Thursday, May 7, 2009

First Friday.

Something I rather enjoyed in the May's First Friday was the wide-across animal theme portrayed on a subtle or outrightly obvious way. I'm not sure if other artists or viewers noticed this or not, but it was quite apparent after a few galleries. It's quite sad in a way that people give their time and attention to animals, not that it is a bad thing, but it is highly prioritized over humans' suffering and issues. I just recently found an interesting article ad in the art magazine Luerzer's International Archive, about the effective of using an animal imagery to make a point because people will take time to read it if it seems to be addressing issues of four legged creatures.

This one is neat. The whole gallery were remains of what beavers have done. I thought it was interesting in the larger picture, but over all it was okay.

This was a very well done series. All the images are mixed media and have a wonderful color pallete I really enjoy the imagery too. This is the first time I witnessed the Mayday Parade. Interesting. I just think if you are going to try and make a point and have people support and respect the cause, maybe you should steal shopping carts and use it in the parade. Just a thought.
Oh the instruments of Richmond... It's funny, but right beside them is actually a music store, selling real instruments... I wonder how the business is holding up to these innovative creations.
First Friday are always too crowded for my test, but I survived yet another.

Anderson Show and Fine Arts Building's Craft Show.

Here is one of my favorite pieces at the Craft Show. When I first came upon this structure, I thought, hmm, looks like something Ikea would sell. When I found out that the structure had other functions than just being visually interesting I liked it even more. These series of images function as direction on how to interact with the structure. A girl walked by and I asked her to be my guinea pig and try it. Voila. A wonderful thinking and meditating sanctuary. I would like one in my room. There were some other really neat things at the Fine Arts Building. Some wonderfully well done pen and ink drawing. As a full image, I do not find the subject to be very interesting, but as marks and lines, I find it very engaging. It is much better to look at them up close, inch by inch. The pen work is wonderful. Also, this tea bag collage was a good way to recycle and be come art. The collage of tea bags was about 3 feet by 4 feet, ranging from all colors and shapes. Once again, it is one of those things that is so much more power when it is viewed up close. Absorb the detail. Memorize every contour and texture.

I liked how "green" people were being this time. Everything was seemed to be "found" and things not commonly incorporated in pieces, took every advantage and tied into the pieces quite nicely. In one of the room where presented wood structures held together and constructed into large pieces using thread, yard or strings. At the same time they were innovative, craftsmanship lacked severely. A little more patience and delicacy and these pieces can arrived at a more professional level.

Some more "found" pieces of work. The first one; a burnt piece of playground equipment with dangling fabric sown hands below it, the second; the result of drippy paint from a file cabinet, the third; neat plastic structure with what seems to be paint injected into the groves, the last two on the right; interesting paper mache shapes shiny coated and color, hanging from the ceiling. The objects themselves were what caught my attention, but it was the shadows that projected onto the wall that were mysterious and intriguing.
Sometimes, we go to great extend to create, and then produce indirect results.

These were some other really eye catching pieces in the Fine Arts Building. I feel sometimes these crafts pieces don't do it justice on its own. I find the pieces more effective to myself as the viewer through photographs. Perhaps it is the form and details that is capture through a picture that most people don't take the time to see with bare eyes. Photographing questions one to think compositionally and aesthetic. When I photograph these work, I crawl down, I walk around, squat and lean and view it from all sides to capture the best of it. I feel most people who just clasp their hands behind their back and walk by do not get the best of it. They don't take the time to bend down and get closer to the pieces. Something I enjoy in these 3D craft pieces is walking around and playing with the lighting, seeing the shadows and lights bend and fold from each angle. But perhaps, this is what makes me a picture taker and not a picture viewer.

I see dark, yet hopeful in these and I enjoy that sense of optimism in art.

Wednesday, May 6, 2009

Sametime 1:04.

It has certainly been nice following this group. I have known the people involved in it before they even formed the group. The thing that I am most interested about these take-picture-everyday-at-the-same-time groups, is observing how they function. It's not the pictures that they are able to catch everyday at the same time.

It is definitely worthy to be around these people at that time and watching them function and operate. People forgot cameras, they run around and seek the perfect shot within the scene they are at. I inquired about what happens if people forgot their camera what would happen, and learned that cellphone cameras and of that sort were allowed, but frowned upon by the rest of the group member. Also if one of the group member at the moment has a camera, the other members were allowed to share this one camera if necessary. It quite entertain to be at the scene when all of this phenomenal happens. I enjoy the images better when I was there to witness their action. It also allows me to preview the surrounding and contemplate why the chose to take the shot they took. I enjoy seeing them dedicated to this. Group members set alarms on their phones to go off four minutes till. With those four minutes before, they scramble and seek the perfect angle and shot. Good for them. I like to see more of this sort of commitment, dedication, and motivation in the world.

Interstitial and Anderson Gallery.

Interstitial fluid (or tissue fluid) is a solution which bathes and surrounds the cells of multicellular animals. It is the main component of the extracellular fluid, which also includes plasma and transcellular fluid. The interstitial fluid is found in the interstitial spaces, also known as the tissue spaces.

On average, a person has about 11 litres (2.4 imperial gallons) of interstitial fluid providing the cells of the body with nutrients and a means of waste removal.

I went to the Anderson Gallery a little while back. They had some very interesting new video installation. I wasn't able to capture any pictures because there seems to be a group of people documenting all the work and rearranging the place so I did not want to interfere. The two videos down stairs were quite fascinating. It was much more engaging when I found out that basketballs were made of glass. It was a rather interesting piece, I can't say that I found the piece pleasing or aesthetically enlightening, but I will say it is intriguing. Also the baseball one was kind of absurd to me. I enjoy the fact that there were cohesiveness to the presentation, the image, and the direct linkage from the movie to the set up, but it was just kind of idiotic. Why would one build a set so realistically and then destroy it with an idiot playing baseball inside... just a little immature on concept. Presentation well done.

I also viewed Pitts's piece upstairs. I was quite intriguing. Once again, concept wise, I would like to personally hear the artist's reasoning and developing thoughts behind it. Anyone can do something like that. And I am sure we all have a different reason for doing it. Some get away with it and some done. It's art school. A lot of absurdity gets blown around, it takes some voicing to ground those thoughts and make them into something thoughtful and sincere. I do enjoy the editing, the both freeze frame, the overlapping layers, and the soft fluid transition to compress time. I would like to see more videos like this. A series of them even. I see a lot of potential in the piece being very transcending. So perhaps pushing the concept further with other videos and creating a series of pieces for it.

Tuesday, April 28, 2009

Submissions, Shows, Or Exhibitions.

About a month ago, I went to Rumors and kindly asked the owner of the place to allow me to hang a piece of work there, and the reply was yes. Although it was hard to locate a place that would fit my piece, I finally found one. With a little help from a tall friend, I was able to successfully hang one on their brick wall. It is a matted piece of individually cut and customarily arranged photographs two inch by two inch, 9 images by 11 images if I remembered correctly. They are arranged by overall color and flow semi-fluidly due to the small scale. It can be looked at as a small portion of a larger mosaic piece.

The all the individual photographs are taken by me. They are a small cumulative bunch, obtain over the years. They images are small tokens of memories from the places I've been. They are pieces of collected experiences as well as moments that I have encounter in life. I just to be able to share a little bit of that with others, and show them the vast vibrant colors that exist in every day that sometimes we forget to see, through all the filters that sometimes blind us in life.

Also, I have stumble upon a wonderful opportunity to have my works displayed at Crossroad Coffee and Ice Cream Shop on 26 N. Morris St. I am schedule to have the whole month of September to present my work there. I look forward to all the hard work, preparation, and arrangements to have everything ready and perfect by then.

Art for September 2009

Tuesday, April 28, 2009 7:49 PM
From:
To:
lanvi@lanvi-nguyen.com
Lanvi...
Thanks again for coming in today. I checked out your website and am excited to have you show your work in my shop. As discussed, I have reserved September for you. Although I'm certain that we will see each other well before then, let's touch base in August to confirm that everything is still a go.
Thanks, and please let me know if you have any questions or concerns!
Jeff Kroll
Crossroads Coffee and Ice Cream
26 N. Morris St
Richmond, Virginia 23220
ph# 804.355.3559
fa# 804.355.3510

Friday, April 10, 2009

"The Transition From Point A to Point B"

This is the accompanying text for a new series I am working on.

A single photograph most commonly portrays a sliver of time or a second of the larger event. A series of photographs taken of a single event, periodically spaced, becomes a stop-motion animation. A stop-motion photographic animation, strung together, flattened, and compressed back into a single image renders and becomes a recording of the entire event. The process then becomes this invasive step that a two dimension image takes, rendering itself as the visual representation, referencing the third dimension and incorporating the fourth dimension, time. The single image now not only presents a sliver of time, but a visual duration of the event in its entirety. The image no longer portrays a second of an event, capturing only point A or point B in the event, but the complete fluid transition from point A to B.

Resume

Lanvi T. Nguyen
1234 Name of Street, City, State Zip Code
(Home Number) - (Cellphone Number)
lanvi@lanvi-nguyen.com

objective
Strong foundation in digital and film photography, commercial photography, and computer applications complemented by knowledge of business operations and the need for customer-focused service. Seeking freelance projects, expanding job description boundaries, volunteering, and being selected for positions of responsibility within chosen field.

summary
- Experience with digital and film photography, black and white film processing and printing, studio lighting
and setups, digital post-processing (editing, touch-ups, formatting, printing), designing and laying out
marketing materials, creating stop-motion animation using photographs.

- Well developed social skills, ability to spontaneously and efficiently work, learn quickly, keeping positive
energy and displaying high level of proficiency.

- Experience of professional level presentation and visual displays; immaculate, customized, well designed
matting, mounting, framing, and laying out collages.

- Knowledgeable use of commercial and film/ digital studio portraiture, architectural and food photography,
still life imagery, product advertising, etc.

- Promote positive customer relationships by focusing strong attention on meeting customer needs and
ensuring their satisfaction.

- Experience with the sound and music aspect in short movie clips, recording voice overs, instrumental
soundtracks, and sound effects specifically for individual projects.


software & equipment
- Adobe Photoshop CS3, Adobe Flash CS3, Adobe Illustrator CS3, Adobe InDesign CS3, Microsoft Office,
Apple - iMovie (Mac)

- Nikon D80 (Nikon Digital Systems), Nikon FM10 (35mm Film), Hasselblad 500C (Film Medium Format)

experience
2006 - 2008 BeeryRio Architecture and Interiors Inc., Springfield, Virginia:
Intern Graphic Designer/Photographer for the Marketing Department
- Designing layouts for brochures, booklets, calendars, CDs, buttons,
and other marketing collateral.
- Photographing exteriors and interiors of architectural projects, editing, and incorporating
photographs into collateral materials.
- Filming, directing and making promotional movie clips for the firm and its projects,
stop-motion animation of projects, recording voice-overs and composing instrumental
soundtracks for the movie clips.
- Adept at communicating and working efficiently and orderly with team members and others.

education
2003 - 2007 J. W. Robinson Secondary School; Fairfax, Virginia
- International Baccalaureate; Advance Diploma (3.25 GPA)

2007 - 2011 Virginia Commonwealth University; Richmond, Virginia
- Bachelor of Fine Arts in Photography and Film

Friday, March 6, 2009

Amy Stein.

There was a recent lecture given by a "late-bloomed" photographer, Amy Stein. Her photographs might not be so glamorous and technically advanced, but the stories behind each one brought out the elements that make her photographs worthwhile to look at. In both her "Domesticated Series" and her "Stranded Series", the two have many similar ideas and concepts, one being an idea of back-and-forth ambiguity. What I enjoy about the two series, is that there's a sort tension, a tug, a struggle in defining the boundary between two opposing groupings. The tension is what makes the series intriguing. As a viewer, I feel myself being pulled from one side to the other, validating the truth that is brought out about society in her photographs.


In the 'Domesticated Series', there exists a sort of irony, subtle but definitely something that can be gather together after viewing the series. "I examine the primal issues of comfort and fear, dependence and determination, submission and dominance that play out in the physical and psychological encounters between man and the natural world. These encounters take place within the artificial ecotones we have constructed that act as both passage and barrier between the domestic space and the wild." These barriers are visible in each photograph, but the beauty about it is that it is subtle, taking the form of a plastic bag or the distance between the two subject. Or it can be as clear as a fence or cage. The versatility in her imagery make the work seem less structured, even though her approach to the project is specific and formulated.

In the 'Stranded Series', I find her audacity to stop along the road to any "stranded" person in distress due to transportation issues, offering them help, but the thing that stands out even more is the courage and nerve it takes to ask for their permission to be photographed. There are signs of mistrust, a strained and limited relationship that occurs. The approach to this series is something to contemplate about. Every encounter is tense and unique, circumstances differ from one to the next and the inherent danger of the roadside environment gives it an unusual characteristics that breathes beneath the surface.



Wednesday, February 11, 2009

Paul Shambroom.

"Artist and Photographer Paul Shambroom explores America's power and culture through it's democratic, economic, and security institution."


It wasn't his photography that caught my attention, but his inquisitive nature that brought me to appreciate why he photographed what he photographed.

"My fascination and curiosity is driven by these questions:
-Our nation is once again at war, with daily casualties. What can these relics of previous wars teach us about America's (and humanity's) proclivity for armed conflict?
-Why is a machine that was made for killing used as a memorial to the dead? Does it help a community mourn and heal from its losses, or is it intended to inspire new generations of warriors? Can it do both?
-As these weapons age, their surfaces weather, and their technologies become obsolete, do they lose their associations with death and warfare?"

Another element in his photographs that evoked interest is that some of his images elude to previously existing artists, such as the first image to the left makes reference to Jack Pollock's painting, the two middle images have characteristics that references the Last Supper, and the far right image referenced to the Beatles's Abbey Road. Just little quirky details and attention that are captured in his images makes the subject a little more easy to deal with. I like the amount of curiosity and contemplation he puts into his work. It makes me wonder about the answers to those questions that he posed. Why would you put a machine that was made for killing used as a memorial for the dead?...

Thursday, February 5, 2009

Christopher Quirk.

"I direct the focus in my paintings to the viewer experience, and away from the notion of the painting itself as a bearer of content. Discordant components and qualities in each painting pose questions for the viewer, suspending resolution, and provide a space for the viewer’s own meditations. The idea is to give, not tell, and for the painting to provide an experience that unfolds over time."


I'm not sure to how to react to this, all I can say is when I see paintings that I can remake and do better, there's not much after thought that I give to it. I am intrigue by the texture, but at the same time repulse by it. The color choice did not appeal to me, they were neither vibrant, complementary or even close to it; it had the color pallete of hospital walls and vomit. Perhaps like he said, maybe over time, some meaning or feeling or something will be experienced.

Wednesday, February 4, 2009

Emmet and Elijah Gowin: Maggie.

I must say, I honestly did not find myself very attached to these images. I took them for what they were, a series of intimate photographs that has this strange nostalgic dark vibe to it. They has interesting elements that were included in certain photographs such as the glass, the strange round objects, the organic wire and paper structure added some interest to the photo. Without those it would be nothing but snapshots. It helped that there were these strange, unrecognizable objects placed in the photograph and also as the subject's point of interest as well. Because the subject is so mesmerized by the object beside her, it makes the viewer take a closer look as well. The photographs were black and white, which made wonder why not color? Certain images are very busy and detailed.

I noticed that in this body of work, there were mostly two types of images. First there were the tight crop, precise point of focus of round kitchen items, and the attention to the hand and how it interacts with the item; slow reaching for it or anticipation in touching it.


The second kind of images were images that were predominately dark, vignetted and portray of a very odd scene, a scene that makes me feel like I was intruding and seeing something I was not meant to see. It has an eerie feel to it.
Overall, the space and the presentation of the images were efficient and successful. The photographs were contained in a simple, light wood frame, evening spaced and hung.

Monday, February 2, 2009

Alix Pearlstein.

Alix Pearlstein is a Photography and Film artist. She also dwindles in sculpture and dance choreography. Some of the pieces shown at her lecture were: Two Women, Episode, Forsaken, After the Fall, Goldrush, and Distance.

"Alix Pearlstein uses everyday objects, toys, and pop cultural references to create ironic meaning through association. Characterized by dry humor, and a deliberately low-tech aesthetic, her approach is direct, raw, and intimate."
---

I must say I was not impressed with the works that were shown at the lecture. I think her ideas and her concepts are intriguing and have the potential to be portrayed in a way that doesn't render it to be one of those "experimental" piece. Those that require a whole lot of explanation to cover up for the lack of aesthetically pleasing value. The clips that were shown had similar technical aspects that were tied through all such as the shaky hand-held camera effect, layers and layers of dubbing, the overly exaggerated sounds of body movement and expressions, the multi-channels shown side by side, the clean white over exposed background, etc. All of these things are interesting, innovative techniques that can be applied to film making. For some reason I feel like her choice and combination of the techniques do not compliment well with her concept. This feeling might be from the result of the artist not explaining and expressing her process of thoughts well. Pearlstein seemed extremely nervous and seemed to be a little bit lost on her own work. Perhaps at a smaller more intimate setting the artist can better explain her thoughts and explain her choice of techniques and aesthetic value to portray her concept.