art photography and post moderism

reaction and reflection upon abigail solmon-godea's essay:

godea's passage ardently references sherry levine's notorious case where appropriation was approached at an extremely inventive, yet unorthodox manner. this approach however, is most simplistically described as reconsideration of an art in order to birth a new art form. of course the visuals are nearly, or exactly the same, but the intention, symbolism, represenation, and inspiration, may be completely autonomous. "making the invisible visible,(160)" by resconsidering, and reconsidering [the subject] again and again to further question the finished work- to conjure thoughts, questions and ideas about the art-- not to dilute, but to readdress and strengthen the potential of the art. some may argue this is embellishing by fabrication but instead, it stresses a lesson that explains it is, "most important, to see how a complex, theatrical, and new-feeling art can be made from ideas and materials already there." Referencing Martin Kippenberger's grand demonstration of this phenomenon is the installation called “The Happy End of Franz Kafka’s ‘Amerika,’ ” which fills the MoMA atrium. (NY Times. Clotter, Holland). I am going to the city on sunday march 1, to see this exhibit. how coincidental and convenient?

ludak, mark

Mark Ludak's images fall nothing shore of stunning, and yet a rotten message is subliminally whispered due to a potential failure of the land preservation that is being addressed. Of course, the images are aesthetically appealing, especially since there is no apparent manipulation which heightens my awe. Compositionally the images are attractive and draw me further into the photographs. There are subtle similarities that remind me of Suigimoto's style; serene, peaceful but also mystery and fear, but what else? What is seemingly beautiful may rather be achingly sad and overflowing with misfortune.
When I look at Mark's images-- which document gorgeous lines, shadows, light, blah, blah, etc-- the unstated under-layer of ideas is what reels me in while viewing his work. My mind digested the natural beauty as if it were crying for help and bidding farewell as a means of making peace with the failure of many attempts at land preservation. The land that is growing full of imperanence is shrouded by a implicit ticking of time, fading slowly, becoming more dim ( which was rendered by the gloomy shadows ) . The presence of this misfortune instilled a sadness within myself.
As a resident of New Jersey I understand how congested and overly occupied some areas are, so having viewed the naturally beautiful landscapes that Mark made available for this exhibitions, my mindfulness and appreciation has been dusted off and re-recognized. I know that I must walk with my head up and eyes open to the available unmanipulated bare beauty that surrounds me, before it is bulldozed and cemented merely into memories.

Another Final Proposal Option

Photographs capture instances of the countless moments of life that we exist within. Such documentation is a, “witness [of] ‘events’… [or] ‘traces’ or ‘stencils’ imprinted from actuality,” (14). Moments in time swiftly occur but are forever gone without delay. These continuously fleeting junctures pass indefinitely. The accumulation and consideration of moments are essential constituents in defining and recognizing ‘time.’ Omitting the awareness of ‘moments ago’ would equate to the exclusive actuality of the ‘now.’ What differentiates the awareness of the ‘now’ and the ‘past’ is that there are features that are seemingly unimportant within a photograph, but on the contrary, the details of the subject of a photograph are what may specifically define an era or a period. Whether the background, or the subject is being considered, there are likely to be components of a photograph that signify a specific period.
Accessories, labels, styles and actions are a few things that may denote a time. Timelessness within a photograph is an entity that I have a great curiosity about because I am interested in both the concept of time and the metaphysical philosophy of the unit. The magnificence of capturing that instance with a camera- that moment which appears to be timeless- is an incredible attainment because so many components must be perfectly so, because “everything in the photo is potentially significant,” (6). Capturing an ageless, immutable appearing moment of time is an idea that I intend to explore.
When it comes to simplistic ontological observations that deviate from the concept of time - which influences culture and society- the focus on the nature of being should be reflected upon. The human mind still feels emotions, still thinks thoughts, and still expresses feelings or actions from the physical body regardless of what generation he is birthed. The nature of the human body is the same as it was 500 years ago. The expressions of a human being are the same as they were 500 years ago. Men and women have legs with which they walk, and ears with which they hear, and mouths with which they sing or laugh—no matter which month or day or hour it is…because what is time really? Life is now…ever changing…but it is always “now”. There was a then, but it is gone and it is now; and I want to capture an indistinguishable moment.

Anna Palakunnathu Matthew

Annu Palakunnathu Matthew 's exhibition was engaging and visually interesting. The movement neccessary from myself as viewer not only symbolized a gripping metaphor, but also provided an uncommon participatory aspect that I had never experienced prior to having viewed Annu's work. The connection and dedication is unmistakably represented through Annu's art. Her work is representing a main ingredient in where she comes from, which paradoxically does and does not define who she is as an artist because--as communicated through her work-- the modifications ardently sought after by many Indians (from India) forces them to straddle their inherent ethnic values and traditions versus their intended American adaptations.
The opportunity given to speak with Annu so closely was very special; sometimes I feel that there is a superior-barrier separating the exhibiting artist from the viewers, but the intimidation was effortlessly defeated thanks to Annu's refreshingly welcoming composure. To all who were not able to attend on opening night when Annu was present, you missed out...BUT be sure to catch the exhibit before it comes down--and ESPECIALLY listen to the audio tracks!!!! After viewing the images, listening to the audio tracks was the grand slam that clinched my captivation... VERY interesting to hear what American "ideals" are interpretted as by peoples foreign-born.