| HEIKE BARTELS has an installation in the Gallery bathroom which uses
lights, motors, and concave mirrors to create a series of projected images
on the surface of the water-filled bathtub. |
NINA LEVY's photographs are from a series
of Cibachromes in which she poses with a series of sculptural prostheses
and body parts. Levy has always been interested in how literal-minded figurative
sculpture can be, both in terms of its manufacture and its message. |
| MARTHA BURGESS creates uniquely sharp, hyper-real photographs with
rich, super-saturated color. They are conservative and elegant upon first
glance, however, these carefully-staged still-life photos come alive through
their presentation on a computer terminal. |
GINA MANOLA manipulates family snapshots by enlarging, layering and
reassembling the images onto plastic, emphasizing the fragility of both
the surface and the subjects. |
| LAURA CARTON makes camera-less prints by making imprints on drawing
paper and dusting it with graphite powder to reveal the latent image --
a technique adapted from police fingerprinting methods. |
ROBIN MICHALS shoots portraits to
contextualize rather than to individualize. She digitally processes her
photographs to impose an artificial order with graphic forms. |
| LYNN CAZABON's images in this exhibition have come through a labor-intensive
relay of media, combining video, film and still photography. The prints,
one wall-sized and several smaller, resemble fabric samples, microscopic
views of woven grids with tiny images embedded within. |
ADAM SIMON uses pages from stock photo catalogues as an element in
his paintings. These catalogues interest Simon because they present a generic
and idealize version fo the lives we live. |
| JOY EPISALLA exhibits a pair of minimalist prints from a series of
photographs of carpets. On close examination they function as visual diaries
of day-to-day activities. From a distance they may remind one of cave drawings. |
VINCENT SERBIN creates negative collage
prints of juxtaposed portraits shot only moments apart. This approach functions
similar to the way an animated film creates an apparently continuous sense
of motion. |
| WILLIAM GRAEF contributes a portrait that is the result of morphing
25 faces from police sketches of criminals culled from newspaper crime articles
into a single composite image. |
JENNIFER SLOAN combines photography
and sculpture, exploring a variety of methods to fuse photography with three-dimensional
forms. She uses sculptural materials, experimenting with photographic processes,
layering, folding and bending as part of a process of creating portraits
with depth and nuance. |
| STACY GREENE presents an installation from her "Evening in Paris"
series, named for a perfume that was popular in the 1940s and '50s. It is
comprised of an audio tape playing "Paris" by Anna Domino, a variety
of photos of people, the perfume bottles themselves, a wallpaper background
and a text by Bebe Campbell excerpted from "My Blues Ain't Like Yours,"
which explores the disparity between the actual and the fantasy. |
HANNEKE VAN VELZEN's subject-matter is photographed in a straight-forward
fashion. Some images are depicted in ways one is not accustomed to seeing,
and some are manipulated . Both approaches evoke other modes of being or
becoming, i.e., a stone illicits a person, a hand, or seems to become an
insect. These minimal and monumental images are isolated from their own
contexts as to interact with the other pictures in the Series and/or the
other pictures in the room." |
| KAREN KING takes photos on ID cards and digitally manipulates them
to create rearticulated, recontextualized "ready made" portraits. |
JESSIE WOLK's latest works address sexuality and intimacy. She combines
black-and-white and color photographic images to create a visual narrative.
Images abut each other forming a quilt of information examining moments
of a greater story -- from an almost cubist point of view. |
