In 1929, my grandfather was hanged for murder. It was a taboo subject in our family, and out of respect for my grandmother, nobody ever spoke of it. We believed that because my grandfather was convicted on circumstantial evidence…he had been convicted wrongly. After my grandmother’s death, I came into possession of a box that she left for me. Contained within were all my grandfather’s personal effects during his year on death row… newspapers, magazine articles about the trial, letters from lawyers, family members, and friends. It became quite clear…as I read between the lines…that he was guilty… that my grandmother knew it, and that after her death, she wanted me to know it, too. However, my work is not a study of ‘guilt’ and ‘innocence’, or even a document of the tragic history of my family. My work is about Women and Pretending. Pretending often reflects a wish, however misguided, to protect others and ensure the viability of the self as well as our relationships. Each of the women in my narrative, including the the murder victim, has been deeply affected by the legacy of secret-keeping connected to this man’s actions. I am a storyteller I have always been fascinated with multiple interpretations…double exposures…and the ambiguities that arise depending on which character is telling the story. My process begins with a collection of elements: memory…imagery…writing…objects. As I move the elements around, a visual narrative begins to take shape, signaling a new understanding of parallel stories between generations. I see the layering of paper and photographs as being similar to the way our mind organizes memory…at different depths…one over another…constantly shifting. Sometimes I feel as though I am trying to solve a puzzle with multiple solutions. In the layering and relayering…combining and recombining…telling and retelling, I finally understand that I am no longer telling the stories contained in the box. I am telling mine.
Plot Synopsis: The story is set in a world where implanted microchips can record all moments of an individual’s life. The chips are removed upon death so the images can be edited into something of a highlight reel for loved ones who want to remember the deceased. Caviezel portrays the leader of the organization that opposes this technology’s development.
The Final Cut is a film written and directed by Omar Naim, released in 2004. The cast includes Robin Williams, James Caviezel, Mira Sorvino and Genevieve Buechner. It was produced by the Canadian production company, Lions Gate Films. The film featured original music by Brian Tyler. The story takes place in an alternate reality in which every moment of people’s lives are recorded by “Zoe Implants”, so that they may be viewed by loved ones after one’s death. The plot centers on Alan Hakman (Williams), a cutter, whose job it is to edit the Zoe footage into a feature-film length piece, called a “Rememory”.
The Final Cut is about subjectivity, memory and history; posing the question, “If history is what is written and remembered, then what happens when memories are edited and rewritten?” The movie also brings up the problem of infringement of privacy, and can be seen as mirroring the loss of privacy in today’s society. The film won the award for best screenplay at the Deauville Film Festival and was nominated for best film at the Catalonian International Film Festival and Berlin International Film Festival.
But I am
The series ”Dreams” by Michał Giedrojć show us moments balancing on the border of desires and reality. The artist creates his own world, he do what he want with landscapes, people and props. Photographer gives us an opportunity to chose what to believe – if it’s a reality or only imagination.
These are black & white photos of people with their individual characters and strange looks. They try to say something with their eyes, by showing signs and sending signals – which is very intriguing. I find this kind of photography very unique, special and extremely interesting.
Job (18) For me, crying is not showing your weakness. When I cry, I can accept my feelings and I’m able to continue. It makes me stronger.
Jip (20) Emotional crying is one of the few things that differentiate us from animals. Ironically, so is the urge to suppress our nature because of social constructs.
Aditya (19) I used to see myself as strong because I did not cry; now I feel weak because I cannot cry.
Thomas Mailaender ‘sunburns’ old photographs onto human bodies.
The Mail Series and Driver’s Log drawings monitor existing energy found in their ordinary environments.
USING POSTAL ROUTES
Sculptural packages of the Mail Series are sent through the postal system. Enclosed pencil mechanisms mark the movement during their trip on paper mounted inside each parcel. Individual drawings develop, documenting their unique circumstances in transit as every bump, rattle or kick is scribed within the piece. An accumulation takes place. When the package is opened and observed by the recipient the drawing is completed.
USING THE INTERSTATE
Driver’s Log is a document of movement inside the back of a truck. 99 bottles are hung from a web of straps tied two feet above and parallel to the truck’s floor. Each bottle contains a varying level of water and a different grade of graphite attached to its tip. Below the bottles, paper is taped to the floor of the truck for the graphite to draw the ativity during the trip.
Allowing an outside force to dictate the result of each drawing divides the artist’s role in the creative process. The results become dialogue rather than a lecture. It is the intention of this work to interact with these currents of otherwise overlooked energy and reveal them in a visually powerful way.
EverAfter Purgatory I
Alison Moritsugu was born and raised in Hawai‘i and left the islands after high school. She received a BFA from Washington University in St. Louis, Missouri and an MFA from the School of Visual Arts in New York. She lives and works in Beacon, NY.
Moritsugu’s work has been exhibited in solo shows at the Honolulu Museum of Art at First Hawaiian Center; Lux Art Institute, CA; Littlejohn Contemporary, NY; John Michael Kohler Arts Center, WI; and the Knoxville Museum of Art, TN. Group exhibitions include the Maier Museum of Art, VA; Palmer Museum, Penn State University, PA; Virginia Museum of Contemporary Art; Frost Art Museum at Florida International University; and Kemper Museum of Contemporary Art, MO. In 2011, Moritsugu completed a mosaic commission for the MTA Arts for Transit. She received a New York Foundation for the Arts Fellowship in painting and participated in residencies at the Cité International des Arts, Yaddo, The MacDowell Colony, and The Marie Walsh Sharpe Space Program.
Big Shots: Andy Warhol Polaroids provided insight into the artist who sought to capture the world with his camera. The exhibition included about 250 Polaroids and 70 silver gelatin black-and-white prints taken by Warhol from 1970 to 1987, many of them on public view for the first time.
Big Shots revealed an important dimension of Warhol’s process in creating his famous large-scale portraits. Although his Polaroids served as aids for painting portraits, in and of themselves they are significant works and represent a relatively unknown body of Warhol’s work. At the Nasher Museum, the exhibition included his portraits of Patsy, Andrea, Joan and Nancy Nasher, accompanied by the original Polaroid studies. A selection of Warhol films from the 1960s was also part of the exhibition, to help provide greater context for the photographic work.
Only in memories (detail), 2011
As an artist, arts facilitator and teacher of art, I am interested in exploring the collaborative and participatory processes of art-making and their social function outside as well as inside the gallery space. Employing a combination of photography, film, mixed media and installation, I continue to seek and investigate multiple ways to involve wider, more diverse audiences and communities in the production, products and interpretation of meaningful and valuable art works and projects.
My work primarily deals with an exploration of personal narratives, memories or experiences and how these individual starting points can extend outwards connecting to the wider social, cultural and historical context of our lives.
My Masters research project is an example of how I aim to establish mutual working relationships with the people with whom I work so that they become equal collaborators rather than subjects, enabling their voices to surface with my own.
Karen Hanmer is a contemporary artist bookmaker, operating out of her studio in Glenview, IL. She has a degree in economics from Northwestern and was one of the eight graduates of the American Academy of Bookbinding’s “Fine Binding” Program. She’s exhibited widely, as many art museums, universities, and bookbinder’s guilds. She uses both traditional and contemporary methods of bookbinding and is often playful with form and content. The content of the books is usually talking about history, culture, politics, science, and technology. She has a small set of books in WMU’s Rare Books Room on campus titled “Contemporary Paper Bindings” which consists of 10 small books bound in intricate and interesting ways, each with it’s own unique content. They’re extremely well done and there’s clear attention to detail. These books inspire me for my studio project in ghost hunting for a couple of reasons.
Walton Ford (born 1960 in Larchmont, New York) is an American artist who makes paintings and prints in the style of Audubon’s naturalist illustrations. Each of his paintings is a meticulous study in flora and fauna, while being filled with symbols, clues and jokes referencing a multitude of texts from colonial literature and folktales to travel guides. Ford’s paintings are complex narratives that critique the history of colonialism, industrialism, politics, natural science, and humanity’s effect on the environment. His prints are meticulous and fastidious in execution. Dying Words from 2005 is a combination color etching, aquatint and drypoint on paper in the collection of the Honolulu Museum of Art. In this print, the extinct Carolina parakeet replaces people in Benjamin West’s famous painting, The Death of General Wolfe.Repurposing a field-guide aesthetic, Ford composes dense allegories that make sometimes pointed, sometimes sidelong allusions to everything from conservationism and consumption to war, politics and imperialism.Ford left the Rhode Island School of Design, Providence, Rhode Island in 1982 with a BFA degree.Walton Ford is the recipient of several national awards and honors including a fellowship from the John Simon Guggenheim Memorial Foundation and the National Endowment for the Arts and is one of the artists profiled on the PBS series Art:21. He had his first major one-man show at the Brooklyn Museum in 2006 and is currently represented by the Paul Kasmin Gallery in Manhattan. In 2010, the retrospective “Walton Ford: Bestiarium” traveled from the Hamburger Bahnhof Museum Fur Gegenwart in Berlin to the Albertina in Vienna, finishing at the Louisiana Museum of Modern Art in Denmark in 2011. His work is included in the collections of the Honolulu Museum of Art, the Museum of Modern Art in New York, the Smithsonian American Art Museum and the Whitney Museum of American Art. Last year, Ford designed the cover art for the Rolling Stones greatest hits album, GRRR!, which commemorated the band’s 50th Anniversary.Ford lives and works in New York City.