ICP-Bard’s MFA program is participating in LIC Arts Open 6, beginning tonight 5/18. The festival features many galleries and studios in the area and runs until Sunday 5/22.
Come check out ICP-Bard’s Open Studio group exhibition featuring the work of the 2015-2016 classes. The studios will be open from 1-6 pm.
ICP-Bard MFA Studios: 24-20 Jackson Ave. 3Fl. (subway E/M/G/7 to Court Sq.-23rd St)
Interview by Lucas Blalock
“THE WORK I’VE ENCOUNTERED LATELY HAS BEEN LOOKING AT ITSELF IN THE MIRROR, AND NOW I’M LOOKING AT MYSELF IN THE MIRROR PER SE.” — WHITNEY HUBBS
Today is the day. In just a few hours we will all present some of the work we have made this year. Then, we will drink some champagne and stroll leisurely through the pop-up show for the launch of our simultaneous publication = “/100.”
for more info: click here
Saudade: Name of the Father, a multimedia presentation created for ICP-Bard MFA’s 2015 Slidefest, was selected as one of 11 PDN Photo Annual 2016 Multimedia WinnersEarlier this year, the project was awarded Honorable Mention by the International Photography Awards in five categories: Portrait, Culture, Photo Essay, Deeper Perspective, and Moving Image
Saudade: Name of the Father was also selected as a 2015 VISURA Multimedia Grant 1st Place Finalist, and a selection of photographs were included in the 2015 Seoul International Photo Festival and the New York Photo Festival
The feature length version of the film, Produced and Directed by Theresa Ortolani, is slated for 2017 release.
2017 ICP-Bard MFA, Theresa Ortolani is also a PhD candidate in The European Graduate School’s Philosophy, Art and Critical Thought Division
Images, Video, Story ©TheresaOrtolani 2016
Read more EYE TO EYE posts by Theresa Ortolani
Jessica Thalmann, Pleats of Matter (Ross Building), 2016, Archival Pigment Print, 20 x 30 inches
Jessica Thalmann & Ryan Van Der Hout
Reception: May 5, 6pm–9pm
Surface Tension joins two bodies of photo-based work by Jessica Thalmann and Ryan Van Der Hout. Both artists use archival documents to rethink the meaning of identity, history, memory, and loss by simultaneously defacing and exalting filmic and photographic objects.
Thalmann’s series Utopos attempts to understand the relationship between Brutalist architecture and traumatic histories involving protest, shootings, and violence. The project began by focusing on the 1992 Concordia University shooting, where her uncle was killed. Reflecting on the emotional implications of his death and its reverberations throughout her family, the artist distorts images of cold, monolithic Brutalist buildings, folding the photographs to create sculptural reliefs and organic forms.
Van Der Hout’s body of work, Creative Destruction, explores ideas of modernization, progress, and loss by etching into the surface of photographs from the Toronto archives. Working with images from 1890 to 1916, a period of rapid modernization in the city, he physically strips away portions of the chemical emulsion to create marks that veil, alter, or erase the past.
For both artists, the complex relationship between memory and the archive becomes prevalent as seemingly precious photographs are folded, torn, scraped, rubbed, and cut, simultaneously erasing and preserving a past half remembered.
Click here for more info.