2014年美术馆资料馆

Kelly Blunt (MFA), Lauren Becker (MA), 杰西卡·古铁雷斯 (MFA), Michelle Lopez (MFA),

丽莎·黛安·韦奇沃斯(MFA)

美术馆想邀请您参加 闭幕酒会 5月31日星期六下午5点至8点.m.

EXHIBITION DATES:

2014年5月19日- 5月31日

我和我的好时光

by Kelly Blunt

Kelly Blunt has an eye for the good times and an eye on the future of art as depiction of flux. 在过去的几年里，她拍了很多照片和视频, 展示她在洛杉矶的经历.

OBJECT MEMORY

by Lauren Becker

劳伦·贝克尔的毕业论文展览，题为 Object Memory is an installation of experiments using personal garments each of which represents a memory. Becker transforms these memories through an intervention with the material that allows for a visual examination of the outward manifestation of memory itself. Each artwork is a representation of how memory and nostalgia function as social and psychological components in an individual’s process of collecting. 怀旧是一种永恒的记忆和遗忘, and we use the past in a re-constructionist manner to produce comfort and safety in the present and future. 记住这一点, these works construct a narrative for self-reflection and then act to dismantle the treasured objects tied to memory, sentimentality, and nostalgia. 在探索她自己的收藏, Becker seeks to discover how the functions of nostalgia and the collected/ or saved garment acts to represent remembrance, loss, 和自我认同. 她对这些物体的实验(燃烧), dissecting, burying, 希望提出澳门新葡京博彩记忆本身构建的问题.  Becker asks: can one emancipate oneself from the bonds of memory through the removal or destruction of the memory-object? 在这第一次化身 Object Memory, Becker focuses on a collection of dresses has a direct relationship to the culturally engendered views of femininity that have informed her personal identity and development. The embedded memories found in each garment are important components to expressing the psychological power that exists in the act of collecting and what happens when the object acting as a talisman to nostalgia is destroyed.

UNDULATION

by 杰西卡·古铁雷斯

Undulation explores the juxtaposition of a private domestic setting of the bedroom and the public setting of the ocean. Undulation is a two-part piece; one half documenting the physical repetitive action of getting out of bed every day for a year and parallel to that, 海浪到达海岸的缩时视频. 床单的即时照片的重现, 模仿起伏的波浪, 因为它们都指的是运动. The correlation of a private domestic space to a public natural space initiates the dismantling of the barriers between them and brings to light the vulnerability, strength, 和人类坚韧不拔的精神.

肉祭

by Michelle L. Lopez

Michelle L. 洛佩兹展示了她的最新作品 肉祭. 她的艺术作品是通过记忆对身份的视觉探索. This project embraces the notion that the mind is the creator of our identity and the force behind the body; it is what drives the body. It has the power to alter our perception, create meaning, and protect the physical body. The mind like the physical body can also be wounded and scared and sometimes the wounds never heal.

伊朗当代艺术

Exhibition Dates: April 12^th - May 7^th 2014

开幕酒会2014年4月12日下午5点至8点

Every contemporary expression hangs in the balance until an inexplicable judgment of history either validates or rejects it. 伊朗当代艺术, therefore, 还没有经历过许多批评的区域吗, debate, and philosophical understanding on the way to more widespread and long-term notice. Nevertheless, 在这个十字路口, 我相信伊朗的当代艺术——尤其是摄影, the genius of its artistic expression––bespeak a wholly different frame of vision and production than that of any other time or place. Although a great deal of research and work is necessary to determine the aesthetic and historical significance of this current display, we may be assured that the so-far-generated polemics regarding its place and meaning have laid the foundation for its enduring significance not only in Iran but also worldwide.   

The phenomenon of contemporary  Iranian photography is quite surprising for rarely has so much of a period’s art appeared so simple yet turned out to be so complex. Mohammad Ghazali’s “Where the Heads of the Renowned Rest” and Shirin Aliabadi’s “Miss Hybrid,在这次展览中展出的许多其他作品中, prove this point. Ghazali的城市形象一开始看起来很普通, 司空见惯的摄影, 直到经过仔细审查, 人们进入了他深刻的形而上学颠覆的视野. Aliabadi, 谁可能被视为顽皮甚至肤浅, represents one of those interstices of play where the paradox of desire and control, 模拟和伪装, 让伊朗文化的微观世界和宏观世界都变得透明. 她的图像充满了对过去可以测量的心理的回忆, albeit subtly, 在作品中现代女性的外表下. 

Parastou Forouhar is another example of contemporary photography whose significance is more than surface deep; her references to earlier historical signs are more about the instability of such signs than their assumed values. Parastou is a master at displaying the paradox in theocracy and aesthetics by deftly communicating the beauty in horror and the god in abuse and exploitation. She exemplifies a phenomenal ability to implement through subjective aesthetics the objective and concrete matters of state and history. In fact, 当代伊朗摄影, 在很大程度上, exhibits an anti-historical and anti-metaphysical stance that makes it distinct from so much else occurring in the Middle East. 

令人惊讶的是，在最严格的制度禁止下, 伊朗的当代艺术家们, 在很大程度上, 设法绘制新的美学和图像路径. Examples are such semiotic photographs as the “Moustache” and “Hand and Belt” series of Peyman Hooshmandzadeh, wherein the images are phenomenological acts of bracketing those signs that illuminate the various economic and cultural strata of Iran through fragments and fragmentary embodiments of value.

The complexity of Iran’s contemporary life and thus its photography is necessarily sodden with tensions and conflicts that, 鉴于国家严格的禁令, 制作了一个符号剧场吗, 逃避和避免官方的障碍. Therefore, 比如提拉夫特坎的作品, Forouhar, Javadi, Kowsari, and Golshiri, 尽管他们展示了各种各样的方法, 我们发现符号作为戏剧符号的彻底重塑. 在这些作品中，认识的认识论被绕过了，所以意义, 高度散漫的, 可能不容易编纂. 尽管政治压迫损害了言论自由, new tactics and strategies of communication have both overcome the State’s demands and enriched the various arts and their meanings.   

Abbas Daneshvari博士. 艺术史教授

美国劳工:美国的拉丁美洲人.S. Popular Music
http://americansabor.org/exhibition/venue/1534

2013年11月16日- 2014年2月9日

Gallery hours: 星期一至星期六上午11时至下午5时

画廊闭馆时间:2014年11月28日至30日和12月23日至1月5日