Exhibition Review: Julia Randall’s “Oral Fixations”

“Pulled Peach”, Julia Randall, 2013, Colored pencil on paper

Julia Randall’s most recent exhibition, “Oral Fixations,” a ten-year retrospective at Wesleyan University’s Davison Art Center, explores desire, ephemerality, and the passage of time through gorgeous, occasionally humorous, but always impressive hyperreal colored pencil drawings. While these drawings are clearly virtuosic, Randall’s impressive handling of the medium, and her pitch perfect control of color and tone are far from decorative, and the exquisite making of her drawings bring the ordinary, the sublime, and the sometimes bizarre imagery to life.
The exhibition begins with a series of works entitled “Lick Line,” small drawings of disembodied mouths and tongues set against white backgrounds. The pieces in this series are subtle, erotic, and beg to be viewed up close. It is fitting that these works are positioned at the entrance to the show as it was this series that began Randall’s foray into drawings of and about the mouth. In these works Randall highlights the sensuality and expressivity of the mouth, ideas that are expanded upon and reworked in later drawings.
In another bay, Randall’s series, “Lovebirds,” and “Decoys” bring the viewer out of the realm of the ordinary and into a strange and luscious world. Surreal mash-ups of human mouths and birds, exotic plants and human features, portrayed with characteristic care to detail, bring to mind 18th century botanical drawings and the exoticization and fetisization of an unrecognizable other.
“Lures,” a series of drawings of blurry mouths in motion, either speaking or engaging in sexual signalling, stands in some ways apart from the other work. While many of Randall’s drawings deal with time implicitly, “Lures” is different in that it explicitly shows the passage of time through portraying motion.
Randall’s newest work, the series, “Blown”, recently shown at Real Art Ways in Hartford, is in many ways a culmination and explicit exploration of the themes touched upon in her earlier work. Working off of her earlier drawings of mouths and saliva bubbles, this series focuses on the imagery of the chewing gum bubble, blown, chewed closed, and drawn enlarged and in exquisite detail against a white background. Like the drawings of mouths, these pieces are seductive and lifelike, referencing the body through Randall’s careful manipulation of color. These drawings emphasize vulnerability and the body, and question the distinction between inner and outer. The various moments of inflation and deflation in this work implicitly reference time, ephemerality, and fragility. A video projected onto a gallery wall explicitly references these concepts. In this video several disembodied pieces of gum are chewed, blown into bubbles, and deflate.
These drawings of chewing gum are clearly not just fun and sugary confections, to be consumed, without thought. The gravity and ultimately unsettling nature of the work is underscored in several of Randall’s drawings featuring bubbles pinned to the wall or poked and prodded with dental tools. These works speak to an underlying current of morbid fascination present in the earlier work, especially as seen in “Lovebirds” and “Decoys.” These images of ephemeral bubbles pinned to the wall, or poked and prodded, speak to the desire to capture through obsessive care to detail. Like several of the earlier drawings, they bring to mind the naturalist displays of old, and imbue the rest of the work with a bitter undertone, beautiful, detailed, but all about capturing, cataloging, fetishizing. This idea of capturing runs in contrast to the ephemerality of the subject matter–mouths are always on the move and bubbles, once blown, always pop.
Despite their stark backgrounds and objective presentation, Randall’s drawings refuse the sterility of natural history museum-style classification. Throughout the show, the viewer is continuously reminded that the objects drawn so lovingly are not rare or precious, but imbued with a sense of emphatic life. Instead of feeling removed from time and space, they feel alive. In her gallery talk on the day of the opening, March 28th, Randall spoke of the wonder in being able to draw air, to capture what normally goes unseen. The drawings in “Oral Fixations” in many ways feel like and function as bubbles full of air, fragile and ephemeral, ordinary and sublime.

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Jackson Pollock at The Getty

Jackson Pollock “Mural”

During spring break I was able to visit the Getty Center in Los Angeles, which had on display, Jackson Pollock’s Mural. I was impressed not only by the large scale of the piece but also the remarkable condition that it was in.  As I later learned, the Getty foundation commissioned an overhaul team to patch up and coat the piece, which had been badly damaged from humidity, weathering, and being moved around.  Curator Laura Rivers explains: “Mural, by Jackson Pollock, is now considered one of the iconic paintings of the twentieth century.  Following extensive study and treatment at the J. Paul Getty Museum and Getty Conservation Institute, this exhibition presents the newly restored work alongside findings from the Getty’s research” (Rivers 1).  What is most striking about Jackson Pollack’s piece is the smooth curves and playful colors that dance around the canvas.  From a viewer’s perspective, standing back about 10 feet from the center of the painting, it is still hard to capture the full detail of Pollock’s work.  As curator Laura Rivers best describes Pollack’s piece: “It explores a transitional moment in Pollack’s career, as he moved toward the experimental application of paint that would become the hallmark of his technique” (Rivers 1).

Works Cited

Rivers, Laura. “Jackson Pollock’s Mural (Getty Center Exhibitions).” Jackson Pollock’s Mural (Getty Center Exhibitions). The Getty Foundation. Web. 16 May 2014.

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Alma Allen at the Whitney Biennial

Alma Allen "Untitled (2013) walnut on aluminum base"

Alma Allen “Untitled (2013) walnut on aluminum base”

During my trip to New York I was able to visit the Whitney Biennial. What struck me the most was artist Alma Allen’s fourth floor exhibition of woodcarvings and stonework. There were several beautiful bowl shaped structures and other abstract formations.  The California based artists, who incorporates mainly wood and stone from Joshua Tree National Park, describes his work as, “a discovery into the process of natural materials” (Allen 1).  Once piece that I truly enjoyed was Allen’s Untitled (2013): Walnut on aluminum Base.  Maybe this was because of the glossed edges or simply because it is something that I would want displayed at my home.  Nevertheless, the beautiful linear patterns and cracks embody a sense of man with nature.


Allen, Alma. “2014 Biennial: Alma Allen.” Whitney Museum of American Art: Watch: Exhibitions:. The Whitney Museum Of American Art. Web. 16 May 2014.


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A Slice of the Stone Itself: A Print by Helen Frankenthaler

Helen Frankenthaler was born in 1928 and came to be a very successful artist.  Known as an abstract expressionist, as well as a color field or lyric abstraction painter she had an expansive career, pioneering a method of staining the canvas that would influence later generations of artists.  She is famous for painting, but she has a large print oeuvre, coinciding with a rise of print medium in the 20th century.  She made the print, A Slice of the Stone Itself, in 1969 in conjunction with Universal Limited Art Editions (ULAE) printing.[1]

This print is a lithograph printed in red, yellow ocher, and blue on a 19×15 in sheet of French paper.[2]  The paper is a warm tan grey.  There is an intense economy of mark that characterizes this piece.  Each mark feels like a distinct player on the paper.  There are six total marks in this piece, three in red ink, one in yellow ink, one in red crayon, and one in blue crayon.

Two large red brush strokes bilaterally occupy vertical halves of the print.  The left stroke begins in the top left, in a dense opaque red, going down vertically but tapering quickly at the end.  A small red stroke of the same material and application rests at its right side, separated by an almost imperceptible distance.  The large stroke collides with and stretches over the edge of the paper, the wavy edges of the paper undulating alongside the mark.  The red brush stroke on the right side begins on the vertical axis on the bottom of the page, and veers to the right until it bends to straighten out and stops just before the top of the page.  At the end of the mark there is a jagged edge, allowing the viewer to infer the direction the hand moved.  This mark is characterized by a watery center where the color of the paper shows thought and is barely masked by a thin veil of red.  The quality of watercolor paint is somewhat evoked in this mark.  Together these two marks form an off center V shape that draws the eye down to the bottom left corner, but also create a nebulous center which is conspicuous in it’s emptiness.  There is nothing ‘there’ and yet is the thing that is being enclosed, and due to the dispersed nature of the composition you have to focus on it in, so that your eyes aren’t constantly lead around in a circle.

The yellow line is in crayon, although it has none of the roughness of the other two lines, and the color is very concentrated and bright.  It tilts and forms another V, mimicking the shape of the brushes, with the red crayon line.  That closes in the bottom, while at the top of the composition the blue line stretches horizontally along the edge of the paper.  That end of that line is the one moment of contact in the composition, and blue line only gently touches the red brush stroke.  Otherwise it is a piece of almost touching, where the parts of the piece dance around each other, never making contact.  Frankenthaler said of her work, “the whole business of spotting; the small area of color in a big canvas, how edges meet; how accidents are controlled; all this fascinates me.”[3]  She is playing with those elements, even in this print, where she can arrange and subtract as she wishes, keeping the parts just separate, and drawing your eye to tiny margins of space.

The title of the piece, A Slice of the Stone Itself, implicates nature, natural elements like stone, but also a highly sophisticated method of slicing a stone. Cutting a stone gives a cross section, revealing the inside of something.  The slice can either be read as the image that is frontally presented, or perhaps as the movement of the brush that forms the center right red stroke.  Frankenthaler painted landscapes early in her career and was conscious of the way that her paintings referenced landscapes abstractly.  According to one writer, “Frankenthaler learned how to reinforce her ties to nature, already inherent in her landscape image, by imitating the process of nature- by allowing an image to spontaneously grow and evolve from the materials.”[4]  This specific print is decidedly different from the majority of her oeuvre, because of its sparse composition and use of line.  However she does have a cubist background, so this may be a return to some of that language.[5]

This piece is singular in its masterful composition.  Frankenthaler isn’t using her typical language, but she is exploring elegant movement in this piece.  She references nature, but in a resolutely abstract way. Her marks are definitive like those of her painting, but though the medium of print she was able to achieve an exacting image overall.

[1] Harrison, Pegram. Frankenthaler: A Catalogue Raisonne Prints 1961-1994, 110-112.

[2] Harrison, Pegram. Frankenthaler: A Catalogue Raisonne Prints 1961-1994, 110-112.



[3] Stiles, Kristine, and Peter Selz. Theories and Documents of Contemporary Art, 32.

[4] Rose, Barbara. Frankenthaler, 38.

[5] “Oral History Interview with Helen Frankenthaler, 1968.” Interview by Rose Barbara.Archives of American Art. N.p., n.d. Web. <http://www.aaa.si.edu/collections/interviews/oral-history-interview-helen-frankenthaler-12171>.

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Lewis Baltz Print Analysis

South Wall, Semicoa, 333 McCormick, Costa Mesa - 1974

Print Analysis: South Wall, Semicoa, 333 McCormick, Costa Mesa

Permeating with irony, social critique, and unusual beauty, Lewis Baltz’s photographs illustrate a contemporary form of artistic thinking and advancements in the photographic medium. Curated by William Jenkins at the International Museum of Photography, the 1975 exhibition entitled New Topographics: Photographs of a Man-Altered Landscape displayed documents of the urbanization and transformation of the American landscape. This groundbreaking exhibition included the deadpan and highly geometric photographs by Lewis Baltz, in addition to the work of nine other artists. With a clear emphasis on the combination of nature and culture, these images redefined landscape photography through the seemingly objective illustration of the new development in the West. Despite their impartial appearance, Lewis Baltz’s photographs function as an ironic critique of the concept of the American dream and commentary on the country’s expansive urbanization.

Preceding the New Topographics, documentary photographers, such as Walker Evans and Dorthea Lange, and modernist photographers, particularly the artists of Group f/64, dominated the medium. These artists almost exclusively employed an objective view of their subjects, documenting a situation or recording beauty rather than conveying a specific, conceptual message. Group f/64, consisting of photographers such as Ansel Adams, Edward Weston, and Imogen Cunningham, pioneered landscape photography. These artists attempted to capture the pure, natural world, while maintaining formal composition and a strict set of aesthetic guidelines. Through the elimination of a human interaction with nature, they created the appearance of sublime, natural perfection and formed idealized depictions of the American landscape. But, as the social, political, and economic environments of the United States began to transform, so did the physical landscape, necessitating a new form of photographic illustration. By photographing banal subject matter with an unemotional viewpoint, Baltz denunciated “the vision of a previous generation of landscape photographers and [created] a new discourse on what photography should be and what the American landscape had become” (Lahs-Gonzales, 34).

South Wall, Semicoa, 333 McCormick, Costa Mesa undoubtedly embodies this condemnation of both idealized landscape photography and America’s careless urbanization. With its highly structured, geometric composition, deadpan framing, and linear emphasis, Lewis Baltz’s photograph appears uncomfortably sterile, like a scientific documentation of urban development. Reinforcing the image’s clinical, documentary quality, the print contains a substantial amount of detail. By using a medium format camera with a subject in close proximity to the photographer, Baltz was able to form sharply defined lines and capture the material form of the building with exceptional clarity. This high-resolution, most evident in the linear pattern of the dark, concrete band and the newly painted parking strips, conveys the unnatural quality of the landscape, in addition to reinforcing the fact that the building was recently constructed. Despite the clinical documentation and the visual clarity, the viewer is left disoriented in a nondescript environment. Void of any physical landmarks or explanatory text, it is impossible to understand the location of Baltz’s landscape. Furthermore, this disorientation is generated by the photograph’s temporal ambiguity, as seen in the nondescript sky and unusual shadows. Through a long exposure at night with artificial lighting, he is able to produce the tonal uniformity in the sky and perfectly horizontal shadows, giving the scene its uncomfortable sterility and disorientation. Ironically contrasting this ambiguity, Baltz titled his work South Wall, Semicoa, 333 McCormick, Costa Mesa, providing the viewer with the exact location of the image. Reinforcing his condemnatory intentions, the inclusion of this information does not remove the photograph’s vague and unsettling qualities, but instead conveys the idea that this scene could occur anywhere. In fact, he asserts that this scene occurs ubiquitously across the newly developed West. By illustrating this trend, Baltz criticizes the proliferation of uninspired suburban construction, further developing his denunciation of Western urbanization.

Forming his critique on the expansive urbanization of the West, Lewis Baltz employs formal elements in his photograph to express the careless modification of the landscape and to provide ironic commentary on consumerist growth. The two trees, perhaps the most important aspect of the image, take on a lead role in conveying the photographer’s critical message. In distinct contrast to the light grey, rigid, and uniform south wall, the dark, sensuous trees take on a purely organic form, becoming the antithesis to the constructed façade. Through a long exposure, Baltz is able to capture the movement of the foliage, which increases the contrast between the static, artificial building and the dynamic, natural world. Additionally, this distinction provides an optimistic glimpse at what the landscape could be. But, this idealized moment is destroyed once the viewer comprehends the placement and function of the trees: insignificant adornments contained by dark asphalt. The manipulation, confinement, and destruction of nature, as argued by Baltz, are directly linked to “the decay and architectural decline of a dystopian world that stands for regression rather than progress” (Figner, 33-35). Ironically, this regression is embodied by the physical expansion seen in Western urbanization, specifically illustrated by the asphalt around the trees, and the rampant consumerism of a seemingly prosperous country. Through this, Baltz sarcastically references the idea of the American Dream and the flourishing frontier of the West. With promises of success, possibility, and happiness, Lewis Baltz reveals that, in fact, this glorified world is nothing but a banal series of homogenous alterations to the natural landscape. South Wall, Semicoa, 333 McCormick, Costa Mesa conveys the disturbing, entropic truth that our nation’s progress and physical growth equates to permanent destruction.

While Lewis Baltz’s photography clearly discusses the importance of preserving nature, his intentions were more directed towards critiquing America’s consumerist culture. Like many of his contemporaries, including artists in the realm of pop and post-modernism, Baltz aimed to paint a grotesque and condemnatory picture of consumerism. Additionally, his work employs a minimalist aesthetic, resulting in the accentuated materiality of his landscapes. With a widespread impact on contemporary art, Lewis Baltz has played a central role in shaping the photographic style of artists like Andreas Gursky and Candida Höfer, as well as completely redefining the concept of landscape photography.


Image Citation:

Lewis Baltz, South Wall, Semicoa, 333 McCormick, Costa Mesa, 1974, gelatin silver print

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Leigh Ledare, Double Bind, At Mitchell-Innes & Nash Gallery in Chelsea, NY (2010)


American Artist Leigh Ledare’s project Double Bind (2010) at the Mitchell-Innes & Nash Gallery in Chelsea, NY offers a unique and warped perspective into intimacy and identity through the collaboration of a very unlikely trio.  Ledare, his ex wife Meghan Ledare-Fedderly, and her new husband, Adam Fedderly, work together to produce two bodies of photographic images that illustrate a very complex love triangle.

After being married for five years and divorced for five more, Ledare convinces Meghan to join him for a weekend getaway where he photographs her for three days at a remote cabin. Two months later, he arranges the same trip for Meghan and her new husband, also a professional photographer, who agrees to shoot using similar parameters. The near 1000 images were then developed, compiled, and displayed alongside various archival media images and text, many of a pornographic nature, to make up the content of Double Bind.  All images taken by Ledare are displayed on a black background while those taken by Meghan’s current husband appear on white.

The photographs taken by Ledare contain an unmistakable erotic ambiguity but a short note accompanying the exhibit confirms that the three days spent in Meghan’s company were the most they had been together since separating and that nothing sexual happened between them. The images are vulnerable and full of yearning. Here one sees how love, specifically love that exists only in the past, can morph into a new tenderness and a deep specificity of understanding for something that is felt but can never be articulated.

Speaking of the project in an interview with Destricted Revue publications, Ledare comments that “the project doesn’t attempt to essentialize an image of her [Meghan], but rather to ask how these relationships triangulate, and how one party, involved in their own representation, attempts through their representation to articulate something to a third party”[1]. The question begins to be about how the gaze of another can define someone else. How a certain gaze is permissible from one entity but unattainable from a different origin. Ledare pushes us to question the relationship that travels between the photographer, the camera lens, and the subject. The pictures tell us nothing about who ‘she’ really is, except in regard to these two competing gazes.

There are two comparative structures simultaneously at work in Double Bind: the comparison of the photos by Ledre and Fedderly and then Meghan against the appropriated media images. In the second, our cultural and media experiences, instead of personal relationships, model our understanding of identity.

Walking around the exhibit, I could not help but feel a sense of intimacy with the women whose form is repeated over and over again. Her distinctive eyes stare out from every corner of the room. It is not hard to imagine why Meghan might have agreed to the project, as some aspect of it is undeniably flattering. She takes on muse-like qualities. It is harder to understand what could have motivated Fedderly to participate. I am not sure a satisfactory answer is ever articulated.

There is no mistaking that Ledare has taken on a challenging and complex project with Double Bind. I think as a purely aesthetic accomplishment, it succeeds brilliantly. The photographs of Meghan are hauntingly beautiful. My favorite moments of the exhibition were when the two photographic bodies overlapped and came into harmony, making it impossible to tell which man had taken which photo. The gaze that stares into the camera lens seems equally as tender as it does malevolent.  The intimacy resists interpretation but I like it better that way.  Conceptually, things get more difficult. The short note from Ledare describing the project was situated outside the main gallery room and was easy to overlook.  I think the level of trust between the three of them that must have gone into making this is also impressive. All in all, visiting this exhibit made me excited to explore more of Ledare’s work and I will definitely make a conscience choice to visit exhibitions of his in the future.




1. http://destrictedrevue.com/photography/907646.html. Interview with DESTRICTED REVUE. Leigh Ledare – INTERVIEW- Paris & Brussels -Double exhibition.



[1] http://destrictedrevue.com/photography/907646.html

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Five West Coast Artists: An East Coast Exhibition

Five West Coast artists: Bischoff, Diebenkorn, Neri, Park, and Thiebaud is a show up at Yale Gallery from March 28th to July 13th 2014. The show inhabits three modestly sized rooms, one of which is the size of the other two combined. Jock Reynolds, the director of Yale gallery, curated this show. He is from the West Coast and studied under Thiebaud, so some his personal reflections are quoted in the show.
There are paintings, drawings, prints, and to a lesser extent sculptures on display in this show. The artists showcased are all part of the Bay Area Figurative movement, and although this show is not explicitly about that movement these men were some of the leaders. The show unites the artists because, “They renounced abstraction and chose instead to include the human figure and other recognizable subjects in their work – albeit using the vigorous brushwork and strong compositional elements of their Abstract expressionist contemporaries.”
There is a nod in the exhibit to the fact that these West Coast artists are rarely shown on the east coast, and Yale boasts a rather large collection for an east coast museum. However this is used to explain a rather sparse show, for what the title suggests it might encompass. Not only is the curator in house, but almost all of the works are as well – the collection seems arbitrary, and indicative of Yale’s holdings rather than a critical analysis of these artists’ works.
The show does have pieces representative of these artists major works, some small Thiebaud cakes are on display, as well as a work from Diebenkorn’s famous Ocean Park series. However the show in part precipitated from the recent acquisition of Park’s masterpiece, The Model. This work is prominent in a room of figurative work. It presents a model with her head turned back to stare out of the frame, beside a painting that shows he frontal image. The figure of a woman occupies almost every image in this room, life size in the considerably large canvasses of Park, Bischoff and Diebenkorn. Women’s bodies are made physical in Neri’s sculptures, which sit and stand almost in front of these paintings, so that the female form is mirrored and reflected all around this room.
The curation of this show is conscious and clear, if strikingly simplistic. Of the three rooms there is one of Diebenkorn’s abstractions, one of Thiebaud’s work, and the major room, which has a figurative theme, and comprises the three other artists’ works, and more of Diebenkorn’s work. Although the show purports to showcase five artists, the true focus is on Diebenkorn and Thiebaud, with the remaining three barely present. On display are only one paintings of Park, two by Bischoff, and two sculptures by Neri- everything else is Thiebaud and Diebenkorn. Furthermore the premise of the show is apparently the rejection of abstraction, but there is a whole room of Diebenkorn’s abstractions – which according to many were the highlight of his career, and came after his figurative work.
In one half of the largest room are several drawings and little paintings by Diebenkorn, inexplicably with a coffee cup theme that is emphasized by their placement, but not explained. A cityscape by Bischoff’s is placed strangely within the corner devoted to Diebenkorn, and without scrutiny seems to be a work by Diebenkorn. Clearly they influenced each other, but Bischoff’s cannot assert itself as distinct, perhaps because of the limited amount of his work on display, but also because it is the only part of the show where the works are not separated by artist.

David Park, The Model, 1959. Image via Yale

David Park, The Model, 1959.
Image via Yale

Even though the organization of the work leaves something to be desired, these artists produced some of the most satisfying images in the mid to late 20th century and their legacy deserves to see expansion. There is an implicit dialogue between the works of these West Coast master’s – and the well recorded rise of Abstract Expressionism on the East Coast that is displayed just downstairs from this exhibit. However is disappointing that more works could not be acquired, so that a larger sense of the artists and the work might be presented in this exhibit.

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Why I Hate Humans of New York

I, like many other people, almost five million other people in fact, follow the very popular photo blog Humans of New York on Facebook.  For those who are unfamiliar, the blog features stunning portraits of 5,000 New Yorkers by photographer Brandon Stanton.  Each picture is captioned with a quirky description or quotes about the backstories, sentiments, and opinions of the subjects at hand.

I find the photos to be beautiful.  I love the composition of each portrait and I truly find Stanton to be an amazing photographer.  You may therefore be wondering what could possibly be my problem with such a beautiful site, featuring a diverse group of people from different neighborhoods around New York.

Firstly, I find that Stanton often posts comments about his subjects that reduce them and reinforce stereotypes.  For example, on one photo of an Egyptian woman was captioned, “She’s from Egypt. Which is fitting, because she looks like a perfect mix of desert and dance club.”  I find it problematic to take a single individual and reduce them to a stereotype, as it only reinforces people’s perceptions of a whole group of individuals.  Simply, that a striking picture of one person cannot represent their ethnicity, heritage, economic class, etc.

Not to mention that some of his captions are simply sexist.  The caption of one photo of a young teenage couple reads. “This is how a hunter looks when he’s posing with a trophy deer.”  I believe that artists have the responsibility to promote images, perspectives, and perceptions that are positive, thought-provoking, and, to be frank, not discriminatory or degrading.   When it comes to a project like Humans of New York, Stanton has the responsibility to propagate positive perceptions, especially with almost five million followers.

Lastly, I have the biggest problem with Stanton’s portrayal of those of lower socioeconomic statuses.  Often times, Stanton portrays New Yorkers below the poverty line, as well as homeless and displaced individuals.  While never judging these individuals, Stanton often includes a backstory.  A beautiful photograph of people who are struggling should not be someone’s five-minute break from work.  They should not be gawked at or pitied at through a photo.  These people do not exist to educate or teach others about the hardships of life.  They are not forms of entertainment.  Although I do not believe that this is Stanton’s goal, I do think that these posts end up in the propagation of a very problematic attitude of voyeurism that can be quite invasive and even offensive.

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Digital Warhol Works Unearthed

Recently, digital works by Andy Warhol were “rediscovered” on a floppy disk in Warhol’s archives. New versions of his famous soup cans, rendered digitally provide an interesting and fresh take on his works.

Warhol, Soup Can. Photo via The Washington Post.

It is interesting to consider how the continued improvement of digital technology may have affected Warhol’s work, had he not died in 1987. The reproducibility of digital media may have appealed to Warhol and his Pop Art aesthetic.

Warhol’s take on Botticelli’s Venus is not only humorous with its third eye, but it also presents a novel aesthetic experience through pixillation.

Warhol, Venus. Photo via The Washington Post.


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Inside Out

Luke Evans and Josh Lake
This artwork from 2012 involves the artists swallowing 35 mm film allowing it to run the length of their digestive tracts and then scan the film under a scanning electron microscope. The images produced are an illustration of the impact of the digestive tract on the film – and imprint of the insides of the artists.
This is an excellent example of the use of advanced technology by contemporary artists as well as an exploration of the body and materials. The images produced are quite remarkable.

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