Cristina Velasquez, FIGHTER – 2014

MONTAJE EX 3Raul, 2014.

During 2014, I worked with young immigrant men boxing in New York City and produced a series of photographs titled FIGHTER.
The series focusses on the moment after the match and the rawness of that emotional instant while isolating the subject from the noisy scene full of details. A sense of humanity, fear, violence, and determination characterize the photographs. The face portraits represent the dreams of adolescence and identity as young immigrant men. Boxing becomes a symbol for the match between fear versus courage, and failing versus the possibility of excelling in life and being acknowledged.  Ultimately, the series FIGHTER presents young men facing an imminent challenge, fighting for their place in this world and the only opportunity of changing their realities.

Nechama Winston, Lute Player Among the Rest, 2015

Nechama Winston, Lute Player, 2015

It was my first real and last experience in Venice – La Serenissima, the City on Water – the Bride of the Sea. Three days of wandering and traversing through the city’s twisted, narrow arterial streets culminated in this moment where it became second nature to notice the aromas of Italian pasta, olive oil and wine infused with the incoming sea breeze from the Grand Canal. I was one of many – a body among bodies – entrenched in the midst of a collective history of war and disease, elevated by artistic triumph and scientific innovation.

Up until now, I had been migrating alone from one place to the next. I noticed the gypsies and beggars pierce through the glowing Venetian light. The magical aura in the ringing sound of church bells, crooked clock towers, siestas, local markets, textiles, and colored-dyes was grounded by the ghost-fleets of the city’s past – waves of immigrants and travelers floating between East and West, leaving an imprint on the crust of Venice’s sinking walls.

I first saw this musician in costume outside Santa Maria della Salute, Our Lady of Health. Hours later, we met again on the Ponte dell’Academia. This time, I stayed. I listened. As I was pulled out from the static haze of an otherworldly past, I slowed down into the present. I watched him play Baroque minuets on his lute while his gaze mirrored mine, and we both looked and stood still on this link, this crossing, into the late evening – when the street lamps grew dim, and the crowds began to fade, and recognition took place.

Sasha Bush, Among The Toy Blocks

Sasha Bush, Kindergarten Classroom: 9 AM, 2011

Sitting in a corner, the tabletop against my shin reminds me that I have entered a world where the average eye level is just three feet tall. Along with two kindergarten teachers, I am an exception among the many small bodies here.

In this environment of perpetual flux, curiosity and the unexpected lead both children and myself to the next thrilling discovery. Bookshelves and tabletops are constantly redrawn in an endless collision of wet paint, glue and colored marker. Slumped over drawings of alligators and rabbits, sprawled on the floor reading, or screaming, children run around the room at a dizzying pace.

Stillness, and her sister, Reflection, rise to the surface momentarily before submerging again.  With my camera I excavate their remains, searching for their traces among the cities of wooden blocks that litter the carpeted room at my former kindergarten in the Hudson Valley. With my grandfather’s handmade gift, my older brother and I created similar skyscrapers and police departments to those at my right awaiting their latest renovations.

Part of a series focusing on children’s classrooms, this photograph serves as a twin to the knock on my shin in its ability to break an implicit illusion. Amid the nostalgia of toys I also played with, there remains no possibility of ever fully perceiving the world from that limited, lighthearted playfulness that a three year old experiences.

Hyungjo Moon, Importation, 2014

Portrait #14, Importation, Digital C-Print, 27.9cm x 35.5cm, 2014

Portrait #14, Importation, Digital C-Print, 27.9cm x 35.5cm, 2014

The work was initiated from imagination. Experiences and thoughts always provoked me to imagine. Personal frustration made me focus on certain symbol. Then psychological compensation in reality was gained from ‘possession’ of that symbol. The image, which was documented as a form of photography, could be a symbol that compensated my experience.

The process that I make existent image into photography and the process that I convert object into photographic paper through installation work are identical things with an imagination that I repeated.

Through that process, I use my own act of imagination as an active photographic expression method. Eventually I can harden my own symbol, thereby taking photography of symbol, which was projected in imagination.

Marla Hernandez, Graph No. 1, 2015

Marla Hernandez, Graph No. 1, 2015

Marla Hernandez, Graph No. 1, 2015

As part of my interest in the photographic translation of realism, I photograph items that best describe form, dimension, and spatial relativity. The photograph, Graph No. 1, portrays the complexities of space by using a simple object to depict what occurs when visual cues are converted to flat space. This photograph illustrates visual anomalies that exist in photography.

Emile Rubino – Soliloquy, 2015

Emile Rubino - Soliloquy, toner print, 41 x 80 inches, mdf panel, 46 x 85 inches, 2015

Emile Rubino – “Soliloquy”, toner print, 41 x 80 inches, mdf panel, 46 x 85 inches, 2015

Borrowing the title of Henry Fox Talbot’s early compositional study entitled Soliloquy of the Broom (1843), this piece is the result of several material and conceptual iterations. The photograph was originally taken meanwhile creating another studio related work entitled Les Amalgames (2014). I had composed a set up made of various pictures and objects taken from my personal studio space, which I displaced and displayed in a neutral room in order to photograph their staging. As I was setting up, I swept the room and instinctively decided to leave the broom in place. The present photograph was later printed as a simple photocopy and was hung on the wall of my studio. At the occasion of a recent exhibition entitled Real Allegory (2015) which brought together my studio related works, I enlarged this provisional photocopy, and made it into an over life size toner print mounted on a larger mdf panel laying against the wall of the gallery space.

Installation view from the exhibition “Real Allegory” at Spare Room (Vancouver, Canada, 2015), curated by Sung Pil Yoon   http://spare-room.ca/

ICP-Bard Group MFA Show “Advanced Master Remix,” at Baxter Street Camera Club of New York, July 7 – 30, 2015

Advanced Master Remix
ICP-Bard MFA 2015
Curated by Joanna Lehan

A group exhibition of the ICP-Bard MFA Program in Advanced Photographic Studies class of 2015.

Opening Reception: Tuesday, July 7, 2015 | 6 – 8pm
Exhibition: July 7th–30th

Advanced Master Remix features work selected from the solo thesis exhibitions of the 2015 graduates of ICP-Bard’s MFA in Advanced Photographic Studies, as well as recent work, and new, site-specific installations. This remix highlights the multidisciplinary work of these artists, for whom the photographic image is a starting point, though not always the endpoint.

Photography today is the torrent that carries us, and a language we all speak. Undertaking “Advanced Photographic Studies,” then, is a more complex endeavor than ever, and the work of these newly-minted MFAs represents the new ways in which the image can be interrogated and reinterpreted.

Artists: Esther Boesche, Stephanie Colgan, Joseph Desler Costa, Marie Louise Omme, Kat Shannon, Marisa Sottos, Daniel Terna, Jessica Thalmann, Beau Torres, Kimberly J. Wade & Tracie Williams

ICP-Bard Group MFA Show

Daniel Terna, “Art Handler,” HD video, 24:24, 2014. Photo by Daniel Terna.

ICP-Bard Group MFA Show

ICP-Bard Group MFA Show “Advanced Master Remix,” at Baxter Street Camera Club of New York. Photo by Daniel Terna.

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Jessica Thalmann, “Utopos (Curtis Lecture Hall),” folded archival pigment prints, 2015. Photo by Daniel Terna.

ICP-Bard Group MFA Show “Advanced Master Remix,” at Baxter Street Camera Club of New York. Photo courtesy Daniel Terna.

Stephanie Colgan, Untitled, archival pigment prints, 36 x 22 inches, 2015. Photo by Daniel Terna.

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ICP-Bard Group MFA Show “Advanced Master Remix,” at Baxter Street Camera Club of New York. Photo by Daniel Terna.

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ICP-Bard Group MFA Show “Advanced Master Remix,” at Baxter Street Camera Club of New York. Photo by Daniel Terna.

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Kat Shannon, “Exchanging Nourishment,” HD video, sound, 3:02, 2014. Photo by Daniel Terna.

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ICP-Bard Group MFA Show “Advanced Master Remix,” at Baxter Street Camera Club of New York. Photo by Daniel Terna.

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Marie-Louise Omme, “Break.Sculpture,” digital video, sound, 2015. Photo by Daniel Terna.

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ICP-Bard Group MFA Show “Advanced Master Remix,” at Baxter Street Camera Club of New York. Photo by Daniel Terna.

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Joseph Desler Costa, “Nine Laptops,” archival pigment print, 48 x 36 inches, 2014. Photo by Daniel Terna.

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ICP-Bard Group MFA Show “Advanced Master Remix,” at Baxter Street Camera Club of New York. Photo by Daniel Terna.

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Beau Torres, Untitled, archival pigment print, 16 x 24 inches, 2015. Photo by Daniel Terna.

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Tracie Williams, “Gravitational Mirage,” chromogenic prints, each 11 x 14 inches, 2014. Photo by Daniel Terna.

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Tracie Williams, “My Gravity Defying Sister, Annie,” archival pigment print, 20 x 30 inches, 2014. Photo by Daniel Terna.

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Esther Nila Boesche, “Five Heads,” archival pigment prints, each 11 x 8 inches, 2015. Photo by Daniel Terna.

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Esther Nila Boesche, “Five Heads,” archival pigment prints, each 11 x 8 inches, 2015. Photo by Daniel Terna.

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Marisa Sottos, Clockwise from top: “Open Your Heart to Me,” “Take it on the Run Baby,” “Help Yourself to Herb Alpert and the Tijuana Brass,” archival pigment prints, each 12 x 18 inches, 2015; Video monitor: “Love in Every Room,” HD video, sound, 4:20, 2015. Photo by Daniel Terna.

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ICP-Bard Group MFA Show “Advanced Master Remix,” at Baxter Street Camera Club of New York. Photo by Daniel Terna.

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ICP-Bard Group MFA Show “Advanced Master Remix,” at Baxter Street Camera Club of New York. Photo by Daniel Terna.

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Kimberly J. Wade, “Ima Pear (For Trayvon, Eric and Michael)”, archival pigment print, fabric wallpaper, 24 x 20 inches (frame), 60 x 56 inches (with wallpaper), 2015. Photo by Daniel Terna.

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Daniel Terna, from the series “We Buy Gold!” Titles from left to right: “Untitled (Engagement Rings),” “Untitled (Red),” “Untitled (Magenta),” “Untitled (Blue),” “Untitled (Green),” archival pigment prints, suede, each 14 x 11 inches, 2015. Photo by Daniel Terna.

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ICP-Bard Group MFA Show “Advanced Master Remix,” at Baxter Street Camera Club of New York. Photo by Daniel Terna.

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ICP-Bard Group MFA Show “Advanced Master Remix,” at Baxter Street Camera Club of New York. Photo by Daniel Terna.