There are three shows opening at Mason Murer on Friday night: “Lucinda’s World” in which the gallery space will be “transformed with the installation of furniture, artwork, scrapbooks, and other personal items from Lucinda Bunnen’s own home”; “Family as the Vernacular” from Margaret Hiden, Libby Rowe & H. Jennings Sheffield; and the always anticipated Women in Focus annual show, juried this year by Fay Gold.
Below is a press release from Mason Murer:
Beth Lilly, who created ACP’s Public Art project in 2009, has a new family portrait project that addresses climate change and the collapse of civilization. Fun!
She’s photographing families this weekend: “Would you like a family portrait? I’m taking portraits in my studio to use in an art project this weekend and next weekend. For payment, I’ll give you an 8×10 print of the final image. Everyone will need to sign a model release. Email or message me if you are interested. Tell your friends! Pets are family too.”
“A recent study revealed that nearly 30% of the US population has made preparations for the collapse of civilization – and there are many more throughout the world. To me it was alarming that they would rather count on a future where they are forced to kill friends, neighbors, even relatives to survive than alter their behaviors today and prevent such a calamity. These thoughts were the inspiration for a dystopian satire of the family portrait tradition. I photographed families in my studio against a green screen, posing them according to advice found on the internet for portrait photographers, and digitally placed the families in these scenes (the families saw the backgrounds and agreed to the composites). I think most people haven’t thought about their stash of guns in quite this light so I hope to put some perspective on this trend.”
Jerry Siegel Artist Talk
Tuesday, October 29, 2013
John Ramspott photographed Sistagraphy’s “Photoslam” on Sunday at Hammonds House. Have a look!
“By the early 1970s, Baeder had begun exploring the potential of color photography, at the same time when William Eggleston made his cutting-edge forays into color as a medium for high art. Many of the early color photos in this exhibition may originally have been intended to be documentation for paintings, but other striking images stem from the assignment that architect Robert Venturi gave Baeder (and Stephen Shore, whose 1971 Metropolitan Museum exhibition had been groundbreaking) to photograph Route 66 across America for a Bicentennial exhibition at Washington’s Renwick Gallery.”