Grateful to be included in such a talented and diverse group of artists!
Click on an image to see the full showcase on PlatesToPixels.com
Click on an image to see the full showcase on PlatesToPixels.com
As I spent time at the Great Salt Lake, I felt myself being drawn to the vast, open landscape sometimes referred to as “America’s Dead Sea”. Perhaps the landscape mirrored my own in-between state of existence. My repetitious engagements with the landscape became ritualistic performances I began to document with my camera stationed on a tripod. The images recorded by the camera became documentation of movement over time that I wished to show in a single photograph. The panoramic photographs are composited of more than thirty images layered together to create a single image that represents a map of time.
Throughout my journey, I found myself learning how to be comfortable in liminal spaces. It is in these spaces where we are most teachable. My original desire was to overcome the opposition and darkness I was facing. However, through my ritualistic process, I discovered the power of standing still on the threshold between two spaces. In the end, my journey taught me how to find my own geographical stillness within myself. A peace that resides within that we can return to when the ground under our feet is ever moving.
Just as the sun rises and sets each day, we repetitiously engage in ritualistic practices to seek transformation. Viewing an image of motion is to experience a duration of time invisible to the unaided eye.
The bodies we house can be resilient to the weathering winds that surround us, unless we become subjects of constant confrontation. Under attack, our bodies and souls seek protection and preservation. At times, life can seem a blur as we move across the surface of the earth. Beneath a veil of opposition, we are hidden from the light which is our life source. We mechanically move through liminal spaces, trusting that the light of self-knowledge will be revealed to us. As we stay in motion, we repeat ourselves season after season, but we are never the same.
Image: Duality of Light by Karalee Kuchar
Between the Medium
An overview of the far reaching applications and concepts emerging in photography today.
MoP Denver is a biennial celebration of fine art photography with hundreds of collaborative public events throughout the region.
Image detail: Ghostbird by Karalee Kuchar
Photography is 190 years young, and there is still much unexplored terrain. The artists featured in this exhibition for Denver’s Month in Photography raise some interesting questions about what photography can be. From the earliest experiments and methods, to post-process inclusions, to developing entirely original printing methods, these artists are directly manipulating photographic ingredients to push boundaries and create innovative, far-reaching concepts that help to define the broad range of photography today.
This exhibit is juried and curated by Bobbi Walker of Walker Fine Art and Patti Hallock of the Society for Photographic Education.
Last year as we sat discussing Grayson Perry's book Playing to the Gallery, the title was easily agreed upon as a playful way to represent our cohort and our journey to understanding our place in the art world. What better way to put an exclamation mark on our development through graduate school and the creative process which lead to the development of this show!
This piece represents the preservation of relationships through space, time and distance. Falling asleep requires a certain vulnerability and trust in the person next to us. Using the Great Salt Lake to represent a landscape of preservation, the figures overlap through space, even if they do not exist in the same place at the same time. The visual dreamscapes intend to represent the dream like in-between space we seek to connect to the ones we love.
A mere five hour drive from Salt Lake City, two of my peers and I took a road trip to join some fellow artists from the University of Utah to spend a couple weeks at the Taft Nicholson Artist Residency in Centennial Valley, Montana. It was a positive and energizing experience that left me feeling rejuvenated and creatively fulfilled.
Read more here:
Working with Mark Brest van Kempen taught me to create works of art from new perspectives. We explored ideas such as "place as art" or using the documentation of movement or weather as the final representation of art or performance. Working with Mark was a once in a life-time experience. He is an incredible example of using place to inspire his many known works of art shown all over the world.
At the end of the residency we exhibited our work in the Miri gallery in Salt Lake City.
What an honor to be featured on Plates to Pixels! Check out the other amazing artists on their site!
View more here: http://platestopixels.com/blog/exhibitions/karalee-kuchar/
My work was selected to be featured on the gallery posters! What an honor!
In 1914, the first art gallery on the University of Utah campus opened in the Park Building. We are pleased to yet again exhibit art in that space. The original Park Gallery grew over the years to the standalone Utah Museum of Fine Arts with a permanent collection of 20,000 objects - ranging from antiquities and European masterworks to art of the American West and global contemporary art. The new special gallery is devoted to the artistic works of current students, faculty, and staff of the U.
President's Gallery Jury Members
Sandi Pershing, Dean, Continuing Education and Community Engagement, Assistant Vice President of Engagement
Tom Alder, Principal, Alderwood Fine Art
Nancy Boskoff, Arts Management
Gretchen Dietrich, Executive Director, Utah Museum of Fine Arts
David Meikle, Artist/Art Director, University Marketing & Communications
Paul Stout, Artist/Chair, University of Utah's Department of Art and Art History
February 24 to April 21, 2016
John R. Park Building, Third Floor
President's Circle, University of Utah
A full day of workshops with Octavio Campos at the University of Utah Fine Arts is a good day. Moving freely within the Gaga movement and incorporating sound and partnering made for a liberating and educational experience.
With the final performance of the day adding the element of paint and canvas to the directed improv experience, relationships were found and intimate moments shared.
We are often challenged to push our boundaries and exist in spaces unfamiliar. The reward comes when we release our inhibitions and allow our movement to be free of judgment even within our own minds. As we collaborated with each other the experience deepened for each individual as we stretched our bodies and minds to new places.
(Born in Montana, US 1974) Blue Mitchell is an independent publisher, curator, educator, and photographer. Based in Portland, Oregon, he has been involved with many facets of the photographic arts. After Mitchell received his BFA from Oregon College of Art & Craft he started a publishing company (One Twelve Publishing) that focuses on hand-crafted photography. One Twelve’s photographic annual Diffusion is internationally distributed and respected. In 2015, One Twelve published their first monograph book Contact by large format photographer Jake Shivery. In addition to their printing endeavors, One Twelve also runs the online photographic gallery Plates to Pixels.
My selections for In Celebration of Trees represent a very high diversity of tree species, settings and styles. Foremost among my criteria, each image reveals the centrality of tree-as-subject, supported by composition and legibility. Even the shortest narrative must roll from the tongue of the photo, to tell of the tree’s vitality, adaptability, steadfastness, or vulnerability and awkwardness.
In some images, the intellect and calculations of the photographer can be noticed, and in others a simple spontaneous elation from seeing light on leaves carries the message that this tree is important. These higher levels of Tree Consciousness speak well for all who participated. By nature, I tend to stay away from the infrared filtration and color enhancements, but I found the representations of apparent early photo techniques generally intriguing.
Trees are a challenging photographic subject. There are days when none appear worthy of exposure, but even so the search can be good mental conditioning for the right opportunity to appear.
About the Juror:
Tom Zetterstrom’s Portraits of Trees represents the diversity and beauty of America’s forest resources. His 35-year dedication to trees imbues this endeavor with a unified artistic vision, sharpened by his very personal commitment to issues of local and global sustainability. Tom’s photographic career spans 45 years. His work as a freelance photojournalist in the ’70s and ’80s ranged from the New York Times Magazine and op-ed pages to A Day in the Life of America. His photographic eye has repeatedly responded to environmental issues over the decades. Zetterstrom’s documentary portfolios include White Russia, 1973 (in the Library of Congress archive); Faces of China, 1981(sponsored and toured by the Yale-China Association); and Man and Machine, 1973-1976. Photographs from Zettertrom’s various portfolios are represented in 40 museum collections throughout the United States.
Photographers most often use the camera to record the facts of the real world as seen at the moment of exposure. And the camera is a wonderful device for doing this. But when those facts are aligned to narratives or fantasies, the potential for deeper meaning is expanded. The photographs submitted for PhotoPlace Gallery’s exhibition, “Stories and Secrets,” offered an amazing variety of ways in which stories can be told with photographs. In some cases, texts were included as part of the images, but in most of the work the images themselves carried the narratives alone, sometimes in quite obvious ways, in other instances through enigmatic and mysterious suggestions.
As jurors we were faced with the difficult task of selecting work from a large body of exceptional work, and there were many deserving photographs that we wished we could have included. Alas, our job was to choose a finite number for exhibition and publication, and in the end we found ourselves most drawn to tantalizing images that told stories or whispered secrets in ways that made us want to know more. We gravitated toward images that were thoughtfully and skillfully conceived to tell subtle stories that hover on the edge of suggestiveness. Our congratulations to all of the artists who were selected, and our thanks to everyone for submitting such fascinating work.
Emma Powell and Kirsten Hoving
About the Jurors:
Mother and daughter Kirsten Hoving and Emma Powell have been working together for many years. Their most recent collaboration is Svala’s Saga, realized after extensive travel to Iceland together.
Emma Powell is an assistant professor of art at Colorado College. Powell graduated from the College of Wooster, and received her MFA in photography from Rochester Institute of Technology. Her work often examines photography’s history while incorporating historic processes and other devices within the imagery.
Kirsten Hoving is a Charles A. Dana Professor of Art History at Middlebury College. In between writing books and articles and teaching courses about modern art and the history of photography at Middlebury College, she makes photographs. She is co-founder of PhotoPlace Gallery.