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By Hannah Pittard Exploring the unique format of the 16:9 aspect ratio of the plasma screen television, “Monitor Madness” features 24 pieces by 21 artists divided among six screens. According to Matthew Mascotte, assistant curator for new media projects, “Monitor Madness” is the second in a series of new media exhibitions developed specifically for the School of Film and Digital Media at La Galerie Bleue. “The first show, ‘Faculty Focus,’ was developed to highlight some of the creative work SCAD faculty are doing in the digital arena,” he said. “‘Monitor Madness’ is an eclectic gathering of video works by SCAD faculty, students, alumni and staff that have been designed specifically for the wide screen plasma TV. This show is interested in exploring the creative potential of the increasingly ubiquitous flat panel environment.” On monitor one, “New World Bank: Alpha and Omega,” a new digital work by professor Alessandro Imperato, is making its debut. On monitor two, “April 1st” and “Meditation Piece” by David Quiris, as well as “Work 1” by Jay Wynne, is displayed on the only vertically oriented screen in the exhibition. Monitor three is divided between Lindsay Grabowski’s “VH1 Uno & Malevich Moon,” Fred Leighton’s “American Fire,” Quiris’ “Trijh,” Laura Rieland’s “Difference Between Shallow and Deep,” Marco Caldiera’s “Video Portrait” and Michael Barefield’s “#33.” Jeremy Monnat’s Constructing History,” Tanaponn Kulsedzeranee’s “X-1 Cube” and “Clay Animation,” Casey Ratcliff’s “The Thief,” Judge Dylan’s “Atria,” Ryan McGriff’s “Electric Meter,” Joel Fendelman’s “Dross-eyed” and Colin Alexander’s “Venus in Blue” share monitor four, while John Staunch’s “Awakening, Mindy Park’s “Brainstorming,” James Crothers’ “Grace” and “VH1 Bumper,” Kulsedzeranee’s “Lucky Strike,” Susan Quinn’s “Unititled 1, 2 and 3” and Shawn Romano’s “Troy” share monitor five. Work by Keith Conway is displayed on monitor six. Although the artists were confined to the wide screen plasma television as a palette, the resultant works — from Quinn’s series of still images that she hand-painted before animating with the computer to Crothers’ stop-animation music video replete with lip-synching characters in outer space — are strikingly dissimilar. “Monitor Madness” is on display at La Galerie Bleue through June 1.
By Hannah Pittard According to Sarah Nix, “Peace Perspective” is about discovering a more serene environment through a new viewpoint. “By placing the camera in a specific direction, the true surroundings cannot be seen,” said Nix, an M.F.A. candidate in photography. “Most of these images were captured in spaces such as a McDonald’s parking lot, a strip mall or on the side of a busy road — places where one would not expect these images to come from. The image creates a new landscape for the subject to exist within and a window to a more pristine environment for the viewer. It introduces the idea that one can find peace depending on how they look at the world, even if one is surrounded by a chaotic environment.” Nix relied on only two cameras for her show — a Holga and a pinhole. “The body of work is about finding new perspectives in a chaotic environment. It also lets the subject of the image — a flower, etc. — exist within a new and better environment.” Although the arguably unsightly location of the photograph is often obscured by the beauty of the image itself, Nix was careful to title her photographs accordingly after the commercialized environments in which they were taken. “The viewer is thrown off guard when reading the title — such as ‘McDonald’s’ — because the image is of a beautiful tree that looks like it was taken in a more pristine environment.” “Peace Perspective” is on display at the Alexander Hall Annex Gallery, 668 Indian St., through May 20. A closing reception will be held May 19, 6:30-8:30 p.m. King puts ‘Neighborhood’ on display In the chromogenic prints of “Neighborhood Watch,” M.F.A. photography candidate Erina King exposes the danger she feels lurks in suburban neighborhoods. Each of the 20 prints is titled after a local street name — “Paulson, 12:10” “E. 41st, 11:18,” “Reynolds, 12:40” etc. — giving the prints an eerie familiarity. “Suburbia is a land of make-believe,” writes King in her artist statement. “Its mythology carries with it an artificial veneer of cookie cutter homes, manicured lawns and safe streets. It is a place that I have been taught that, underneath its innocent façade, is teeming with danger. Danger is lurking around each corner and in every window.” According to King, she mixes anxiety with the comfort of beauty, exposing the neighborhood as an illusion of “created perfection.” “Beneath the obsessive order of suburban life, there lies a dark mystery that belies the homes’ glowing interiors,” she said. “The viewer is left to wonder what just happened or what is about to happen. The feelings become more complex as the viewer plays the role of both the voyeur looking in from the outside and the vulnerable person inside. As the viewer inhabits these simultaneous roles, they may come to realize that reality is shaped more by perception than fact.” “Neighborhood Watch” is on display at Alexander Hall Annex Gallery, 668 Indian St., May 20-25. A reception will be held May 21, 6-8:30 p.m. |
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