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?...

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.

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.

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."
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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.