The Madness continues!!!! So funny Jim!

The Madness of Art

http://myemail.constantcontact.com/rental-inventory.html?soid=1103564827998&aid=BP-I9fU76AQ

http://myemail.constantcontact.com/rental-inventory.html?soid=1103564827998&aid=BP-I9fU76AQ

BILL ARMSTRONG: C-print, BA #490, 2009

Bill Armstrong to Lecture

April 14, 2011

Opening: Thursday, April 14 - 7pm

Bill Armstrong, NY based photographer represented in NY by ClampArt and in the UK by Hackelbury, will give a talk about his abstract color work that spans over 30 years. Armstrong has exhibited at the Philadelphia Museum of Art, The Smithsonian Institute, Hatward Gallery - London; Musee de l'Elysee, Lausanne; and FOAM, Amsterdam. This lecture at SVA is presented by teh Photography Department.

209 East 23rd Street, 3rd Floor ampitheatre. Free and open to the public

Mitchell: SIGNALS No. 8

Limitless is based on an unapproved memory-enhancing drug. Within minutes, everything around the central character, Eddie Morra (Bradley Cooper) becomes clear as the drug ramps up his brain power end memory. He cannot only access memories long thought lost but he can also form new memories quickly and easily.

When choosing fine art for set decor, set decorator, Diane Lederman chose an number of works by Mitchell. Much of his abstract photography is neurologically oriented with references to the reconstruction of memory.

Watch trailer here.

The Madness of Art and its Creators at the Jim Kempner Gallery Chealsea art dealer Jim Kempner interacts with New York's eccentric art world in "The Madness of Art". Webisode I features contemporary artist Robert Attanasio's pithy analyisis of the relationship between artist and dealer followed by Chicago artist, Tony Fitzpatrick who drops by and tries to explain that old adage "time is money". Jim Kempner Fine Art Gallery - where the absurd, the obscene, the glamorous and the routine converge! THE MADNESS OF ART

Kim Keever

JOIN US MARCH 21ST FOR ONE NIGHT ONLY

WORKS BY MITCHELL, BACHLER AND KENNEDY

PRESENTED BY A SURFACE LIBRARY AND LYNN DUNHAM FINE ART

551 WEST 21ST STREET (#402 - 4TH FLOOR) NY, NY

MITCHELL: ABSTRACTS 2011, AB 054 36 X 36 INCHES (45 X 45 FRAMED)

ARCHIVAL PIGMENT PRINT - EDITION OF 5

SIGNED, DATED AND NUMBERED VERSO

Aaron Yassin: IMPEIBOCHK

This work will be shown at the Architectural Digest Home Show
by Lynn Dunham Fine Art in Booth M16, Pier 94 -March 17-20

Open Door Interiews

Laurie Frick - Extraordinary

Artist's Statement
Frick uses pattern to replicate the feel of neurons firing in the brain. The use of vaguely familiar cut-up materials are representative of everything the brain processes, the amount that is seen and the amount stored - including the periferal things to which only partial-attention was given.
"I think neuroscience will find there is a link between how the mind processes pattern, and the underlying structure of the brain. How do I connect an abstract idea of neural processing to neuroscience in everyday life, and the rationale for my explorations? I like the idea of art artist expression anticipating scientific proof.", says Frick.

Neuroscience?
Frick has straddled both the world of technology and visual art. Over the past several years, she has studied the developments in neuroscience and believes scientists will begin to unravel the mystery of how the brain uses memory to develop an instant attraction to visual objects and surroundings. She believes aesthetics, is related to brain fluency and the desire to re-experience the familiar. Mathematical proportions are relevant, the attraction to external patterns may emulate the internal neural structure in the mind. "There is a human desire to find the neural mirror to ourselves, even at the most basic level -- the firing pattern of hippocampal neurons.
I'm currently investigating the notion that there is a statistical pattern underlying all cognition. If you could capture the neural rhythm and replay it, you might actually simulate the original experience.", says Frick.

Read more about Frick - Carolinas Health Care Artist-in-Residence in residency at McColl Center in Charlotte, NC.

JONATHAN LAURENCE, Master, mixed media 8 x 8 inches

JONATHAN LAURENCE, Camden Maine

April 19, 2010 - 7:05:53 pm
a three legged dog looks out across a bay at 44°6′14.546″N 69°4′39.161" W

This is a fragment... a moment... a memory...

Photography is less than 200 years old, as technology has evolved, it has vastly influenced the way we create, view and respond to imagery.

Shapes is an exploration of documenting and sharing the world that surrounds me. I visually record my experiences with my iPhone™ and upload them to Facebook™, instantly contributing to the ever evolving global visual community. In this way, the images take on a life of their own.

Volume 1 is a selection of pictures, chronologically placed, from moments between July 2009 and July 2010. This is one year of my life.

Jonathan Laurence is a mixed-media and digital artist incorporating processes that span from painting and photography to video and installation. He grew up in Rockport, Maine where he first began his studies in the field of photography at Rockport College (The Maine Media Workshops). After earning his Associates Degree in 2005, he went on to pursue a Bachelors of Fine Art at the Art Institute of Boston where he received the competitive Presidential Scholarship. Graduating in 2007, Laurence returned to the Maine where he works as a freelance multimedia producer, consultant, and artist.

Jonathan has exhibited widely across the east coast and his techniques have been published in multiple digital media guidebooks, including Christopher James’ “The Book of Alternative Photographic Processes“ (Second Edition). He is a regular contributor to Maine Magazine. Maine Home + Design highlighted him as one of the top 60 most collectable artist in Maine (2010). In 2009 he received “The Rising Star Award” from the Palm Beach Photographic Center. Laurence teaches courses at the University of Maine, The Maine Media Workshops (Rockport, Maine), Toscana Photographic Workshops (Bologna, Italy), and Nordphotography Workshops (Oslo, Norway).

He also enjoys of eating and cooking good food, travel, adventure, design, films, art, music, looking, making, assembling, floating, learning, teaching, and generally anything positive.


His bio doesn't mention how engaging he is...which he is....and if you didn't have the opportunity as I did to see this work in Rockland at Assymetrick Arts, you may have a look here. And the 365 photographic essay SHAPES, in book form is available at BLURB

LYNN DUNHAM:

LYNN DUNHAM:

"INTERSECTIONS OF ART AND SCIENCE"
by Diane Calder

"Invention is not the product of logical thought."--Albert Einstein"Organized perception is what art is all about."--Roy Lichtenstein (Ruth Chandler Williamson Gallery, Scripps College, East Los Angeles County) Since ancient times, when the Greek goddess Techne served as the inspiration for science as well as for art, individuals willing to look at the bigger picture have acknowledged some degree of mutuality in these seemingly disparate fields. The Greek verb, tikein (to create), and the word "technique" are both derivations of Techne's name. As techniques are employed to make mechanical instruments such as telescopes and microscopes more sophisticated, our range of vision into worlds previously unimagined is extended, opening opportunities for creative artists and scientists to interact.

These sorts of interactions and the focus of In the Minds Sky: Intersections of Art and Science. Curator Mary Davis MacNaughton’s discerning catalogue essay investigates the fusing of inspiration and intellect that probes the fundamental structure of nature, alters views of space and time and formulates new visions of the world. The exhibition presents the work of six artists who take their points of departure from scientific phenomena at extreme scales--from the cosmic to the sub-atomic.The surfaces of Nancy Macko's fourteen-foot long birchwood panels give birth to iridescent layers of meaning in Quintessence: New Constellations. Macko integrates her considerable skills as a painter, digital and graphic artist, as well as interpreter of feminist figuration into the creation of new galaxies filled with life giving, memory-bearing imagery. Constellations of winged beings light the way to free floating forms that suggest ancient ladder climbers searching out honeycombs, or tethered astronauts inhabiting Macko's vision of an egalitarian future.Carol Saindon marks the entry to her dark-walled installation with the phrase, "Because Distance is Impossible to Perceive." Velvety charcoal and white chalk drawings of clusters of stars, inspired by satellite photographs, float on the black walls, suggesting a complexity of time and space. Saindon's vehicle for bridging ancient cultures and distant galaxies is a transparent glass boat projecting the sounds and undulating images of distant oceans as it rides a spiraling swirl of glistening fragmented glass.

Claire Browne's modestly scaled, intuitive pencil drawings on canvas composed of patterns of circles, conjure images of expanding particles that could be cells or constellations. In direct opposition to Browne's subjective, repetitive surfaces are the large scale oil images painted by British artist Mark Francis. These masterfully rendered works pair groupings of dull surfaced black dots that hover above painterly blurred strokes, dancing across sensuously alluring surfaces. The dots resemble viruses, keys to life and death. They allude to the boundaries crossed by Francis in his search for similarities between viral decoding and the modernist grid.The layered stains that float through Dennis Ashbaugh's two huge, color-drenched canvases are inspired by the most cardinal of human identifiers, DNA sequencing. Ashbaugh's gene sequence portraits reflect his fascination with a culture obsessed with science and technology. The less structured of the two works, Montecito Micropore, discloses a red field whose cracked surfaces contain iron filings, holding within it a suggestion of the possibilities and threats inherent in genome experimentation.Recent advances position brain research on the brink of mind boggling revelations. This fact inspired an explorative collaboration between Susan Rankaitis and Dr. David Somers. Rankaitis, an esteemed artist/photographer who deftly seeds fragments of scientific imagery and codes throughout her layered, collage-like surfaces has found her reverse equivalent in Somers, a neuroscientist who studies brain processes with MRI imaging. Together they have fabricated a prototype for a learning lab inside curved grey walls fourteen feet in diameter. They trust the viewer to enter this waiting room and collaborate in the construction of meanings from the hundreds of 5 by 7 inch images that Rankaitis and Somers have fabricated. Manipulated MRI images inform schemes of brain mapping; suggested correlations between various parts of the body and mind mix with images influenced by mass media. Art and science indeed intersect.

More on art and and neuroscience colliding:
"I’ve developed a hypothesis — I think beauty or the sense of great comfort from art is related to the viewer’s early experience and the desire to recover something recognizable. Not at the literal or narrative level of memory, but where pattern operates like music, and provides a rhythm that feels like a familiar recollection at the level just below consciousness. I think science will find attraction and desire are based on brain fluency, which is wired from the cumulative stimulus of individual life experience. By extension, I believe each of us has something like a ‘genome of sensory preference’, which could be mapped. And eventually it’s possible a predictive model of aesthetics could be built for each of us." Laurie Frick

The bloggesphere connecting like firing neurons transferring information in the brain... more about Laurie Frick here

DIVERGENCE

at

the Sande Webster Gallery

Five Views On Photography In the main gallery July 2 - August 28, 2010

RECEPTION: Friday, July 9, 2010, 6-8pm

LOCATION: 2006 Walnut Street, Philadelphia, PA 19103 - (215) 636-9003

http://www.sandewebstergallery.com/

This summer the Sande Webster Gallery presents Divergence: Five Views on Photography. This exhibitionexplores diverse approches to the photographic medium. As the field continually evolves to incorporate digital technologies, artists are finding freedom from traditional processes and new creative opportunities for personaland aesthetic expression. This contemporary photography exhibition begins a dialog about the current and future state of the printed photographic image. Divergence showcases the work of Krantz, Love, Mitchell, Stein and Tarver.Gregg Krantz is a Philadelphia artist with a graphic sensibility expressed through a love of printmaking,photography and design.

Krantz’s recent photographic works are abstract narratives that document surfaces and patterns indicative of particular places. His close-up, detailed photographs capture the texture, color and quality of light in his West Philadelphia neighborhood as well as his travels abroad. Through subject matter and rhythmic phrasing in each series, Krantz heightens one’s perception of the invisible dimension of time. His photographs ofurban facades, geometric forms and painted surfaces are transformed into a personal vocabulary that are arrangedin series, like musical compositions, in varying qualities of tone and harmony.

Arlene Love is an accomplished figurative sculptor turned street photographer. She has been working on anongoing photographic project called Walking Distance over the past few years. She doesn’t search for exotic newplaces and people to photograph. Her camera goes with her as she goes about her life within walking distanceof her home. The people on the streets of Philadelphia are as interesting to her now as were those in Mexicowhere she lived for many years. Nothing is more interesting to Arlene Love than simply watching people – exceptphotographing them when they are blissfully unaware of her presence. Love has exhibited her work both nationally and internationally, and is in the collections of the Philadelphia Museum of Art and The Kimmel Center for the Performing Arts.

Mitchell rejects the assumption that photography is about representation. Pure abstraction and the process ofimage making are the subject of his work. His photographs have more in common with the sensory experiencesassociated with color field paintings and ambient sound than they do with the tradition of photography. Images areshot with the purest of intuition and from a perspective largely influenced by aura occurrences associated withTemporal Lobe Epilepsy. Auras can produce heightened abstract emotions, affecting the visual field. Concepts and meanings in words that might invigorate the imagination, or perhaps for the intellect alone are explored in his titles, which enhance the imagery. While the experience with auras, is not always evident in the result, it is irrefutably connected in the process of creation.

Phil Stein creates dimensional photographic collages of the urban landscape. He finds inspiration in the random visual fragmentation that occasionally occurs in live streams and video downloads. The Streets series explores various themes of image reconstruction based on these common algorithmic accidents. Digital processes are used with a variety of fine papers to create this body of photo-based work. The resulting artwork is a combination of photograph, collage and sculpture. The world through Stein’s digital lens is made up of bits of visual information. He creates a new way of seeing the world around us, defining what it means to be an artist in the digital age.

Ron Tarver began his recent series of ethereal black and white flower portraits as a journey through his ownbackyard. Beginning the first day of the season, Tarver set out to document the spring flowers of the Northeast,beginning with crocuses then on to the next blooms, such as magnolia and tulips. Tarver captures the beauty ofnature in such intimate detail. There is a sensuality to these images that is revealed in the graceful curves of eachpetal. Tarver is a master at his craft and presents sumptuous images that remind us how incredible our naturalworld truly is. Tarver, a 2001 Pew Fellow, is included in the collections of the Philadelphia Museum of Art, Oklahoma Museum of History and the National Museum of American Art of the Smithsonian Institution in Washington DC.

Sara Vanderbeek: Four Photographers, 2008 (detail 1 of 2)

I just received the latest issue of Blind Spot (BS) - stunning as usual! This is a tri-annual art journal that publishes unseen work by living photographers. Remarkably it is free of commercial and editorial content. Images are selected and published collaboratively rather than curatorially. While today, the de rigueur artists’ statements and essays to support work seem to have become as important as the work itself, BS presents artists and their works without any introductory, biographical or explanatory text. This is enlightening in the art world where over intellectualizing has sometimes spoiled the pure experience of viewing and appreciating art. As its creators have stated, BS is not about photography - it is photography.

BS juxtaposes emerging artists with those who are established creating a significant milieu where each can benefit from the other. By publishing accomplished artists on an intimate scale, BS enriches its readers viewers. Since its launch in 1993, BS has featured over 300 living photographers including Uta Barth, Gregory Crewdson, Tim Davis, Rineke Dijkstra, Adam Fuss, and Vik Muniz, many of whom have gained critical and audience acclaim through their exposure in the magazine.

Blind Spot is a photography publication of exemplary design: This tri-annual journal is a "must have" for fine art collectors and artists. To view the BS archive of the past fifteen years click here. It is distributed internationally and is found in some of the best independent bookstores, museums, and larger booksellers around the world. For information on where to find BS click here.

For the link for BS artist submissions click here.