Thursday, April 28, 2011

New Hampshire Instituteof Art, Digital Imaging One, Spring 2011

Alexis McWhorter

Alyssa Boutin

Amy Dunne

Anna Turgeon

Anne Gaiero

Anthony Piazza

Ashley Dutil

Audrey Joyce

Becca Linscott1

Becca Linscott2

Cody Mack

Dan Nelson

Doreen Antonio

Emilia Ornellias

Emily Evans1

Emily Evans2

Erin Griggs

Ethan Snee

Evelyn Fonier

Hanna Greenberg1

Hanna Greenberg2

Irene Frey1

Irene Frey2

Jessie Locke1

Jessie Locke2

Joe Wood

Joshua Soucy

Katelyn Holdych

Katherine Donovan

Lara Rose1

Lara Rose2

Lauren Reutlinger

Lee Goodwin1

Lee Goodwin2

Megan Langois

Michael Holwat

Sarah Smith

Sharon Bornstein.

Stephanie Dollard

Tiffany Smith

Doug Prince-Review, Art NE

Particles and Waves-231, 2011

Particles and Waves-235, 20

Doug Prince: Particles and Waves
Soo Rye Gallery
Rye, New Hampshire
May 26 - July 30, 2011

            Douglas Prince's Particles and Waves explores the photographer's fascination with the digital world and his role as a transmitter of that world. In this work, a computer monitor replaces a viewfinder, in the service of a post-modern form of observation and image-making: The resulting images are aesthetic and profane, aloof and fetishistic.
Prince appropriates source material from a democratic cross-section of Internet images, including pornography, medical and scientific websites, and popular culture.
In his Particles and Waves series, however, there is a preponderance of nudes. The images are closely cropped, abstracted, and partially obscured by surface effects that unexpectedly heighten their eroticism. Particles and Waves 235, for instance, presents a nude female torso floating in an abstract digital space. The head and limbs of the subject are masked and blended into the background; breasts and torso emerge from a sea of digital pattern, much like Gustav Klimt's nudes emerge from swaths of dizzying surface design. Image 235 is in this way typical of Prince's fetishistic tendency to reveal and conceal, represent and abstract, in a sort of static, digitized striptease.
As high art birthed from the broadest possible source material, Particles and Waves abounds in intentional paradox. Particles and Waves 231 presents a female torso that looks like a classical Roman sculpture twisted away from us in a dynamic pose. Surrounding the figure is a ground or space that has been digitally manipulated to look like mesh or netting, studded with jagged, abstract forms and light effects. The result is both familiar and alien. We imagine a solarized photograph of a sylvan nude, stooping under foliage, her back dappled in shadows; we see a decapitated sculpture, stuck in wire mesh, surrounded by an explosion of plaster in some technological dystopia.
While the images from Particles and Waves conjure a fragmenting range of associations (contour maps, surrealist solarized photographs, classical antiquity, pornography, and even that pixilated digital file that you wouldn't dream of printing), they are grayscaled and meticulously worked to achieve a unifying aesthetic. Arguably, it is their teetering between fragmentation and unification that comprises the central meaning or duality of Particles and Waves. Theirs is an unsettling balance that somehow perfectly reflects life in the digital age.

- Rane Hall                                 
Art New England
Volume 32, Issue 3
May/June, 2011

Tuesday, April 26, 2011

Larry Fink

Larry Fink, Pat Sabatine’s Twelfth Birthday Party, 1981

Sunday, April 24, 2011

Adam Ekberg
Adam Ekberg

Andrei Koschmieder

Untitled #2 (Burn Out series), 2010
Inkjet print on silk scarf
90 x 90 cmAdd caption

Saturday, April 23, 2011

Grant Wood

Spring in Town (1941) by Grant Wood

Saturday, April 16, 2011

Todd Webb: Cow Skull, O’Keeffe’s Abiquiu House, New Mexico, 1960.

Airworks Studio

Hubert H. Humphrey Comprehensive Health Center, Los Angleles

Abstract Digital Art

by X2-Glory
More digital art inspiration.