» 2-D

Jessica Wohl

JessicaW1 — Sun, 09 Aug 2009 19:59:05 +0000

Families are strange, and I'm interested in why we try to pretend like they're not. There is a familiarity we seek and feel with commonplace portraiture, and I investigate methods of making these familiar images seem oddly unfamiliar. Portraits generally display a desired, quintessential image of a person. It is often, however, that the image depicted is a façade for the myriad of personalities that make up the subject of the portrait. I'm interested in the complexities of people, and how their various identities are lost upon the capturing of a portrait and the image that remains. The multiple layering and duplication of each subject is inspired by the proliferation of the phenomena in which so many of us, like a society of clones, succumb to the standard of presenting ourselves to the world in a portrait in which a smiling face masks the true identities of the person within.

Noelle Mason

NoelleM — Sun, 26 Jul 2009 18:43:55 +0000

LAN Party or “National Take Your Daughter to Work Day

In LAN Party or “National Take Your Daughter to Work Day” Noelle Mason grafts autobiographical narrative onto appropriated images, objects, and contexts in an attempt to negotiate the complexities of power, which reverberate between the interpersonal and institutional. The resulting installation, or local area network (LAN,) implicates the viewer in an act of violence and uses the gallery as a medium to examine the historical precedence that affirms the authority of viewership. In LAN Party a Remington M700 police sniper rifle is poised atop a domestic looking table. A stool and headphone set invite the viewer to position herself behind the rifle, aimed at a small ornately framed monitor across the room. The monitor which, can only be seen and heard when standing in close proximity, shows found footage taken through the lens of an American helicopter sniper as he targets and kills Iraqis on the ground. The video is accompanied by a telephone recording of Ms. Mason’s father’s voice coolly describing the formal qualities of his own experience with the Remington M700 (weight, material, kickback.) Outfitted with headphones and enabled by the magnifying powers of the rifle’s scope, the viewer across the room receives the sniper footage in concert with the original soundtrack—the voices of gunmen and the booming sound of shots being fired.

Maggie Percell

MaggieP — Tue, 21 Jul 2009 19:54:56 +0000

Loss of Self 2

Loss of Self

Rose M Barron

RoseB — Fri, 10 Jul 2009 21:11:58 +0000

: “Lena” from the Southern Portraiture Series

I have obsessively photographed my children since they were babies. Now that they are in their teenage years, I find that examining their identities as well as those of their friends through photography is fascinating.Youth can be seen as a time of searching for identity, during a time in which we also are being consumed socially and culturally with beauty and image. It is a time for exploring new possibilities, experiences and choices. While it is a time of prime physical condition and vitality, it is also a time of uncertainty. I find these concepts to be a common thread in this series of work.

Although I gave some direction, most of the work resulted naturally from the youth themselves. Observing inspired me and the images reflect the youths’ routines and demeanor. While our culture capitalizes youth as a tool of fashion and marketing, my hope is to present youths as complex and engaging human beings. This series deals with representations of young women in our culture presented as a complex state of mind and being.

"Niki" from the Southern Adolescent series

Kristin Anderson

KristinA — Wed, 08 Jul 2009 22:18:07 +0000

"Halo (Target)" Used dartboard, spray paint, 13.5 x 13 inches, 2009

One of a series of found objects recontextulized into halos, exploring the range of sources, benefits, and drawbacks to being a “good girl.” See more at www.kanderson.tv.

Karen Cleveland

KarenC — Sun, 07 Jun 2009 13:25:57 +0000

Perfomrance with studio-based drawing, Woods (Rabun, Georiga), 2009

This image captures a performance enacted with studio-based drawing, Woods (Rabun, GA) 2009. The drawing itself is an energetic impression of the woods of Rabun, Georgia, a depiction of how my body remembers a site. When in the woods, I often perform private intimate rituals of embedding my body within the landscape to deepen my physical and sensory connection to the land. My intellect is quieted and my body enters into a silent conversation with the cycles and rhythms of nature.

The act of inserting the body into urban studio-based work recalls the act of merging body with organic landscape yet reflects the urban environment and mediated experience. Markings on my body are made with similar manufactured and industrial materials that were also used in the making of the drawing. The body is a bridge that links studio practice with practices in the remote woods of northern Georgia and accentuates the distinct and different energies of organic and urban environments.

Milana Braslavsky

MilanaB — Tue, 02 Jun 2009 21:18:51 +0000

Selection of photographs from portfolio.

I work with domestic settings and distorted figurations.

I moved to the United States from the Soviet Union during my formative years, and I express the feelings of alienation and detachment and the wish to assimilate into a strange society that I experienced, through the tension and discomfort conveyed in the artwork.

You can see more of my work at braslavsky.blogspot.com.

Donna Huanca

DonnaH — Sat, 30 May 2009 00:10:33 +0000

Detail of ‘Childhood ‘memory station’ in Secret Museum of Mankind Installation

This piece was part of the installation Secret Museum Of Mankind where I created my own Natural History Museum, which included different ‘memory stations’: that represented my genetic past, childhood and future.

(Below) This mural is based off a original photograph obtained by my father during his service in the Bolivian Army in 1967. The characters in the piece are Che Guevara and his gang in the Bolivian jungles during their attempt to revolutionilize Bolivia. I used my father’s clothing and towels as materials.

Donna Huanca, Cuban Rebels, 1967 (Last Supper) 2007, 9’ x 12' Father’s Clothing on Canvas, Faux Cocaine

The Future Diorama was composed of all of the galleries pedestals and natural elements such as plants, dirt, bones, toilet paper.

Laura Young

LauraY — Fri, 15 May 2009 15:00:49 +0000

These photographs document a private ritual in which I adorn my body with line drawings and then display my adorned body to the camera as a re-enactment of the identity formation process.
This ritual mimics the daily grooming and attention to appearance that is tightly woven into a woman’s self image. At the same time, the ritual becomes role playing that allows me to construct a self image that plumbs the depths of my longings rather than conforms to society’s ideals of feminine appearance and behavior.

My goal has not been to capture my one true self that has always existed, but to expose the dynamic self that has yet to be.

Visit this artist’s website at: www.laurayoung.smugmug.com

Amber Boardman

Amber Boardman — Thu, 14 May 2009 19:18:58 +0000

My work is about the ways people communicate.
My work is about the obsession with affirming one’s own existence.
My work is about me.

I want to take great personal risks in the pursuit of personal transformation.
I want my work to be the evidence of this transformation.
I want my work to be generous.
I want my work to bring us closer.

Three Videos Below:

I Wish I Could See You

Voicemail

Physical Therapy

2008 / animated drawings, video, music - Wagner, Das Rheingold Prelude / duration 08:25

http://www.amberboardman.com