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Browsing by Subject "Photography and intermedia"
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Item The Big Dark(2013-05) Hoefle, Michael; Goodine, Linda AdeleIt was just about five years ago that I started off on the journey that is now coming to an end. I was unhappily working away in the commercial photo industry as a digital technician and second shooter. Not a bad gig for a young man. I was making decent money, got to do a lot of traveling, and had the freedom of being a freelancer. But there was something big missing. This supposedly "creative" job I had was a farce. I did nothing creative; it was just the opposite. I was working in a factory pumping out the same image day after day. The majority of my time was spent retouching dust spots off of gray and white backgrounds, fixing flyaway hairs from models heads, and removing blemishes from their skin. This was a far cry from the magic that got me interested in photography when I was sixteen. After much thought, I quit the photo industry and devised a plan. I would go back to school to finish my bachelors, than apply to grad school and get my masters degree in studio art. I would make a new life in art and academia. I had decided I would become an artist/educator. And so I was off in search of creativity and knowledge; off in search of illumination.Item HER(2014-05) Russell, Hillary Erin; Goodine, Linda AdeleLife and death seem to be opposite in definition but I believe it is death that makes life. The two need each other and death is what defines life for me. How do we know what happiness is without sadness? How can we understand life without death? Part of what defines being alive for people and animals alive is the fact that they die. Immortal things are inherently ‘dead’ because they do not know death. Mortality gives us life because death is the place in which living begins and ends.Item I Called My Thesis This Because the F-Word Was Unacceptable in the Original Title That I Presented to the University Library(2015) Woolf, David; Goodine, Linda AdeleMy early work consisted of highly aestheticized photographs of natural objects taken in extreme close-up. Working as a self-described scientist, I used an unusual macro camera lens (Canon MP-E 65mm) to achieve high magnification of my subject, which I isolated from disruptive vibrations in a home "lab" of sorts. The emerging patterns in backlit leaves replicated abstract satellite imagery and introduced me to the idea of fractal patterns, naturally occurring repeating patterns similar at any viewed scale. Think of the similarities between the veins in your body, the neurons in your brain, and the tributaries of a river, all three form dendritic fractals, but at massively different scales from the micrometer, the millimeter, and the kilometer, respectively. Dendrite itself is a term originating from the Greek word dendron, meaning tree; trees too share this pattern in both their branches, roots, and in the leaf structures that my original study explored.Item Of Being and Hoping(2014-05) Davis, Lauren; Goodine, Linda AdeleI believe time is unreal; with my photographs I can manipulate time and make reality sticky. This work is about landscape, narrative, desire, and denial. My curiosity comes from the investigation of empirical evidence collected from my early adolescence to present day. These images become satires of personal experiences, representing little proofs of existence. The still image becomes a contemplation of our subconscious fears and desires of all things promised.Item Redefining Photography(2015) Di, Sun; Goodine, Linda AdeleA major part of my work is to study the fundamentals of photography through photography, video, installation, and sculpture. The study of a photograph is always a starting point. A photograph is an object, which carries chemicals or pixels. And the wrinkles on the paper are as important as the content information.Item Searching for the Sublime(2017) Sneath, Jake; Petranek, Stefan; Riede, Danielle; Kinsmann, Robert; Martinkus, BenjaminPhotography is dead and that’s okay. Photography has always had a rather anxious relationship to the world due to its connection to both the commercial and fine art worlds; the latter with greater suspect and criticism, as suggested in Matthew Thompson’s “The Object Lost and Found." The digital technology revolution has permanently altered photography from its analogue past. No longer do professionals need to arduously fine tune the physical print for accurate color balance, optimal sharpness, etc.; the digital camera has finally, and unequivocally, perfected the image and made photography more accessible than ever before. A 2015 study by the Pew Research Group estimates that 64% of all adult Americans own a smartphone with the ability to take photos and videos; an estimated 159,670,545 adult Americans based on July 2016 Census Bureau data. Recent social media startup, Instagram, has a reported daily user base of 300 million global users as of November 2016. The social media app alone is responsible for an 4estimated 80 million photos shared per day. A large degree of the work posted to sites like Instagram are representational in nature; depicting everyday situations. A recent report estimates that 1.2 trillion photos will be taken worldwide in 2017; a number that will continue to grow by 9% annually. Charlotte Cotton describes in her essay, “Photography is Magic” how recent changes in photography have provided an opportunity for artists to make work that reference both photography’s analogue past as well as its current place in contemporary culture. My work responds to the engulfment of representational imagery by creating opportunities to immerse the viewer in repeated sensations of beauty and the sublime. In this document, I will cover the evolution of my work from abstract, camera-based photographs through analogue, camera-less photographic processes, to installation work that invites viewers to contemplate and experience the awesome beauty of light directly.