"His images are often of the mundane, but communicate heartbreak as Meyer casts his eye on fleeting moments and objects that are often passed over, unnoticed and unappreciated."
"These sterile, geometric images serve as an introduction to the show - a metaphor for unfulfilled freedoms. More concrete visual studies of Guantánamo Bay, police violence, surveillance technology, refugees and migrants, debt, LGBTQ discrimination, poverty and drug addiction, dwindling access to women’s health care, systemic racism, and the oversimplification of contentious issues through patriotic symbolism follow. While visually and topically diverse, all of the abridged exhibitions seem to share an interest in capturing unmediated truths."
Although Modotti’s career as a photographer spanned only nine years, her work is diverse and ranges from photojournalism of Mexican revolutionaries and citizens, to portraiture of both celebrities and everyday people.
"There was a collective sense of fantasy and discovery when meandering the paths of The Watermill Center’s garden, unknowing what fabulous artwork would next emerge from the foliage."
Photographing architecture is not merely documenting a building. Nikola Olic’s striking photographs capture architecture in a fascinating perspective.
Snakes are a fashion garment in Clare Strand’s book. They are decorative features affixed to the bodies of women, features that transform individual into model, action into pose. Strand’s cropping of a photograph compares the enamel shine of a posing woman’s painted fingernails with the snake scales she grips firmly. Other croppings seem to emphasize the decorative jewels worn by the photographs’ subjects. The snakes themselves appear in these images as an extension of dress, as necklaces or shawls, as living luxury items. The snake as symbol for decoration threatens to suffocate the woman wearing it as well as to bite the man allured by it. As an ornament the snake is both attractive and repulsive, sensual and violent.
Where and how does the contemporary human exist---physically or imagistically, actually or representationally? The young artists in RISD’s graduating class pose this question, and this is no surprise. Generation Z is the first generation to be born directly into internet and social media culture, the first to know no know other existence than that which is split between two realms and their corresponding modes of physicality.
The photographic series in The Fence are not all didactic or disquieting. They unite the documentation of human suffering with that of human joy, and both in their varying degrees and extremes. In this way, they represent human experience in its inherent inequality. The fence, a barrier between functional space and the unsightliness of functionality in progress, becomes itself a potential source of progress in this public exhibition by serving as the canvas for the revelation of both the disparity and unity of humanity
"But perhaps the very idea is that we are supposed to care: not about the stories behind the images, or the stories we might be tempted to make up about them.."
It’s completely abstract. It doesn’t have subject matter in the way that photography usually does. I am interested in how to make an image, which is about light in photography.
"It’s an instinctive thing. Everything is taken in color, but it’s really a matter of converting the colors to black and white while editing, seeing what that decision brings out in the photo, and then you just can feel it. "