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Written by Perpetual Art Machine
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Thursday, 22 May 2008 |
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Video Synthesis
Artists Include: Danielle Abrams, John Fekner, Darren Foster, Simon Gris, Ray Neufeld, Ryan Seslow, Monica Spier, and Lee Wells.
Curated by Ryan Seslow
QCC Art Gallery
The City University of New York
Queensborough Community College
May 1 - July 31, 2008
http://videosynthesisqcc.blogspot.com
Video Synthesis Blog site
http://www.qcc.cuny.edu/ArtGallery/Programs/Exhibits/videoSynthesis
Video Synthesis Official site on The QCC Art Gallery Web site
"Video Synthesis” is an examination of the Inter-relationships of Video Art, Performance, Experimental Film, & Vanguard Documentary. The purpose of this exhibition is to survey, expose, and raise the awareness of motion related art through the medium of video. The works exhibited have all been created using a digital video camera and computer based editing software as a means of expression and communication. It was my intention to select a diverse array of artists that focus on various subjects and techniques to execute their work. The show will present fragments of traditional video art, aspects of performance based art, narrative experimental film, and vanguard documentary. The works have been placed in a chronological order to be viewed one after another. I feel that each piece will add to what synthesizes fragments of a larger whole. The chronological flow of each piece creates a perceptual module.
Video Synthesis will be shown on:
Wednesdays @ 1 pm - 2 pm
Thursdays @ 6 pm - 7 pm
Sundays @ 1 pm - 2 pm
All screenings are in the Media Room at:
The QCC Art Gallery
Queensborough Community College
The City University of New York
222-05 56th Avenue Bayside, NY 11364
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Last Updated ( Thursday, 22 May 2008 )
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Written by Lee Wells
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Wednesday, 14 May 2008 |
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Stephanie Lempert "Unexpected Perspectives"
May 22 to June 21, 2008
preview with the artist
Thursday, May 22, from 6 to 8 pm
In Stephanie Lempert's new series of photo based portraits the Artist goes far beyond what we would normally expect to see as portraiture. By focusing on her sitter's life experiences and how they have affected that person's aging process, their faces have become for Lempert a true road map of each person's outlook on life. Inspired by the concept of a secret which is hiding in plain sight, the Artist uses the tell-tale wrinkles on her subject's faces to tell the stories of their lives. Written in her sitter's own hand, snippets of thier stories are laid into the creases on their faces. Thus these wrinkles become part of a canvas on which memories, pleasant or unpleasant, are indelibly etched, just as our memories are etched into the recesses of our own minds. http://www.stephanielempert.com
For more information CLICK HERE
CLAIRE OLIVER GALLERY
513 West 26th Street, New York, NY 10001 / Tel: 212.929.5949 /
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Last Updated ( Thursday, 22 May 2008 )
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Written by Perpetual Art Machine
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Tuesday, 13 May 2008 |
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The New York Times
May 14, 2008
Robert Rauschenberg, Titan of American Art, Is Dead at 82
By MICHAEL KIMMELMAN
Robert Rauschenberg, the irrepressibly prolific American artist who time
and again reshaped art in the 20th century, died Monday night. He was
82.
He died of heart failure, said Arne Glimcher, chairman of PaceWildenstein, the artist's gallery in Manhattan.
Mr. Rauschenberg’s work gave new meaning to sculpture. “Canyon,”
for instance, consisted of a stuffed bald eagle attached to a canvas.
“Monogram” was a stuffed Angora goat girdled by a tire atop a painted
panel. “Bed” entailed a quilt, sheet and pillow, slathered with paint,
as if soaked in blood, framed on the wall. They all became icons of
postwar modernism.
A painter, photographer, printmaker, choreographer, onstage
performer, set designer and, in later years, even a composer, Mr.
Rauschenberg defied the traditional idea that an artist stick to one
medium or style. He pushed, prodded and sometimes reconceived all the
mediums in which he worked.
Building on the legacies of Marcel Duchamp, Kurt Schwitters, Joseph
Cornell and others, he thereby helped to obscure the lines between
painting and sculpture, painting and photography, photography and
printmaking, sculpture and photography, sculpture and dance, sculpture
and technology, technology and performance art — not to mention between
art and life.
Mr. Rauschenberg was also instrumental in pushing American art
onward from Abstract Expressionism, the dominant movement when he
emerged during the early 1950s. He became a transformative link between
artists like Jackson Pollock and Willem de Kooning and those who came
next, artists identified with Pop, Conceptualism, Happenings, Process
Art and other new kinds of art in which he played a signal role.
No American artist, Jasper Johns once said, invented more than Mr.
Rauschenberg. Mr. Johns, John Cage, Merce Cunningham and Mr.
Rauschenberg, without sharing exactly the same point of view,
collectively defined this new era of experimentation in American
culture. Apropos of Mr. Rauschenberg, Cage once said, “Beauty is now
underfoot wherever we take the trouble to look.”
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Last Updated ( Tuesday, 13 May 2008 )
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Sandra Bermudez
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