News

New York New Image

  The Museum of Modern Art, New York hosted a joint photography of four photographers – Roe Aslizzi, Erid Lasry, Alex Priger and Amanda Ross-Hu in September 2010 The exhibition will continue until January 2011. They capture footage from an inexhaustible library of images—print media and film. Eslitz directly re-edits and shoots commercial images that have already been published, such as the removed illustrations in the magazines he is in charge of editing. Lasry’s job is to work with images, focusing on images that are popular with the public, such as Hollywood movie promotion stills and illustrations. Prigg tried to achieve the effect of a movie still by following the female characters portrayed in pulp fiction and the models shot by fashion photographer Guy Burding. The heroines usually wear heavy makeup, wigs, and gorgeous costumes. Ross Yihu re-arranges and shoots ready-made photos and pictures on gypsum boards or walls, which is also a process of re-creation. The photographers participating in this exhibition skillfully use conceptual art techniques to inject attractive film and advertising language into their photographic works, exploring the relationship between truthful photography and synthetic photography, image and picture.
  Roy Eslitz (b. 1969, American) studied photography at the Atlanta Art Institute. He employs editorial mode, taking pictures that have already been published, including those that have been eliminated from his own work but have been used by other media. As Eslitz said, “All pictures will appear in magazines sooner or later.” With the vivid depiction of photographic images and the simplicity of operation, easy to reproduce and combine, the photographer has carefully choreographed a visual fugue. . For example, in a juxtaposition, an image of a plain white china plate taken from the Bed Bath & Beyond website is superimposed on Kawakubo’s plaid scarf. There is also a photo of the model, wearing a shirt designed by Alex by Big McQueen, leaning on a camera tripod, taken by the photographer at Pier 59 Studios in New York. His exhibit photos also include a cinematic shot of Juilliard’s ballet students, a still life of moldy fruit that has appeared in Vice magazine, and a model on the runway of Chanel’s Spring 2009 runway in The New York Times. Son, an enlarged close-up photo of the pumpkin and a close-up of the red bag in the corner of the photographer’s studio. The photographs have been redesigned and re-arranged in a salient way and presented in a non-linear structure that acquires new meanings. The recombination of the pictures can generate new situations, and Aislitz subverts the original characters in the photos and taps into richer symbolic meanings.
  Elied Lasry (b. 1977, Israeli) usually sifts images from excellent photo magazines and film archives. He studied film art at the California Institute of the Arts and received his MFA from the University of Southern California. Following the style of telling stories with pictures, Lasry explores the visual culture of static and moving images, and the images extracted from the original context reveal some traces of history. The state of chaos caused by the annihilation of history fascinates him and is reflected in his photographs. Lasry challenges visual composition. His vibrant photos, including collage shots and portraits of friends and celebrities, typically don’t exceed the size of a magazine page, and are framed in a frame that matches the main tone of the photo. For pop culture themes, Lasry’s work resembles commercial photography. What appears to be a simple, straightforward shooting process can be complicated by the use of dual perspectives, blurring, and film stacking techniques. Lasry usually displays his pictures with a 16mm projector. The exhibit photo, Untitled, is from a film starring Eric Stoltz, who plays a choreographer, wearing red leggings as he draws the performers to demonstrate dance moves. Photos can overcome the ephemeral nature of film footage and record the footage.
  Alex Prieger (b. 1979, American), a self-taught photographer who experimented with low-fiction, films by film directors Douglas Sirke and Alfred Hitchcock and fashion People in photography are used as templates to shoot. The photos she shoots have unique perspectives, vivid colors, sharp outlines, and local brightening, just like movie stills. The women in the photos are dressed to imitate characters from the movie, with heavy makeup, wigs, and smart dresses. “Crowd” is one of a series of photos taken by the photographer for the November 2010 issue of w magazine. She borrowed from Stan Douglas’ 2008 film Hastings Park, July 16, 1955, to redesign the characters and put the models in 1970s outfits with a distinctly personal image. The exhibition also features stills from the US premiere of Priger’s film debut, Despair (2010). The photographer describes watching the film as a complete audio-visual experience of her photographs, where she tries to show people the past, present and future of the images. The 4-minute film, starring Bryce Dallas Howard and scored by composer Ari Helwyn, was filmed in Los Angeles. It was inspired by the 1948 film “The Red Shoes,” about a ballerina’s conflict between her obsession with dancing and her desire for love, culminating in her suicide. Priger focuses on close-ups of the heroine’s face to capture strong emotional outpourings. The portrayal of characters reflects the photographer’s profound and unique understanding of melodrama.
  Amanda Ross Hu (b. 1975, American) holds a Bachelor of Fine Arts degree from the Art Institute of Chicago and a Master of Fine Arts degree from the University of Southern California. Her shoots are inspired by the artist’s studio, where items from souvenirs to tools are available to her. Rose-Hu’s carefully crafted work for the exhibition is unique, with photographs within photographs that have become her subjects, including a 1984 movie poster for “Irreconcilable Differences” (a film about a child’s “distraction” with his parents. Divorce” comedy film), oil on canvas with pictures and plasterboard leaning against the wall. Among them, plasterboard is covered with technical instructions, photography textbooks, and close-up photos of people taken by the photographer’s mother in the 1970s and photos of wine glasses by her father as a commercial photographer. Ross Yihu grew up in a family of artists and photographers. She believes that the family element in her work is neither nostalgic nor autobiographical, but rather reflects the connection between family members and self-assessment. The photographer reshapes and innovates the shooting process, applies photography technology to contemporary art, and effectively combines various artistic expressions.
  These four photographers have unique perspectives and novel shooting methods, subverting the traditional shooting methods, exploring new image expression methods, and achieving unique visual effects. Their subjects are different, usually not natural scenes or portraits of people, but from magazines, movies, etc., using a variety of technical means to innovate the shooting process. This exhibition showcases their new attempts, new experiences and new explorations of photographic art.

error: Content is protected !!