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Posts Tagged ‘art’

Chicago Eyebrows

Here’s an informative article in the New York Times about the Smithsonian Photography Initiative.

Of particular interest within the Smithsonian’s project is the series of articles called Click! Photography Changes Everything written by “one hundred experts in their fields to explore the ways photography has changed a broad spectrum of disciplines—from anthropology to astrophysics, from media to medicine, from philosophy to sports.”

Check it out! 

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Moon Over Lake Nockamixon

Thanks to everyone who came out to the Palisades Gallery for my show opening last night – what a great time!  I didn’t get a chance to talk with everyone because it was so well-attended, so if I missed you, please forgive me.   Send me a note and let’s catch up!

Special thanks to those who came from quite a distance – especially the Hofmann boys! – and to my good friend, Moe Telsichs, for the flowers.  

Hope you caught the full lunar eclipse on the way home – it was gorgeous.

Here’s the statement that accompanies the 24 images in my show:

FOOD FOR THOUGHT

Between 1982 and 1997, America converted over 25 million acres of rural land — primarily farmland, pastures and ranches — into subdivisions, malls, workplaces, roads, parking lots, et al. That’s about equal to the combined land mass of Maine and New Hampshire.

We’ve been developing 2 million acres of rural land per year for the last 20 years.

If the trend continues, America will develop an additional 85 million acres of countryside by 2050. That’s about equal to the combined land mass of Connecticut, Massachusetts, Vermont, Delaware, Pennsylvania, New York, New Jersey and Virginia.

WHAT DO WE GAIN AND WHAT DO WE LOSE?

We gain infrastructure, homes, roads, shops, schools, parking spaces, hotels, resorts and jobs.

We lose wetlands, woodlands, hundreds of species of plants and wildlife, clean water, the ability to grow our own food, and as recent studies have shown, our mental & physical health, and our sense of well-being.

I want my photographs to help Americans question the worth of our land above & beyond its monetary value.

How much is an open horizon worth to us?

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Show Postcard

Two weeks!  Yikes!  I can’t believe I’ve been away that long.

I took a break from writing to prepare for a show of my prints that opens Wednesday, February 20th (tomorrow!) from 6:30 – 7:30 p.m. at the Palisades High School Gallery.   I’m very honored to participate in the ongoing “Community Art Series” organized by Cathy Beck and Kim DeNato, the school’s art teachers.

The show features 24 images all taken within the last 18 months. Most appear on my photoblog at www.durhamtownship.com.  Even if you’ve seen the images on the web, it’s quite a different experience to view them in print — the level of detail really brings them to life!

Hope you’ll stop by and say hello!  

Palisades High School Gallery

Route 412 & Church Hill Road

Kintnersville, Pennsylvania 18930

February 20 – April 2, 2008

Opening reception:  Wednesday, February 20, 2008, 6:30 – 7:30 p.m. 

(Gathering afterwards at the Ferndale Inn, Route 611 & Church Hill Road, Ferndale, PA)

Closing party: Wednesday, April 2, 2008, 6:30 – 7:30 p.m.

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Graduation

Jasper Johns is one of my favorite artists – quintessentially American, absolutely provocative and yet unusually quiet about his work.  He has a reputation for saying very little about what he does, which leaves interpretation to the viewer.  As much as I love his work, I love his persona.

Jasper Johns has a new show at the Met (called “Gray”, through May 4th) and a new exhibition of drawings at Matthew Marks Gallery (“Drawings 1997-2007” through April 12th) in Chelsea. There’s a lovely piece about him by Carol Vogel in yesterday’s New York Times. Some highlights (that tickled my tummy!) from Carol Vogel’s article:

♦  “Mr. Johns seems to have perfected the art of talking about his work without ever revealing too much. Always courtly, he answers questions in a measured, seemingly straightforward manner that leaves a listener wanting to know far more. It’s as if he is aware that a myth surrounds him that he must be careful not to dispel.”

♦   “For decades now his interpretation of flags and targets, numbers and letters — things, as he has often said, ‘the mind already knows,’ ‘things that were seen and not looked at, not examined’ — have become as embedded in the contemporary American art psyche.”

♦  “Predecessor Mark Rothko impatiently dismissed Mr. Johns’s targets and flags, saying, ‘We worked for years to get rid of all that.'”

♦  “He often executes drawings after he finishes a canvas, rather than before. ‘To do a drawing for a painting most often means doing something very sketchy and schematic and then later making it polished,’ he said. ‘It’s done out of a different kind of energy. I love drawings, so I’ve always enjoyed making drawings that exist on their own.'”

♦ “Born in 1930 in Augusta, Ga., and raised in Allendale, S.C., he received his early education in a one-room schoolhouse in rural South Carolina.”

♦ “About 60 years after he first arrived in New York, Mr. Johns is still very much the Southern gentleman. He retains his accent and his soft-spokenness. Yet his quiet demeanor and his six-foot frame make him intimidating at first; he chooses his words with such care that a questioner is tempted to do likewise.”

♦ “Each year, as soon as the temperature begins to plummet in Connecticut, he decamps to his house [in Saint Martin], joining his two resident dogs, Pepper and Pumpkin — both were found abandoned on the island — to work, garden, read, cook and do crossword puzzles.”

♦ “Asked what influence he feels he may have had on young artists, Mr. Johns paused. ‘To me,’ he said, ‘self-description is a calamity.'”

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Through the Viewfinder 

If you haven’t tired of the film vs. digital debate, I’m in awe of your forbearance.

As long as we have artists, new mediums will replace old mediums because of technological advances, safety reasons, costs, material availability and whims.   The old mediums don’t die; they simply fall out of mainstream favor.  But they remain revered by some, occasionally to the detriment of the spirit of art itself.

If you learn anything from art history, it’s that great artists transcend their mediums and make any debate about their materials or processes completely senseless.

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No Hanging Out

There’s a review by Holland Cotter in today’s New York Times about a new show at the International Center of Photography called “Archive Fever: Uses of the Document in Contemporary Art.”

Holland’s fascinating and glowing review has prompted me to see the show which runs from January 18 – May 4, 2008.  (I’m fortunate to live in such a beautiful, rural area with a 90-minute trip into Manhattan.) 

Holland writes: “Photography, with its extensions in film, video and the digital realm, is the main vehicle for these images. The time was, we thought of photographs as recorders of reality. Now we know they largely invent reality. At one stage or another, whether in shooting, developing, editing or placement, the pictures are manipulated, which means that we are manipulated. We are so used to this that we don’t see it; it’s just a fact of life.”

Of particular interest to me is this exhibit in the show:

“The thousands of images in a looping 36-hour slide projection by Jef Geys would seem to be linked by a firmer thread. They are a visual archive of Mr. Geys’s photographic output of 40 years. Whether they provide evidence of aesthetic development, though, or insight into the artist’s maturing mind and soul, will be known only to the most devoted of viewers.”

(Let’s see… the longest the museum is open on any single day is ten hours, and the longest anyone could realistically sit through a slide show might be three hours. So it’ll take at least 12 well-coordinated visits to see the whole thing!  With $12 admission, that’s $144, but an individual membership at $75 allows unlimited free visits.  Yay!)

Another exhibit in the show by Hans-Peter Feldmann sounds like a thoroughly intriguing study:  a room full of framed front pages of 100 international newspapers printed on Sept. 12, 2001.  To Feldman’s credit as an artist, and to Holland’s credit as a reviewer, both get past the fact that this event is still fresh to us and are able to raise all sorts of questions about image placement, text placement and the manipulation of content from country to country. 

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Happy New Year and welcome!

I’ve maintained a photoblog at www.durhamtownship.com for the last five years.  I’ve loved every minute of it and now I’m starting a second blog to polish my writing skills.

I’ll write about my work and my life, my influences and inspirations, and offer opinions about art, film, photography, literature, music, politics, American life and whatever seems worth scribbling about.

Hope you’ll drop by often!  Please join the discussion by leaving a comment.

— Kathleen

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