in that curtail moment had to abandon their dreams and having no relationship with art or just used their art making skills to make money. My parents joined at second group of people. When my parents were young, they learned how to paint at masters’ homes and they didn’t need to pay their mentors anything. There were no organizations or schools to teach children painting skills. The whole art world at that time was based on one-on-one master and apprentice relationships. After 1978, Chinese society became extremely competitive. Parents started investing more and more money in their children’s education. And painting was one of many skills they thought their children needed to master in order to give them competitive advantages in the future. My parents, for example, built up a school to teach children to paint and, as result, economically benefited from it. Since then, they had no spare time for making their own arts for a very long time because they were busy with teaching and managing. They promised themselves that they would pick up their brushes again, once they were sure that I would have a promising future.

Speaking of my generation’s experience, the College Enrollment Expansion program implemented by our government in 1999 played a huge rule in our lives. In most cases, the results of this one test shape a student’s destiny. Getting high scores of this test in order to be accepted by college became most of Chinese parents’ ultimate goal for their children’s education. Both parents and their children are under huge pressure and willing to do almost anything to achieve this goal. For example, students who have neither interests nor talents in becoming artists choose to apply for art academies, because you can get in with lower scores than regular colleges require, as long as you pass special exams designed specifically for art students.

My parents started training me in their school, as well, when I was around ten. And in order to give me an even better chance to get into the best art academy, they even sent me to another more ‘professional’ training center before I took the test. I tried my best and passed that exam, even though I clearly understand that painting wouldn’t be my choice as a way to make art. The psychological struggles I experienced while doing something against my will was the price I paid for getting into a college located in Shanghai, one of the most international and developed cities in China. Fortunately, it’s now possible for the people of my generation to go abroad. And the years I spent in Shanghai really opened my eyes and helped me find the courage to pursue my dreams as an artist in America after I graduated.

3_QIAN_YI_2018_10.jpg

As I mentioned in previous paragraphs, there are neither total ‘heroes’ nor ‘villains’ in my family tree. And my film will not be about critiquing the decisions my family made and the opinions we held before. In reviewing how we faced challenges as artists living in China, I realized that the beauty of humanity is not only found in extreme situation and reactions, but also in the compromises we make and the struggles we each have. I believe when people are focusing on doing one same thing, like watching a film together, they will create a special energy. My long-term career goal is making films that can help people build connections with each other and call on them, especially artists, to develop their sense of social responsibility.

Rebecca Krasnik '18

On, Towards and in Front of Time

a thesis by Rebecca Krasnik

Krasnik_Rebecca_2018_04.jpg

Temporal Advances

László Moholy-Nagy, one of photography’s great visionaries, once stated that the “scientific and technological advances [of photography] almost amount to a psychological transformation of our vision.” Relatively simple advances in mechanics and science unveiled remarkable new ways of seeing a once-familiar world. For Moholy-Nagy, this “trained our powers of observation to a higher standard of visual perception than ever before. Photography imparts a heightened and increased power of sight in terms of time and space” (in Bell & Traub, 2015, p 70). In the years between 1880 and 1918, technological developments in photography and the moving image contributed to what Kern called a “reorientation” and a “transformation of the dimensions of life and thought” (1983, pp 1-2).

With this in mind, I intend for my work to shed light on how computer-generated visuals differs from older forms of representation, and how this might affect our perception of the world today. Even though 3D computer-generated visuals mimic lens based media, merge with them, and are used and understood within the same framework, they originate from completely different technical and theoretical concepts.

Technological advances in photography and video and the qualities that separate the two, has often given “rise to incompatible yet intertwined ideas about the truth of images and the understanding of time and motion” (Campany, 2008, p 22). What shapes our use and understanding of the media often stems from how the image relates to our experience of the word, and the critical question has often been how our experience of the world is best represented – is it by the static detail made visible by the still photograph, showing us what our eyes cannot see? Or is it by the reanimation of movements made possible by the moving image, showing us a more immediate form of our experience?

With 3D computer-generated visuals, a new form of representation is possible. Two qualities that differentiate it from older means of representation are its seemingly endless possibilities and its ability to run continuously and indefinitely. While a photograph is a collaboration between the photographer and the world in front of her, a 3D computer-generated image is a collaboration between the maker and her imagination and memory of the world. With 3D computer-generated visuals, there is no ‘real time’, no speed or slow-motion. Thereby the medium allows for a representation which is no longer dependent on external factors. This also allows for a temporal shift, from a time related to our body and earth’s rotation to a more fluid and individual time.

Krasnik_Rebecca_2018_01.jpg

On, Towards and in Front of Time consists of three computer simulations shown on three separate screens and a sound piece, all installed in a wooden structure. The structure is an architectural space based on a grid-pattern, mimicking temporary walls – creating a fragmented room.

It is a place in flux; simultaneously in a process of construction and deconstruction. Parts of the structure are not fastened but stand in balance – conveying a moment suspended in time.

In my search for the timeliness imbedded in computer-generated visuals I have created three timescapes or scenes, which work as simulations. They are not set animations or video loops, but run by algorithms, like a videogame that plays itself. They can in theory run infinitely – that is, until the hardware breaks or the software crashes. They mimic reality, even though they are rooted more in my imagination than in the physical world.

Krasnik_Rebecca_2018_07.jpg

In one timescape, a turtle walks around in a seemingly eternal void. In another, a sphere rotating 360 degrees around a center, mimics a clock moving in real time. A swinging pendulum hints to another means of time measurement. These symbols of time, which are grounded to earth, emphasize the lack of time within the computer-generated space – or rather its disconnect with the measured time we know. None of them follow the rhythm of real time but follow a beat written in the algorithm that generates each one.

The sound piece emphasizes this disconnect further by telling the story of the New York Telephone Company’s Time Bureau. This was a service started in 1928, which provided New Yorkers with the correct time whenever they called. Offering callers access to the World Standard Time, the Time Bureau grew rapidly in popularity and reach as the telephone network expanded through the decades after its inception. The story consists of facts and statistics on the service, as well as fictitious anecdotes relating to these facts. It is a story about a search for a connection between a private, subjective time and a collective, measured present moment in time. Thereby the sound piece explores an example of how new technologies changed general perceptions of time in the beginning of the twentieth century from a local based time to an inclusive global network of ‘now’. As Kern argues: “Telephone switchboards, telephonic broadcasts, daily newspapers, World Standard Time, and the cinema mediated simultaneity through technology. … In an age of intrusive electronic communication ‘now’ became an extended interval of time that could, indeed must, include events around the world.” (1983, p 314).

By juxtaposing the story of the Time Service with the 3D computer-generated simulations, placed in an unstable structure, I suggest that a similar shift in our perception of time is happening now. With the new temporal opportunities in 3D computer-generated images, times is more fluid, moldable, and indefinite. This widens our perspective; new possibilities occur and a reverse or a non-linear time is easier to imagine and much more likely to exist.

Maybe what I suggest we are seeing now is merely a continuation of reactions and questions that arose around turn of the twentieth century. But as computer generated visuals continually become a bigger part of how we create images of the world and how we see it represented, I find it fascinating to engage with this relatively new medium and to experiment with what I think are new temporal opportunities.

Rebecca Krasnik

New York City, October 20, 2018

Penelope Umbrico in conversation with Lyle Rexer

Accomplished writer, curator, art critic and MFA Photo/ Video faculty member Lyle Rexer had the chance to sit down with fellow faculty member and artist Penelope Umbrico to discuss Umbrico's work in the upcoming November/ December issue of "Photograph Magazine." As Rexer states, "Penelope Umbrico is that rare artist who has built a significant reputation largely through public commissions and installations at institutions from the Musee des Beaux Arts in Le Locle, Switzerland, to New York City's Grand Central Station.

Umbrico currently has two works on display simultaneously around New York. First, her wall installation in the exhibition Anna Atkins Refracted is part of the New York Public Library's 175th-year celebration of the English cyanotypist (through January 6). Lastly, her installation Monument, a collection of, among other elements, disassembled television screens, is featured at BRIC Media House, the Brooklyn art and performance space (November 29- January 20)."

Installation view of Umbrico’s work

Installation view of Umbrico’s work

Penelope Umbrico offers a radical reinterpretation of everyday consumer and vernacular images. She works “within the virtual world of consumer marketing and social media, traveling through the relentless flow of seductive images, objects, and information that surrounds us, searching for decisive moments—but in these worlds, decisive moments are cultural absurdities," finding these moments in the pages of consumer product mail-order catalogs, travel and leisure brochures; and websites like Craigslist, EBay, and Flickr."

As Umbrico states in her interview with Rexer, "The internet changed everything. For one, it gave me access to unlimited source material, and the screen became my studio, in a sense. And living and working through the screen made it become part of what the work is about."

For the full interview, visit Photograph Magazine for the November/December issue.

Fall Salon 2018 Recap

This year's Fall Salon was a great success and we are so pleased to share some highlights with you. Included among the stellar photographic works were several large-scale installations, a screening of short films, works in interactive video, sculptural elements, sound experiments, and performances.

If you missed us this Fall, be sure to stop by in the Spring for what is sure to be another successful event. In the meantime, enjoy the following recap of our 2018 Fall Salon!

I. Preparation

Kyle Henderson  installing his work.

Kyle Henderson installing his work.

All set up and ready for the evening!

All set up and ready for the evening!

Snacks aplenty.

Snacks aplenty.

 

II. The Main Event

Thesis students  Paul Simon  and Kyle Henderson discuss Simon’s work.

Thesis students Paul Simon and Kyle Henderson discuss Simon’s work.

Wanki Min  standing beside a consortium of work from his ongoing series.

Wanki Min standing beside a consortium of work from his ongoing series.

Heather Olker  and guest enjoying her first Fall Salon.

Heather Olker and guest enjoying her first Fall Salon.

Installation view of  Brianna Calello ’s work.

Installation view of Brianna Calello’s work.

Po Han Huang explores photography through the use of social media.

Po Han Huang explores photography through the use of social media.

Sara Arno  takes a break with her work.

Sara Arno takes a break with her work.

Petros Lales  presents his 3D modeled organelles to a fellow student.

Petros Lales presents his 3D modeled organelles to a fellow student.

Explorations from Joshua Spector

Explorations from Joshua Spector

Beautiful sculptural works by thesis student  Kyle Henderson

Beautiful sculptural works by thesis student Kyle Henderson

 
New student  Terrance Purdy  and friends with his selection of portraiture works.

New student Terrance Purdy and friends with his selection of portraiture works.

Book mockup from thesis student Angie Yoon Ji Nam

Book mockup from thesis student Angie Yoon Ji Nam

Thesis student  Brett Henrikson  with textiles based on his images.

Thesis student Brett Henrikson with textiles based on his images.

New student,  Hyemi Kim , poses for the camera.

New student, Hyemi Kim, poses for the camera.

A guest gazes at the works of thesis student David Cade.

A guest gazes at the works of thesis student David Cade.

 
Yi Hsuan Lai  with her installation at Fall Salon. Details below.

Yi Hsuan Lai with her installation at Fall Salon. Details below.

Thesis student Collin  Xueqing Yin  mimics the subject of display.

Thesis student Collin Xueqing Yin mimics the subject of display.

New student,  Fernando Sancho  and guest

New student, Fernando Sancho and guest

 
Jonathan Ellis  beside his stunning landscapes.

Jonathan Ellis beside his stunning landscapes.

Yeshan Zhang beside her documentary portraiture.

Yeshan Zhang beside her documentary portraiture.

Many thanks to everyone who came by and lent their time and support to our talented student body. Your presence and engaging conversations was much appreciated and added to the success of our 2018 Fall Salon. We hope to see you again in the Spring for another edition of MFA Photo, Video, & Related Media’s Salon!

 
SVA-MFA-logo_colors-01.jpg
 

Yoav Friedlander solo exhibition ‘‘After the Fall’’ at Carrie Able Gallery

Yoav Friedlander, MFA Photo/Video alumni, presents a solo exhibition at the Carrie Able Gallery this month on Wednesday Nov. 14.

Screen Shot 2018-11-13 at 1.07.31 PM.png

Speaking on his images, Friedlander says:

Screen Shot 2018-11-13 at 1.06.29 PM.png

"Ever since I can remember it was photographs who introduced me to and informed me of my personal and collective past or present realities that are inaccessible or out of reach. Photographs had visually mapped reality. A broken promise we made to ourselves looking up to the medium as a neutral reflection of what visibly exists. We treat photographs as hard evidence, and to the extent that we find ourselves considering what is real to be different from how it should be according to its own image. Since the inception of photography, reality gradually became augmented by its own reflection. I am focusing my work at this point of friction."

Screen Shot 2018-11-13 at 1.22.46 PM.png

Yoav Friedlander is a miniature scale model fine artist and photographer. Born 1985 in Israel, Yoav received his BA in Photographic Communications from Hadassah Academic College Jerusalem in 2011, and graduated with an MFA in Photography Video and Related media from the School of Visual Arts NYC in 2014.

Friedlander has shown work at The Artists' House, Jerusalem, The Wassaic Project, N.Y., and The Venice Bienniale, among numerous other galleries, worldwide. He is also the co-founder of Float Photo Magazine.

For more information about Friedlander's upcoming solo exhibition, visit the event page or RSVP here.

©Yoav Friedlander, 201 North Pearl Street, Shamokin, PA, 2018

©Yoav Friedlander, 201 North Pearl Street, Shamokin, PA, 2018

In a write up by Lenscratch, Friedlander when asked about the series and it’s motivations responded by saying”

For now I can’t tell what value my pictures might have, but I took them with a sense of urgency to capture all that was colorful and all that was about to change. One of these pictures documents St. Nicholas Coal Breaker, It also happens to be one the last photograph of it standing. it was torn down the next day. I never had intended to insert myself into American history through the back door like this. It is unclear how I, a child of the desert, found myself venturing into coal mines in the frost of winter.

To read more please click here.

Department chair Charles H. Traub's new book "Taradiddle" featured in New York Times

ladywbook.jpg

In a recent article on The New York Times MFA Photo/Video Chair Charles H. Traub's new book "Taradddle" was highlighted and examined in a thoughful piece by writer Rena Silverman. The article and interview includes selections from the body of work. As Silverman notes:

"Photography seems like a truthful medium. Photographs are used for scientific and forensic evidence for their supposed truthfulness. Even Edgar Allan Poe thought daguerreotypes disclosed “a more absolute truth, a more perfect identity of aspect with the thing represented.”

Bronze Horseman, St. Petersburg, Russia, 2003

Bronze Horseman, St. Petersburg, Russia, 2003

Traub, himself, goes on to say of the work:

snowhouse.jpg

“A taradiddle is by definition a petty lie, a little falsehood or trifling told often to amuse or embellish a story,” he said. “As our world is full of them, seen and witnessed through advertising, P.R., propaganda, flirtations, staged events and presentations of all sorts, I simply came to the conclusion that even the straightest of photographs made in real-world witness was also such.”

Tavern on the Green, Central Park, NYC, 2006Credit

Tavern on the Green, Central Park, NYC, 2006Credit

Silverman goes on to assert:

"Mr. Traub’s taradiddles appear not just within the layers of his frame but in his careful combination of images afterward, a practice similar to that of Nathan Lyons, who thought bringing two photos together on a spread created an entirely different third meaning. Using scale, depth of field, and ironic pairings of subjects, Mr. Traub creates a whimsical world."

To take a closer look at the body of work, please click here.