Texas Artist Coalition juried exhibition, August 2014
I haven’t written for a few months – things have been very busy around here: a few exhibitions, a long list of readings postponed for the summer, some exciting research in a couple of Italian photography archives.
Here are a few of the things that I have been up to lately.
It was an honor to form part of the Fort Worth Art Collective, a newly established group of artists based in Fort Worth working in different media but unified by an ambitious vision of contemporary art. We already had two exhibitions and were called, as per the Star-Telegram, the pop-up du jour.
Texas Artist Coalition holds a juried show once a year and I was thrilled to be invited, since my first exhibition ever was exactly there 5 years ago. Moreover, what a beautiful surprise the day of the opening reception: juror Judy Tedford Deaton, Chief Curator of the Grace Museum, gave me the Fort Worth Art Dealers Association Award. The participating artwork is right behind me above. Continue reading
If you are waiting to hear how the review went, it hasn’t come yet. It kept getting postponed, which is great for my worrywart soul but also prolongs the anxiety. Anyway, the project that has taken the most of my time is The Archive. As the best form of presentation, I decided to make an actual antique binder, covered with dark green cloth with metal corners and the photographs would be filed inside, stitched with thread.
If you have been following my blog you know that the Archive of Abandoned Dreams is based on the poetry of Dimcho Debelyanov, a Bulgarian symbolist who, after a brief life as a literature student and then clerk (in order to support his family after the death of his father), volunteered for World War I and was killed in a battle with an Irish division. The irony of his life, in which his forced choices were made against his worldview and beliefs points so well to the aesthetics of symbolists, who relished in the impossibility of communication and forged a code of metaphors that distanced them instead of bringing them closer to readers. Debelyanov himself lamented the impossibility of his dreams but then abandoned them willfully with a very symbolic gesture. This way of relating has so much to do with contemporary culture: a world of facebook mirages in which participants create willful representations of their lives that seem more compelling when ambiguous. Continue reading
If you are a photographer, you already know the importance of portfolio reviews for putting your work out there in front of curators, gallerists, publishers and other movers and shakers of the art world. You may have attended a few of them or at least may have read (scary) stories about them. Or you may have a great story of success to share yourself.
Well, mine is a bit different as I had the chance to sit along with a reviewer at the largest of them, FotoFest, and closely observe a full day of portfolio reviews with a wide range of photographers. And be the recipient of precious insider insights she shared with me. I can’t tell you her name as I don’t have her permission, but as this was a really invaluable opportunity to get to know a less known side of the art world, I thought it might be useful to write about the experience. What I saw was instructive, hopeful and overwhelming all at the same time. Continue reading
As the New Texas Talent exhibition at Craighead-Green Gallery in Dallas is drawing to an end, I realize that I haven’t talked about my new work in the show. The images are done in an arduous process that took months to research and produce that it now deserves to be told about. It’s a process that makes for unique prints that also fits so well in the broader direction I’ve been following in the past couple of years. See some examples above. Continue reading
I wrote a couple of months ago about hand-colored photographs and my search for meaning in hand-coloring. OK, maybe not that melodramatic. But my main concern in approaching a technique, as visually appealing as it may be, is “Why do that?” Is it just because it looks pretty? I do believe it’s necessary, for the work to be compelling and authentic, to use a technique only because you have a good creative reason for it. Continue reading