
Senior Fine Arts PREVIEW Exhibition.
"Retrospect" by Elizabeth Cunningham.
"Fence" from "Ways of Looking" by Brittany Binler.
"Junie and Ivy" from the series "Committed" by Olivia Coffey.
opps, shows and photo stuff...





The rise and fall of culture nestled within the resilient and morphing context of nature is the musing of this multimedia installation. Playing off of his frequent use of architecture, illusion, and ephemeral materials, Brent incorporates motion, surveillance, and sound in this exhibition. Based loosely on a distant variation of both the model of the zoetrope, created in China around 180 AD, and the magic lantern of 1558, the artist has made a simple looped environment with a loosely connected, but dark narrative. Like the prisoners described in Plato's Cave, observers are privy to projections of imagery on a wall. Instead of reality being shifted as it is cast as shadow, a partially fabricated view of history and nature is cast as reality. In the brief, one-minute journey to the soundtrack of tropical birds and a distant battle, we visit an anonymous mountain terrain, a desolate but seemingly magical forest, various military bunkers, and Le Corbusier’s Unite d’Habitation in Marseille. See more at: www.brentwahl.com
Boxing Gloves and Bustiers is an exhibition of works that explore the many faces
of heroic female figuration through the lens of contemporary video. The show,
which was curated by artist Kate Gilmore reflects a shift in women's
relationship to power and the subsequent critique this change entails.
The videos range from heroic narratives to short and snappy "music videos",
all of which evoke from the viewer empathy, intrigue and laughter.

Matthew Thomas Cianfrani discusses his work with President Gutmann.



Rebekah Templeton Contemporary Art is pleased to announce Bubble and Squeak, a group exhibition highlighting the work of first year Master of Fine Arts students Fritz Horstman, Jennifer Jones-O’Neil, Jiwon Lee, Heather Ramsdale and Leigh Van Duzer, some of the Mid-Atlantic region’s most promising emerging artists.



Eileen Neff








Image courtesy of the artist






Time Out New York / Issue 677 : Sep 19–25, 2008
Review by T.J. Carlin
Demetrius Oliver, Observatory
D’Amelio Terras, through Sept 27
If epistemology were a visual rather than a philosophical study, it might take the form of Demetrius Oliver’s photographs. In his show, careful looking is balanced with a persistent consideration of the act of observation itself in a series of works that, through their subject matter, touch upon everything from the history of still life to self-portraiture.
Excepting an animated short and a slide show, the majority of the pieces are square, mounted prints taken with a fish-eye lens. The method is uniquely appropriate here, serving as a literal and metaphorical way of uniting myriad subjects, all of which relate to ways of seeing, whether through a telescope, a camera or the painstaking process of observational painting.
There are two main series: “Firmament” consists of interiors, while in “Ember,” lightbulbs hovering in darkness have those same interiors projected onto them. In the particularly striking Firmament #26, the artist bends over a stone fireplace with a poker, tending a pile of electric lamps.
A camera looms on a tripod between this scene and the viewer, as if to remind us of the limits of this particular reality. The photos are digitally altered and sometimes look as if they have been subject to years of water damage. The end result is a painterly surface hearkening to the sumptuous tones and subtle light of Chardin.
Oliver’s use of light and the camera as both medium and subject underscores the self-reflexivity in his oeuvre. The strength of these pieces is that they both show and tell, and are fulfilling both conceptually and aesthetically.



Su-Yen Chae, 2007.