Tagged ‘photography’

  • “No Man’s Land” a new show at Chazan Gallery

    Chazen GalleryComments (0)

    On October 18, 2016 • By

    Gallery Night Providence

    The Chazan Gallery at Wheeler is pleased to present No Man’s Land, a two-person exhibition of works by Theresa Ganz and Millee Tibbs, from October 20 to November 9, 2016.  An opening reception will be held on Gallery Night, October 20, 2016 from 5:00-9:00 pm. The public is invited.

    Gallery Night Providence

    Theresa Ganz
    Serpentine 1, 2015

    Theresa Ganz takes photographs as source material for composed landscapes.  Traditional landscape tends to suggest vastness and the conquering vision of man over nature, or conversely nature’s awesome greatness and the smallness of man.  Ganz’s work seeks to undermine these dispositions, offering instead a more myopic and ambiguous vision. The viewer is never afforded enough distance to gaze out, but is confronted with a maze­like and internal world of warped detail and impenetrable surfaces. When photographs are cut and pasted together, they are freed from the logic and context by which we usually understand them and our minds must attempt to assemble a new whole from marooned parts. Ganz’s work blends influences of 19th  century Romanticism, with an interest in the relationship of the individual to the natural world, and 21st  First World lived experience which happens less and less in the physical body encountering the actual world, and the natural world is under grave threat. Romanticism and later Transcendentalism promised spiritual experience through communion with nature. In a time of catastrophic environmental degradation this seems impossible, yet the longing remains. Is it still possible that an intuitive response to natural beauty can lead us somewhere profound? In a digital, dematerialized world can objects still have aura? Is it still meaningful to stand in a room with art works? These questions haunt and motivate Ganz’s work.

    Theresa Ganz was born in New York City in 1980.  She earned her BA from Vassar College in Film and her MFA from San Francisco Art Institute in Photography. She works in photo­based collage, installation and video. Her work has shown nationally and internationally at, among others, The Datz Museum of Art in Korea, the Museum of Craft and Design in San Francisco, The Bell Gallery at Brown University and The John Michael Kohler Arts Center in Wisconsin and at various commercial spaces in New York and San Francisco. Her work will be included in the 2016 DeCordova Biennial. Her work has also been featured in print publications including Mousse Magazine, Outpost Journal and Magazine Gitz. She was the 2015 winner of the ArtSlant Prize. She is a founding member and director at Regina Rex in Brooklyn. She currently resides in Providence, RI where she is faculty at Brown University.

    Gallery Night Providence

    Millee Tibbs
    Impossible Geometries (White Sands), 2014

    Millee Tibbs is interested in surfaces and their relationship to what lies beneath – the discrepancy between what we see and what we know. Tibbs is drawn to photography because of its ubiquitous presence in our culture and its duplicitous existence as both an indexical representation of reality and a subjective construction of it. Photography presents an illusion as if it were reality. A piece of the world is frozen, flattened, and miniaturized in the time it takes a shutter to open and close. This sleight of hand offers a subjective construction as objective evidence. Tibbs is interested in the space where these qualities contradict each other and coexist simultaneously.

    Tibbs uses physical alterations to photographic images of the American West to create relationships between formal geometries and natural spaces that question the illusionistic representation of the photographic image and the mythologies contained therein. This work reassesses larger-than-life landscapes from an analytic point of view. It is in opposition to the concept of the landscape photograph as a consumable object, and questions the aesthetic framework that propagates expansionist myths – the dramatic vistas of inaccessible, uninhabited landscapes that became the visual codes that define the genre. Through the physical manipulation of the paper on which iconic images are printed, Tibbs draws attention to illusionistic artifice and the rhetoric imbedded in this.

    Millee Tibbs’ work derives from her interest in photography’s ubiquity in contemporary culture and the tension between its truth-value and inherent manipulation of reality.  Tibbs’ exhibition venues include the Eastman Museum, Rochester, NY; Blue Sky Gallery – Oregon Center for the Photographic Arts, Portland, OR; the Museum of Photographic Arts, San Diego, CA; David Weinberg Photography, Chicago, IL; the DeCordova Sculpture Park and Museum, Licoln, MA; Brown University, Providence, RI; and Notre Dame University, IN.  Her work has been published by the Humble Arts Foundation, Blue Sky Books, and Afterimage: The Journal of Media Arts and Cultural Criticism.  Tibbs’ work is in the permanent collections of the RISD Museum, and the Portland Art Museum, and Fidelity Investments. She has been awarded residencies at the MacDowell Colony, VCCA, the Wurlitzer Foundation, Jentel, the Santa Fe Art Institute, and LPEP, Buenos Aires, Argentina.  Tibbs grew up in Alabama, completed an MFA at RISD in 2007, and is an assistant professor of photography at Wayne State University.

    C H A Z A N   G A L L E R Y @  W H E E L E R   

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    Elizabeth Kilduff, Director

    For further information please contact Elena Lledó at elenalledo@chazangallery.org.

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  • Work by David DeMelim at BankRI

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    On October 13, 2016 • By

    BankRI Galleries, Gallery Night Providence

    BankRI Galleries present:

     “A Day in Havana: Photographs by David DeMelim,”

    October 6 through November 2, 2016 at the BankRI Turks Head branch in downtown Providence at One Turks Head Place.

    There will be a Gallery Night reception on October 20 from 5 to 8:30 pm with live music by guitarist Mark Armstrong and light refreshments.

    BankRI Galleries, Gallery Night Providence
    If you look closely you can see the camera, nestled quietly in the angle of his left arm.  It’s almost always there ready for the moment, a constant presence in the life of photographer David DeMelim.

    He came by his interest in photography naturally – his dad is a printmaker and his family enjoyed traveling and taking pictures. One day, the teenage DeMelim wandered into a junk shop that happened to have a box of cameras for sale.  The cameras intrigued him and so, with his own money, he bought the assortment of cameras.

    “The purchase of that collection, a large box of twenty or thirty cameras, opened up a whole variety of possibilities,” DeMelim recalls. “I learned that like a painters array of brushes, each camera has specific characteristics that effect how you shoot and the type of image you can capture.”

    DeMelim’s photographs don’t look like other photographs.  They exist on the fringes of photography, somewhere between printmaking and painting.  Saturated color fields, high contrast abstracted shapes and lack of detail mark his work. “Born a hundred years or so earlier,” DeMelim says, “I have no doubt I would have been a painter.”

    While familiar with the earliest iterations of photoshop, for DeMelim most of the magic happens at capture.  Unlike others who take a photograph with a standard digital camera and adjust the images in their computer, DeMelim shoots his images with a camera containing modified software designed especially for him.

    At one time DeMelim worked in the print industry.  The digital explosion was just beginning and he was lucky enough to be able to work with software designers to create software that helped him realize a very specific photographic vision.

    Digital cameras today treat every bit of information equally, every single pictoral detail perfectly delineated.  That’s not how the human eye sees.  When we look at a scene, we immediately distinguish what we personally think is important.  That is what DeMelim does.

    “Like items are grouped together and treated as one for the purpose of analysis,” DeMelim explains. “In this way contrast is adjusted to clarify the image, removing unnecessary information and providing clarity and focus to what I feel are the important picture elements.”

    The photographs exhibited here at the BankRI Turks Head Gallery are a mixture of DeMelim’s high contrast work and other more traditional photographs taken on a recent trip to Cuba.  In Cuba,  DeMelim simply recorded his experiences.  The resulting photographs display both the grandeur and the decay of this beautiful country.  The rich colors, unexpected architecture and sumptuous compositions practically sing out.

    “I wanted to show the rich diversity [of Cuba],” DeMelim explains,  “not just the old cars.  It was such a fascinating place, full of contradictions and unexpected juxtapositions. With so much to see and discover it was hard to focus on any one thing for very long, a true case of visual overload … rich colors, textures and patterns with everything in motion, even the buildings.”

    The BankRI Galleries are curated by Paula Martiesian, a Providence-based artist and arts advocate.

    Exhibit hours are Monday through Wednesday 8:30 a.m. to 4 p.m., and Thursday and Friday 8:30 a.m. to 5 p.m. For more information, contact www.bankri.com or call 401 574-1330.

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  • MOMENTS: Images from the Umbrella Movement. At URI Feinstein Gallery

    Talks, Tours, URI Feinstein Providence Campus GalleryComments Off on MOMENTS: Images from the Umbrella Movement. At URI Feinstein Gallery

    On April 8, 2016 • By

    The Umbrella Movement


    April 4 – April 28, 2016
    Gallery Night Reception April 21 5-9pm with interactive Pop-up performances

    From New York to Cairo, from Taiwan to Baltimore, political protest movements reveal the complicated and emotional relationships between citizens and their government.  Opening at the URI Feinstein Providence Campus Gallery on April 4, 2016, *MOMENTS: Images from the Umbrella Movement is the first in a series of interconnected exhibits throughout Providence and will bring together photography and mixed media to highlight the commonalities of social justice movements across generations and around the globe.

    Presented in cooperation with the Brown University John Nicholas Brown Center for Public Humanities, the installations will occupy both floors of the URI Providence Campus Lobby Gallery space and explore Hong Kong’s recent protests for democracy – commonly referred to as “The Umbrella Movement” – through the lens of demonstration documentarians.

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