The News Review:
- Texas Frightmare Weekend 2007: photo gallery
- UNC-SU Game 1: Photo Gallery
- Pitt Big Man Challenge: Photo Gallery
- Systems patterns repetition
- Made in China
Texas Frightmare Weekend 2007: photo gallery
Pegasus News – Jun 24, 2007
I was made to feel like everyone in the house was actually glad to see me and I’m betting this had something to do with pre-event staff orientation (well done Loyd!). Furthermore the parking was managed better than at any volume event I’ve attended in ages with radio-connected crew steering arrivals to the best open spots. Anyway enough talk: have a look at the photo gallery for some of the sights at the show. And if you’re reading this before noonish on Sunday (June 24) head on over. You’ll have several hours to check out the craziness before.
UNC-SU Game 1: Photo Gallery
InsideCarolina.com – InsideCarolina.com (subscription) – Jun 24, 2007
– Inside Carolina photographer Jim Hawkins was in Rosenblatt Stadium Saturday night. Check out his action photos from the Tar Heels first game of the CWS Finals.
Pitt Big Man Challenge: Photo Gallery
PantherReport.com – PantherReport.com (subscription) – Jun 24, 2007
Pine-Richalnd was the winner knocking off the defending champion Gateway Gators. Here are some photos from the event.
Systems patterns repetition
Boston Globe – Jun 24, 2007
Today an art market voracious for new blood snaps up artists right out of grad school. “New Art Collective: Emerging Curators Select” at Montserrat College of Art Gallery spotlights up-and-coming New England curators and artists. Gallery director Leonie Bradbury put out a call to curators asking each to propose a mini-show with three artists. She tapped her favorites then pared down the slate to one artist per curator. The result has a bit of the hodgepodge quality that beleaguers most juried shows although one strong theme emerges. What it lacks in elegance and cohesiveness it makes up for in energy. Most of the artists and curators here are young — some are just out of school; one hasn’t even gotten his bachelor’s degree yet… Bradbury who fairly counts herself and Dumont as emerging curators makes her own selection: Barbara Rita Jenny’s “Untitled (B&W -Trellis 2)” is a knockout at once gorgeous and viscerally creepy. Jenny creates kaleidoscopic designs from photographs of skin — in this case knuckles — making a diamond and cross pattern in shades of pink and brown. It drops from the ceiling in a photo banner and continues in tiles on the floor. The installation and scale suggest wallpaper and flooring which ramps up the ick factor — who would want wrinkled skin all over the living room? As an art installation though it would be wild. Mary ‘Malley’s drawings chosen by Clark Gallery assistant director Kristen Zeiser are intricately patterned paintings in metallic pigment on black paper. They’re eye-catching and technically deft crammed with delicacy but not quite realized.
Made in China
Boston Globe – Jun 24, 2007
You really have this back and forth and we tried to do that as well. “Beautiful to look at and often horrifying to contemplate Burtynsky’s large-format prints depict oil refineries waste dumps mines quarries factories and recycling depots in high-resolution detail. Images from the photographer’s most recent book “Burtynsky-China” were exhibited at the Barbara Krakow Gallery last fall and at Tufts University Art Gallery earlier this year. ften printed in symmetrical diptychs and shot from an elevated position these photos like the thought-provoking film they inspired raise troubling questions about our relationship to the environment. “I was overwhelmed by the complexity of the dialogue these stills raised” says Baichwal who previously made the documentaries “Let It Come Down: The Life of Paul Bowles” (1998) and “The True Meaning of Pictures” (2002) on Appalachian photographer Shelby Lee Adams. “Not only do they let you witness the places you are responsible for but would never normally see — the interior of those factories that make your steam iron the recycling heap it goes to after you throw it away — not only that but the fact that they’re so nondidactic that they allow anybody really to engage in that dialogue. “Burtynsky says he strives consciously to keep his photo-narratives “flexible” and open to interpretation partly to correct what he perceives to be a shrill and apocalyptic tone in environmentalist discourse which makes activist voices “easy to marginalize… “I was overwhelmed by the complexity of the dialogue these stills raised” says Baichwal who previously made the documentaries “Let It Come Down: The Life of Paul Bowles” (1998) and “The True Meaning of Pictures” (2002) on Appalachian photographer Shelby Lee Adams. “Not only do they let you witness the places you are responsible for but would never normally see — the interior of those factories that make your steam iron the recycling heap it goes to after you throw it away — not only that but the fact that they’re so nondidactic that they allow anybody really to engage in that dialogue. “Burtynsky says he strives consciously to keep his photo-narratives “flexible” and open to interpretation partly to correct what he perceives to be a shrill and apocalyptic tone in environmentalist discourse which makes activist voices “easy to marginalize. “”Everything has consequence and this is about consequence” he says. “This is about the other side of our built environment or the other side of our consumer culture. There’s this other world that is massive and ever-growing and it has consequences both to the diminishment of natural resources and to the expansion of China and the externalization of a lot of the dirty stuff that it takes to make the things we [North Americans] like. The toilsome reality behind “Made in China” tags comes across in the film’s opening scene: a mesmerizing nine-minute tracking shot of assembly-line workers at a plant the size of four football fields.