ICP-Bard Group MFA Show “The Ties That Bind” at Baxter St, July 1-30


The Ties That Bind

Curated by Charlotte Cotton

Please join us for our group exhibition The Ties That Bind at The Camera Club of New York Baxter St next July 8th.

The Ties That Bind is a collaboration and conversation between the ICP-Bard’s MFA class of 2016. Hailing from eight different countries, we employ photographic methodologies to challenge and investigate our intimate bonds and personal boundaries.

We have shared common interests that surface in the work and explore our subjective truths, family histories, memories and the impact of trauma.

We ask you to examine what is often overlooked or silenced and held in the peripheries of our experience. We invite you to engage with and find connections between us and the world at large.             

Opening Reception: July 8, 2016 | 6 – 8 pm

The opening reception will also include two performances to begin at 7 pm: Moving Images by Minny Lee and lost, lost, lost: you, you, you by Martha Naranjo Sandoval.

On view: July 1st – July 30th

Gallery hours: Tuesday – Saturday, 12 – 6 pm

More info: The Camera Club of New York Baxter St

126 Baxter St, New York, NY, 10013

Baxter St 2016 poster v3 

Theresa Ortolani, PDN Multimedia Winner

Saudade: Name of the Father was selected as one of 11 PDN Photo Annual 2016 Multimedia Winners©TheresaOrtolani_00Earlier 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

create_hmention_seal.phpSaudade: 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.

2016 ICP-Bard MFA, Theresa Ortolani is a PhD candidate in The European Graduate School’s Philosophy, Art and Critical Thought Division
©TheresaOrtolani_02©TheresaOrtolani_03©TheresaOrtolani_04©TheresaOrtolani_05©TheresaOrtolani_06©TheresaOrtolani_000Images, Video, Story ©TheresaOrtolani 2016

Read more EYE TO EYE posts by Theresa Ortolani 

 

 

 

I am not your mother

Ivana Larrosa – solo exhibition

RollingmemoryFebruary 18-21, 2016

Reception : Thursday, Feb. 18, 6-9pm

Vermouth With The Artist : Friday, Feb. 19, 12-4pm

On View : Friday-Saturday, Feb. 19-20, 12-7pm / Sunday, Feb. 21, 12-5pm

ICP-Bard MFA studios : 24-20 Jackson Ave. Long Island City, NY 11101

Remembered Space

Much of Ivana Larrosa’s work is an exploration and expression of the strangely subjective perception that she inherited as a result of a traumatic car accident years ago, which left her with permanent double vision. Stuck in an overturned car for more than an hour, Larrosa brushed up against death and came out with a new desire for self-discovery. After a long period of physical therapy she began a series of solitary travels around the globe and focused all her energies on art making. In New York she has been using her body as material in documented performance; developing an acutely stylized approach that blends a playful womb-world with a hauntingly inescapable strange loop.

gravity

In one of my favorite video pieces, Gravity (4:31), the shot from above holds steady on a brown leather couch.  The artist crawls around it, contorting her body and grabbing on as if for her life. It reminds me of a childhood playing on couches where the wood tiles were lava, not to be stepped-on or fallen-into. The stagnant camera disorients the viewer as the piece endures, becoming a ghostly view of the out-of-body experience.

MaskMonths ago I watched as Larrosa brought a variety of candy colored plastic toys into the studio. There were little 3D figures reminiscent of the flashing LED people in the crosswalk light, but some of them were running and some had their fists raised like superheroes flying through space. She brought in old broken mechanical devices: tape players, TVs, and typewriters, then proceeded to color them with spray paint. She installed them laying on the floor in elaborate compositions with confetti and curlicues every which way – it was sensory overdrive. Looking at this work and it’s installation revealed moments of hilarity mixed with a hallucinogenic heaviness. Her little walk/run/fly figures cascaded down a color gradient banner toward the hardwood floor.

10

“Like in Star Wars, ‘I am your father,’ but it’s ‘I am not your mother’… that’s really how it came. I think in the end you need to use humor, I think in the end life is not that serious…. Like you are not going to get rejected at the gates of heaven if you don’t have enough pictures!”

“I am not your mother” Ivana Larrosa 1st MFA Solo Show of 2016

Y=X©ivanalarrosa

Ivana Larrosa. Y=X, 2014. C-print 36×24″

MFA Solo Thesis Show season starts over, and I have the honor to break the ice for the Class’16 with I am not your mother. Needless to say I would love dear reader coming over and join me for this big moment. It’s a piece of my experience at ICP-Bard and also the most intimate and wild work I have done. (One of the reasons because the title is in first person).

If there is a word that sums up my experience at this program is “healing”.  It’s been a tough but very rewarding job thanks to the support of my beautiful and talented community of classmates, teachers, staff and ICP and NY artist community. So grateful to share this rebirth with you in this long road that my car accident has led me. Continue reading

Theresa Ortolani : Klompching Gallery FRESH 2015 Finalist

I am honored to have been selected among Klompching Gallery’s FRESH 2015 Finalists.

DECOMPOSED explores the systems and boundaries between binaries – image/text, conscious/unconscious, corporeal/spiritual – and focuses on the points at which these constructs converge, invert and decompose.

These primarily lens-based images were crafted via various techniques: masking, piercing, sewing, drawing, digital imaging, and printed in multiple layers. The original works vary in size, medium and technique. The final pieces were then reproduced, Glicée printed on Hahnemuhle Photo Rag and also included in a handmade, limited edition 7 x 7 inch, 50 plate artist book.

DECOMPOSED No. 1 97% 2015 Tape, Colored Pencil 24 x 32 inches, Wall Drawing 12 x 12 inches, Glicée on Hahnemuhle Photo Rag ©Theresa Ortolani

DECOMPOSED No. 1
97%
Tape, Colored Pencil
24 x 32 inches, Wall Drawing
12 x 12 inches, Glicée on Hahnemuhle Photo Rag
©Theresa Ortolani 2015

DECOMPOSED No. 18 Red 2015 12 x 12 inches, Glicée on Hahnemuhle Photo Rag ©Theresa Ortolani

DECOMPOSED No. 18
Red
12 x 12 inches, Glicée on Hahnemuhle Photo Rag
©Theresa Ortolani 2015

DECOMPOSED No. 21 Blue 12 x 12 inches, Glicée on Hahnemuhle Photo Rag ©Theresa Ortolani 2015

DECOMPOSED No. 21
Blue
12 x 12 inches, Glicée on Hahnemuhle Photo Rag
©Theresa Ortolani 2015

BEAU TORRES

As a MFA student at ICP part of the final thesis project is a solo show. This week Beau Torres will be having his solo show on Thursday night (3/12) and I will be posting details about him, his creative process and all other things that bring together his solo show and of course, the show invitation with all information needed.

Beau photo

Beau Torres is a photo-based artist living in beautiful Bay Ridge, Brooklyn. He is originally from Powder Springs, Georgia and attended Georgia State University in Atlanta. While at GSU he was president of the photography club ExLucis and hosted Deviltown a weekly folk radio show on WRAS Atlanta Album 88. He graduated with a BFA in Studio Art with a Concentration in Photography. His final portfolio, also entitled deviltown, was exhibited as a 6 channel video installation at The Window Project at GSU’s Digital Arts Entertainment Laboratory (DAEL). Around Atlanta he was involved in the gallery scene working with both Jennifer Schwartz Gallery and Fall Line Press. Additionally he freelanced with BURNAWAY conducting artist interviews. His current video work entitled What I’m Bringing To The Table is a series of tabletop performances creating abstracted collages from everyday items.

beau studio

On Songbook: In Conversation with Alec Soth

from the series In Pursuit of an MFA

Alec Soth's Songbook Signing (photo: Theresa Ortolani)

Alec Soth’s Songbook Signing (photo: Theresa Ortolani)

Soth3©TheresaOrtolani Soth1©TheresaOrtolani

Joanna Lehan, professor: This show came out of the “Dispatches” project, which was included in our last ICP Triennial. We had a whole wall of books that reflected the self-publishing phenomenon, and you were such an important part of that. Is there anything you would like to tell us about the show?

Alec Soth: The way it started is complicated. Preceding all of this was Magnum Photo’s involvement with “Postcards From America”. The first one we did was a road trip from San Antonio to Oakland. I was the organizer of that particular trip and I invited writer Ginger Strand to join us. That, in many ways, started the ball rolling on collaborating with a writer. And then it came to be that I, on a whim, invited my friend and writer Brad Zellar, to do an imaginary photo/newspaper assignment with me. We went out and started doing a number of these locally, in Minnesota, and it took on a life of it’s own. Then Brad and I went to Ohio, where I was doing a talk and, kind of in connection with Magnum, we did the first LBM Dispatch. There were all these mini strands coming together. It wasn’t like “I will publish in a newspaper and then it will be this”. It was continually evolving, which I think is maybe a good approach from a student perspective – that it’s not all planned out. It was about half way through doing the Dispatches that I knew (and had discussed with Brad) that I needed to have this other life – the work that was outside of the text. Brad and I had planned on doing a novel sized book/reader that would go in the literary world, but I also wanted an art book that was purely about the pictures rather than the stories, where the stories are stripped away. In this book I wanted to include a combination of pictures from the Magnum projects as well as from my editorial work. So about 80% of the work is from a mishmash of various things, but it all has something to do with community life in America and loneliness. One of the reasons it’s called Songbook is that it’s not an essay on something, it’s more lyrical.

JL: It’s an interesting time I think in history to focus on the idea of community and isolation.

AS: Yes, it is especially so because of smart phone culture, but I think it’s always been the case, particularly in America, that there’s this celebration of individualism and isolation. It’s all part of being in the world in this little glass bubble. And I think photography is the medium of being in the world of not being in the world. And I kind of love that relationship.

JL: How difficult was it to think about the ways in which you were working in the tradition of “Americana?”

AS: That’s something that has been in my work from the get-go: that relationship and the connection to the American photo tradition. I think of photography as being a language, and it has different dialects, and I speak a dialect and I use it. I was definitely referencing Americana, both in subject matter and in approach. I have the belief that Americana still exists. Because that’s the thing, these places are still out there, these people are still out there, and that’s something I’m less jaded about; it’s still a rich world to be explored.

JL: Each one of your photographs is really startling and fresh and manages to skirt any kind of cliché.

AS: My feeling about cliché is that I like riding up right to the edge of it. I did this project in Niagara Falls – and I think Niagara Falls is the ultimate cliché. But I wanted to show it and do it because you can get away with it if you counter balance it with a different image. Like a musical analogy, feeling is connected to cliché as we have an emotional response to things that it’s always bumping up against. But you don’t want to manipulate people. When you’re watching a movie, you don’t want the music to swell to force you to have a feeling that’s clichéd. It’s often very basic human stuff that affects you. Like this picture that’s at a blind camp in Georgia and it’s an incredibly touching picture. I think emotionally it’s right on the breast of that kind of cliché. On my mind was the really blatant racism I witnessed in Georgia – I didn’t want to see it because I didn’t want that cliché of Georgia, but the fact is I did see it. But then to go to a blind camp and see black and white touching each other, it was like, wow!

JL: And literally not seeing color.

AS: And literally not seeing color! That’s like a dumb metaphor but it was true. So that’s the thing about cliché. Clichés are clichés for a reason.

Soth2©TheresaOrtolani

Theresa Ortolani: So, you stripped away the text for Songbook. I heard Brad speak about your collaborations, and the relationship between image and text at the MoMA PS1 symposium. What are your thoughts regarding the image/text relationship, and the role of photography as language?

AS: Brad has a very sophisticated understanding of photography and the way the text works with the images; he’s great about not stepping on them with text and hopefully my pictures wouldn’t step on his text. And I love that Little Brown Mushroom has generally been a place to experiment with that balance. But I also love pictures on their own and their mysteries being wide open. This book was about that. Songbook is open-ended lyricisms where you can just bring whatever you bring to the pictures. In a lot of ways, I think I’m having my cake and eating it too, and you can do that with photography in some ways because it can work on different platforms. It can be in the New York Times Magazine where it’s a story about oil, but then it can do the Dispatches and become more open-ended but still have a narrative component, and then here it can just be kind of wide open. It’s one of the upsides of photography, especially when there are so many downsides and limitations to being a photographer. In terms of narrative, filmmaking can be such a powerful medium and I’m really envious of it – it’s the cultural medium of our time. It has an incredible power that photography doesn’t have. It’s similar to the narrative possibilities of the novel. So, emotionally this is called Songbook, but it doesn’t do that, it doesn’t do what music does. And in this day and age of fragmentations photography can be frustrating in that sense; everyone is a photographer.

TO: Do you have an inclination to make film – and combine music with narrative?

AS: The inclination comes and goes. A few years ago I started doing these experiments on the Internet in-between slideshow and photography. It kind of crashed and burned in a lot of ways though, publicly too. And that killed it for me. But, every few years it swings around. The problem is, since I know photography, I have my tools, I know this; to do something entirely different is so hard.

Matthew Papa: How did you book the research in terms of finding places?

AS: It was really intense and significant research. Usually for the Dispatches we would draw up a route, and we’d work with different assistants to research every spot on the map for different events or historical topics, though half of the pictures are made on the way to those things that we researched. And that’s just dumb luck, but you kind of make luck. I can never just drive aimlessly, it never works for me; I need some sort of destination. Yeah, research is huge. Research and access. I feel there should be a photography course on access, or how to get it. It’s just so hard. In this case it’s really different because there’s three of us. I find that’s like a power number; three’s a group and you can just enter into things. You look official when there are three of you. You look like a news organization. People kind of accept that because there’s an authority to it. Where, if you’re alone it can look sketchy. But you use your gender, you use your age, you use whatever you have to get access.

Katrina Sorrentino: I think of that incredible access when I think of your work. Could you talk about the intimate relationship you have with people who are on the other side of your lens, your subjects?

AS: I get that a lot and I always feel like it’s a bit untrue, the intimate access. I get access but it’s not always super intimate, or there’s distance there. I actually like a certain kind of distance. I sometimes don’t want to hear a subject’s entire story so that my experience of them is the process of photographing them. When work gets talked about there’s like a little myth that builds up about it, and that’s one of the myths. But, I guess I get described as nice.

JL: Well you are Midwestern.

AS: But a Midwestern thing is, it’s called “Minnesota nice”. It’s like this fake nice. And I definitely am not “Minnesota nice”. And that feels fraudulent too. That’s actually related to this work. I have a tougher, edgier side and in the sense of a novel I wanted the author’s voice to be a little tougher. In fact when I did those New York Times videos I used a very tough voice, that of a very unlikable narrator. I went far in that direction, which is why I got really beat up for it. This isn’t that. But it has more. I think of Weegee a lot, I love Weegee. He has this quality where he’s kind of laughing at the world. With this work I thought a lot about Weegie and Robert Adams as these two characters like the good angel and the devil. Because the thing about Weegee’s work is that it’s joyous, whereas with Robert Adams, though I love him, it’s not really joyous. It’s serene. There’s huge despair there. I love that Weegee joy of celebrating the chaos of the world, and this has some of that. There’s a great recording of Weegee talking – it’s this advice to young photographers where he says, “You can’t be a Nice Nelly.” And it’s so great! I love that. And that was my approach with people, not being Nice Nelly, coming in with the flash, taking over, and not being bashful about it. Maybe it’s not as respectful, but it’s not mean spirited either. It’s OK. There are ethical issues for sure. I’m not free of those by any means, but I’ve had to come to terms with that a long time ago.

TO: In regard to Weegee’s advice to young photographers, do you have an opinion about MFA programs? And, if you were to teach or lecture in one, what kind of advice would you give to your students?

AS: Ah that’s interesting. I’ve been thinking about this a lot recently. I’ve been interested in education. Last semester Brad and I taught a special course in Madison. I also organized a summer camp in my studio about a year and a half ago, and it was one of the greatest things I ever did. I also teach at a Limited-Residency program in Hartford, and am a visiting artist for the graduate program at the University of South Florida. So in thinking about all these different experiences coming together what I’m working on is to be able to give advice, because I’m asked for it but I don’t have it yet. But I have this strong feeling that one shouldn’t get into crazy debt unless they have a lot of money from their parents or something like that. I’m actually really terrified of that issue and advising people to go to those places. Especially since I’ve seen a number of weak programs. But there are places that are strong, such as the program in Florida. It’s hard for a program that costs a lot but one of the great things about this one is that the students go out into the world and meet different artists. They move to meet in Berlin, New York, San Francisco and then Hartford. In contrast, having spent a semester in a classroom with students seems crazy. I think you need to be out in the world, because it’s not stuff you learn sitting around a table; photography itself is learned by doing it, and then this universe is learned through making connections, meeting people and such.

JL: Well certainly this is what we have going for us in New York City, we can stroll out the door and bump into Alec Soth.

AS: Exactly. In Minnesota we have the Minneapolis College of Art and Design, and I love the faculty there, it’s super great. But I would never tell someone: move to Minnesota, spend all this money, and you’re not going to make any connections, and you’re not going to really be able to see that much work.

JL: I feel so lucky that we’ve walked here and bumped into you! Thank you, and congratulations.

AS: Thanks so much. That’s really great. It’s good karma.

On Songbook, an essay by TheresaOrtolani

Soth4©TheresaOrtolani

See more interviews in the series: In Pursuit of an MFA, by Theresa Ortolani