FOUND IN TRANSLATION, ICP-Bard’s MFA Group Show from the Class of 2014

Words from our Director, Nayland Blake:

It used to be said that sculpture was the thing you fell over when you backed up to get a better look at a painting. Now the same could be said for photography. One of the many effects of the digitization of photographic proceses has been to make it much easier for photographs to permeate the physical world: coat surfaces to burrow under them, to be draped over our bodies and engulf our vehicles. Photographs have always been objects, of course, but as they increasingly insist on their status as objects, they raise a whole new set of questions for creators and viewers.

The action that we regarded as crucial for the photograph used to be the pressing of the shutter, the moment of decision that locked into place a unique configuration of elements on both sides of the lens. That moment was redolent with a host of social interactions and implications, for which the resultant object, the photographic print, served as a kind of key. The print’s own status was rarely considered, beyond issues of craft and scarcity.

Now that photographs saturate our surroundings in a multitude of forms, we are less inclined to look to the moment of the shutter’s press to provide meaning. The students in this year’s thesis exhibition are pushing photographs more and more into the physical space around them, making those photographs just one element among many. They force us to consider social space by breaking down photographic temporality and placing the viewer in a more vital relationship with the installations and events they have produced. The camera is one tool among many in their arsenal.

It is also telling that the social interactions examined in these works operate on an intimate scale. There is less reliance on big subject matter, and a closer attention to the ways that smaller actions shape our understanding of ourselves and each other. Debris from the sidewalk, the gesture of a hand or foot, the rind of a fruit or path of an insect, a whiff of vapor or sprinkling of glitter—each has been examined, weighed, and carefully deployed.

— Nayland Blake, Chair of the ICP-Bard MFA Program


The following is a fragment of a conversation with Argentinean Film Director Gastón Solnicki, author of Papirosen, in preparation for my final presentation and research paper for Documentary seminar.Image

Because of a poor internet connection, technical difficulties and time constrains on both ends of the conversation, I still have not been able to achieve the full length of interview.  Will be posted when successfully achieved…

**** to hear more about my reflections on and about FAILURE, please come join us on Friday night, may 3 at 7:00 pm, at ICP for SLIDEFEST. An evening in which the 11 artist currently finishing up the first year of their Masters in Photographic Studies, will share with the audience our images, ideas and reflections upon our practice **** Continue reading

Instructions On How To Read A Post


1. Clear your mind from any other thought. Be present. It always helps.

2. Realize that you most likely don’t know me, and probably don’t care about what I have to say, but allow for the possibility that you might be curious. It shall distract you from your endeavors, and give you an excuse to keep procrastinating.

3. Ask yourself if it interests you to continue reading.

4. Continue reading.

5. Open and close your eyes repeatedly and quickly, this will help you look at the screen for longer, and with a crisper focus.

6. Try to sit comfortably or, if you are walking on the street, pause and make sure you have not reached an intersection, it might jeopardize your life.

7. Continue reading.

8. Consider what you have learned. If nothing, think harder. If you have learned something, you might want to consider sharing it with the person next to you. Sharing is good.

9. Think again, but this time allow for the possibility that you have actually enjoyed being told what to do. It just redeems you for having to be accountable for your own choices. My pleasure to help you.

10. Evaluate: ask yourself if you have succeeded in following the instructions. If so, you may be dismissed; if not start over from Number 1.

The Greatest Villain of the Art World

“Who is the art world’s greatest villain?” was Nayland Blake‘s question to the Class of 2014 during last week’s Graduate Seminar.

From challenging the existence of a villain at all, to psychological malaises and whale killing, click-through to see the responses of Kathy Akey, Laura A González, Kasia Gumpert, Marina Leybishkis, Xavier Luján, Emilie Lundstrøm, Nina Méndez-Martí, Juana Romero, Aline Shkurovich, Kory Trolio, and Kim Weston.

Continue reading