|Mat Keegan, New Windows (#6), 2008|
[The artworks] offer a fresh snapshot of contemporary photography, yet they also connect to concerns throughout the medium's history. Together the exhibited works embrace photography's plasticity, unlimited potential for experimentation, slippery relationship with reality, shifting contexts, and ease of appropriation. . . . The contemporary photography featured here celebrates the ubiquitous, experimental, hands - on, and open-ended nature of the medium. From its beginnings, photography was never a single practice, method, or medium, and this exhibition pays tribute to its lasting ability to exist in multiple contexts.
Featured artists include Nic Nicosia, Liz Deschenes Cao Fei, Rose Ethridge, Dirk Stewen and Mark Wyse, to name a few.
Having learned the intended meaning behind the naming of this exhibition, as one moved through the Jones Center there were works which stood out as best depicting what this exhibition was truly about. The first, a series of works by Matt Keegan, explores the manipulation and distortion of visual space within an image. As seen above, his particular subject matter was his New York City apartment and super, and by manipulating the image he creates a photograph which distorts the actual location, sequence, and possibility of the events which took place. He further explores this concept of visual manipulation by drawing one's attention to the gestalt of his exhibition. His ability to put gallery space on exhibit as a subject for consideration is achieved by placing a picture of his cat in one corner, drawing attention to the vast amount of gallery space that typically goes unused. Further musings of Keegan's about how he alters gallery space and his reasons for it may be read in this interview with him.
A formally trained student of photography, Sarah Greenberg Rafferty explores visual manipulation in photography by dropping water on photos printed on paper to alter the original image. In this exploration of photography materials and printing techniques, Greenberg Rafferty references history and spirit photography, creating an entirely new meaning and image a work of another artist. This technique also addresses the idea and definition of artistry ownership.
|Sarah Greenberg Rafferty, Madeline, 2009|
The issue of artistry ownership is further addressed in this exhibition by Mark Wyse. Wyse, who borrows images from magazines, re-photographs them and often re frames the image, displays his photograph for viewers to project upon. Having described photographs as "containers of relationships," the relationship between a viewer and Wyse's work is vastly different in this context than in its original form. In addition, his work explores the the idea of this "container" further as his work is ever evolving as the viewers are ever changing, and their memories are ever shifting and being projected onto the piece.
|Mark Wyse, Young Woman, 2009|
In conclusion, previously undefined expectations for this exhibition were set quickly upon entering Arthouse at the Jones Center. A truly exceptional exploration of the innovate practice of photography, this exhibition was educational, challenging and engaging to view.