VSB week 3- Paul Neri

I discovered the work of Sanjyot Telang on one of my many social media escapades. The work of hers that I saw, a series titled “Bombay Soul” that was taken for Lone wolf magazine immediately caught my eye as I scrolled past and it was absolutely stunning. Because I was so interested in this set of work, I looked up her portfolio and discovered many other series’ that are incredible to me. I think that this work creates an interesting blend of fashion photography and art photography, as they were taken for fashion magazines but also contain so many art-like qualities. From the piercing gaze of her subjects to the stunning use of color, I find her photography riveting and would encourage you all to check it out.







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VSB week 3: Tara Donovan

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Tara Donovan was born in 1969 in New York. She creates large scale installations and sculptures made from everyday objects. “Known for her commitment to process, she has earned acclaim for her ability to discover the inherent physical characteristics of an object and transform it into art”. She has many accolades including, the prestigious MacArthur Foundation “Genius” Award (2008); the first annual Calder Prize (205), and other. Her work has been exhibited in many solo exhibitions including the Metropolitan Museum of Art (2007-2008), UCLA Hammer Museum (2004), and Corcoran Gallery of Art, Washington, D.C. (1999-2000). Her first European exhibition is currently on display at the Arp Museum Bahnhof, Rolandseck, Remagen, Germany. She has also joined the pace Gallery in 2005. Kathy showed us this artist earlier this week. I thought she was very interesting because she uses such common material and makes them into huge pieces. When the piece is complete, there are so many of them that you can’t tell what the object is that makes up the whole piece. I really liked this work because you can’t tell what it is made up of. It make the piece so much more interesting that you can’t tell what every little piece is and that it turns into something completely different to it’s original form. The objects in these photos are pencils and styrofoam cups.


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VSB Week 4: Bunny Michael

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Bunny Michael is part of what I would call a generation of image-makers using the Internet and digital means to construct a reality that is full of tableau and color. The New Yorker titled her as the original “Art Rapper” but she is a self proclaimed “Nature Slut Telepathic Goddess from the Future channeling the spirits of my ancestors.” She uses herself portraits in combination with culturally charged web/digital imagery to explore notions of self. Her exploration of self has been one of personal discovery of identity and sexuality.

Her images are vibrant and reminiscent of glitch culture in their raw edits and color. Although her work is not something that I would call beautiful or even appealing to me, it is a style that I feel like I have to explore and experiment with. I am interested in the idea of making things that I hate and my relationship to them. Upon first seeing her work I was a little dismayed, thinking she had already done what I was trying to accomplish in my work this semester. But where she and I differ, is that her exploration is very self driven, and I am trying to explore the material nature of the body and the womans place in an object obsessed culture.

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Visual Resource Binder: Chino Otsuka

Chino Otsuka is a female photographer from Japan who is best known for her project “Imagine Finding Me,” in which she seamlessly edits photos of her younger self into photos alongside her current self. She describes this process as being a time traveling tourist in her own history. The work comments on themes of identity and nostalgia, along with the brevity of time and how time affects the perception of self.

I had seen Otsuka’s work floating around the internet a few years ago, and I remember really enjoying the juxtaposition of past and present in her work, and the way she combined old film photos from her childhood (a particular soft spot of mine) with digital technology to reconcile her adult self with who she was as a child. I think she opens up an interesting discussion on identity that is accessible and relatable to everyone even though her work explores herself and her experiences in a very personal way.

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Martyna Jurczyszyn


Reading Response

The first chapter of the text talks about how photographer’s take their images and what they use to do that. The writer talks about how there is a lot more to the photograph than a snap and also how the audience think when they look at the image. Most often people don’t realise what is the story behind the image or about the photographer, they just look into the image as if it was a closed window and there was no more about it. The text talks about how the photography is not made interesting but luck but by the talent and skills. Some images are taken using a good technique and good idea but the quality and the good looks of the image are just not there. Some people don’t like photographs for the way they have been taken. They push towards the idea of how is photography not art if you are still using a creative state of mind and you still have to have a talent within this subject. People say that photography isn’t art yet to make photographs artists have to use many tools like chemicals, photographic paper or other and then work with the chemical processes to deliver the outcome they are expecting. This was not the easiest text I have read, I had a lot of trouble understanding most of the facts but when I went more into it I started to see what it was about and learned about different people’s opinions.

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Fergus Feehily


Fergus Feehily is an Irish artist who specializes in mixed materials paintings. He is considered a painter, yet he rarely uses the medium. His works highlight the natural beauty in the given material he has chosen to make into a painting. Many of these materials include: fabrics, metals, paper, wood, and stretcher bars. The physical border and stretcher of the painting seems to be just as important as what it frames (if not more). This to me is a really interesting characteristic of his work. I find these humble little borders to be incredibly interesting, they are an extension to the painting itself. I would like to start incorporating that idea into my work. These simple studies in various materials have created a simplistic and material based art practice. I am also drawn to the combination of vibrant and pastel colors within his works. They are incredibly sexy colors… this gravitates me toward his work.

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Bedford Reading: Dylan Staniszewski

This article, the article by Bedford, is an evaluation of the criticism of photography and a proposal as to why it is inadequate. Bedford poses the question as to whether photography is in fact being criticized to its full potential. Two readings are discussed at length, one by Fried on Thomas Demand, and one by Greenberg. These readings are criticisms, of photography and of painting, and Bedford argues that they are the precursors to current criticism and both adequate and inadequate at the same time, listing their short comings. After this analysis by Bedford, several artists provide comments about the work, as a whole they neither completely agree no disagree. Most agree that the criticism of photography is not meant to be evaluated in the same light as traditional mediums. They very in their reasoning’s, some due to the layers and process, some due to the universality of photography, and others because of the commercial value and saleable nature of photography.

Seeing as this is an evaluation of contemporary art, I would say that it is in fact very important. The article discusses the discrepancies between evaluating photography in the same manner as traditional mediums. The mediums themselves are approached differently and differ in process and execution, therefore it does not make complete sense to evaluate them on identical criteria.

The article Qualifying Photography as Art or, Is Photography All It Can Be? Was written by Christopher Bedford, the curator of the Rose Art Museum. Bedford argues that the remedy for photographic criticism lies within an awareness of both technical process and understanding of the conceptual implications of these technical processes. He emphasizes the importance of understanding the process behind the photograph prior to its conception. From what I have seen circulating the art world, I agree that the understanding of process and its relation to concept is important. However, I would also argue in agreement with Ken Abbot, who brings up the idea that photography might be something other than art all together. Process is important, but there is something to be said for the straight image, the accidental, the journalistic, the documentary, and I’m not sure how I feel about them being separated.

In my own practice, I shoot primarily digital. The act of shooting is a process to me but not in a technical, scientific, or chemical way. It is more the act of living, exploring, the act of seeing. I have taken to adventuring with my camera, collecting images, people, objects, places. However, there is something so simplistic about the photographic image that I feel like I am almost battling. The simplicity to me, often turns me off the straight photography and makes me search for something else. Some people find this in their process prior to the taking of the image. Instead, the majority of my work happens post photograph. I use all of my images as an archive to illustrate my thoughts and ideas in mostly photo manipulations and collage. I feel like the process Bedford and his associates are referring to is more the former than my process but still relevant.


Phillip Prodger discusses the sellability of photographs and the monetary value of the photograph, to me this is rather off putting for some reason, and that might be this high and mighty elevated and rather romantic view of the artist as a servant of the art. What is your position on the photograph as an object to be produced and sold even within the art world?

“Photography is better than art” How would photography stand alone if it was not associated with art? If there were no preconceived notion of the photograph, what would it be?

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