Ian Shelton 04 - Compositional

So there were two different works that really caught my attention this time, and, as it turns out, for the same reason.  The first of which, the works of Annette Lemieux, appeals to me (less so then the second [upcoming]) due to the compositional way that the pieces interact with one another.



The creation of a new image built of these other images, similar to a photomosaic, creates a beautiful composition and, astonishingly, I actually like it.  I am somewhat disappointed that the images are all the same, except flipped and negatived, however, BUT this is not the case with the second works, which are those of Adam Magyar.  These images, though similar, are all different, and, when displayed in a gallery, make a non existent panorama of a single continuous image.  The images themselves are lovely, but it is truly the way that the pieces interact that makes this a beautiful work.  For my final piece, I am inspired to do something similar, and hopefully, with potent results

Fusselman :: PHILIP - LORCA DICORCIA :: "East of Eden"

A display of the bizarre within completely normal-looking photographs. Technically, they don't appear upsetting. Their composition, color, and display is traditional and pleasant. It is the thematic content of the photographs that transforms them into upsetting or bizarre experiences.

Political and religious commentary + emotional noise comes out after a couple of reflective moments immersed in the work.

Once you become aware of a hidden element, you begin to look for it in every photo. It is not always clear, the message. It takes interpretation that is not always correct.

Taking bizarre elements and putting them into the real is a totally interesting endeavor to me. It is unnerving to encounter the ugly displayed as the norm. It is the right kind of upset. A disturbance to the familiar progression of daily life, or the expected effect of artwork.

BINH NGUYEN 04 // SHANE MCADAMS

S H A N E   M C A D A M S

After Shane McAdams' show, I was inspired to recreate his aesthetics using my own photographs. Although his pieces are very intriguing, I'm curious as to how this will have an affect in photographs. Will they take away or add more into a photograph? Although McAdams' work are based of landscapes, my interpretation will incorporate portraits instead.

With his use of ballpoint pens and resin, he was able to create these colored streaks. I'm not quite sure what the process was in order to create a broad range of colors, so I think it will require a lot of experimentations. In blackballed pens, the "black" ink is actually a composition of multiple colors so I think that's where the colors came from. 

Julia Cornelius 04

Julie Saul Gallery

Adam Magyar

Kontinuum

Train video can be found here:  http://www.magyaradam.com/

Tyler Boyle - Trip 4

In the Realm of Pyramids The Visual Philosophy of AGNES DENES

      Although the gallery itself was more focused on line drawings/technical drawing of structures I found this piece to be interesting. The process of thinking of an idea, then sketching it out, and following through is intriguing. I also think the grand scale of the project plays into its appeal.

Jitka Hanzlova

One to One

     The horse pictures were nothing to write home about, but the photos in the smaller back room were way more interesting. They were much more appealing and the use of color, light, line, pattern, and texture made these photos exceptional.

Emily Gilmore- Boomoon

Boomoon

Naksan #8263, 2010

Naksan

Flowers Gallery

529 West 20th Street, NYC

This guy is a social enigma. He creates large format photographs of landscapes that are typically devoid of all human or animal life. His series Naksan was shot during snow storms on the beaches of
Naksan, the eastern coast of the Korean peninsula. Each shot has a three-part composition of land, sea, and sky.

Boomoon has been working with this type of imagery since the 1980's. The prints signify a sense of self-reflection for him, and they offer a meditative visual space for viewers.

Naksan #934, 2014

"When I am in the field, the image itself decides what moment I am waiting for."

Installation view at Flowers Gallery, NYC

David Zwirner Gallery- Lucy Van Ellis

Although I wasn't able to attend the gallery tour to Chelsea last weekend, I looked through the itinerary and searched for what I felt was the most influential artist to me. I stumbled upon the artist Frank showed me when he came back from the tour and felt he was also my favorite artist.

Philip-Lorca diCorcia's show East of Eden is overflowing with perfect lighting acts as a calm veil throughout his work. His prints are on the cooler side and consist of environmental portraits. The photographs feel candid, yet planned because of the perfect light and composition that goes into each of them. His work feels like a quality planned snapshot. His images take everyday activities and make them feel somewhat surreal.

diCorcia was born in 1951 and studied a both the School of the Museum of Fine Arts and Yale University. He is now a current New York resident and reaches at Yale University in New Haven, Connecticut.

My favorite work was of a young boy jumping on a bed in what looks to be a sun room. It's a very simple photograph but has just enough detail that it is curious enough to engage a viewer for awhile.  The placement of the baby doll, the white lines on the blinds and the trees lining the deck add an extra something to these images.