$3.99 • Issue 42 • February 2018 (Digital Product)
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ISSUE 42 • February • 2018
Might this be how we remember the ever after, in pieces, Hide and Seek by Ayumi Tanaka takes random negatives and arranges them in such a way they create a cohesive story: families posing, their story secure in their snap decision to have their photo taken, lambs grazing along the horizon of a back turned, and hands holding a future or a past where light shimmers calling us to consider the stories our own lives tell.
Barbara Hazen’s feature, Genuine Beauty, seduces the viewer with its simple and thought provoking nudes. A bird cage, beads and the light wisps of fabric twist and hang from form dark images that still hold details in the shadows–the female body is beautiful, hands, lips and breast equal in importance. The whole, nothing without it’s parts.
Carol Erb’s Reckoning takes issue with the irreconcilable world that surrounds us, from nature’s floods and waterfalls, she illustrates both the beauty and disaster the natural world can herald and underlines nature’s overwhelming hand in all of it.
Michael Knapstein’ photos of farmhouses with period cars parked out front and laundry hanging from a wire echo a simpler time in America, along with white picket fences and an old-fashioned lemonade stand his series, Midewest Memoir evokes a nostalgia from the viewer that takes one back to a time when ideals were enough.
In part one of the essay, The Medium is the Muse, by Shana Braff and C.M. Kushins, dive into the topic of how works by masters are used to inspire and invoke new work by subsequent artists. The first half of the essay is published here and focuses on the inspiration from paintings and the second half of the essay will be published in our next issue and focuses on cinema.
The New Machinery by Martin Venezky feels like a modern deconstruction of nineties art, rebuilt and modern, for the current times. Venezky says, “These new complex constructions made me think of machinery in the sense that the components are valued as parts towards a larger function.” Just like the nature of art discussed in The Medium is the Muse, it builds on constructs from the past, the present is a new creation.
Image of Structure by Joshua Sariñana focuses on the Stata Center building at MIT where he studied for his Ph.D. He says, “I was usually engrossed by my thoughts with regard to research. However, the structure is so striking that my attention would invariably switch to the building.” Artists are drawn to inspiration and, as seen in Sariñana’s photos, can be closer to you than you think. The shadows and light play in front of our eyes giving us a glimpse into the magic that drew Sariñana from his studies to the camera.
Sandra Djak Kovacs