Artist Entry #8: Florian Maier-Aichen

Last week during my meeting with Tom, he suggested that I watch an Art 21 video featuring Florian, the video was titled "Fantasy". After I watched the video, I was really inspired to try and do some manipulation of my own to some of the images I had taken in DC that weekend previous and shown to Tom. Right now I am more focused on keeping the changes subtle, so that they don't overpower the image or make it too ridiculous, but I do like the idea of going that far and really making some wacky stuff. I am also digitally painting instead of compositing together elements from multiple images into one.

"Florian Maier-Aichen’s images reinterpret landscape photography for the 21st century. Often shot at obscure angles or from aerial views, his estranged vantage points are both alien and familiar; a sensation enhanced by his subtle manipulation of the images. Conceiving the representation of sites with a sense of dislocation, Maier-Aichen’s work addresses issues of globalisation and virtual perception. In Untitled, Maier-Aichen’s coastline is far from postcard perfect: a virgin beach lined with superhighway and luxury homes expanding into the misty distance. Tinting the surrounding forest in an unnatural shade of red, he casts an apocalyptic glow over the seascape, framing wilderness and human intervention as a scene of science fiction portent." -from Saatchi Gallery

"Alternately romantic, cerebral, and unearthly, Florian Maier-Aichen’s digitally altered photographs are closer to the realm of drawing and fiction than documentation. He embraces difficult techniques, chooses equipment that produces accidents such as light leaks and double exposures, and uses computer enhancements to introduce imperfections and illogical elements into images that paradoxically “feel” visually right, though they are factually wrong."

"Florian Maier-Aichen: Rejecting Tradition." Art21 Blog. Web. 30 Oct. 2011.

<http://blog.art21.org/2010/07/09/florian-maier aichen-rejecting-tradition/>.

"Might certain contemporary photographers be over-emphasizing our adherence to photographic truth in order to make their supposed transgression of it worthy of our attention? Probably, but Maier-Aichen isn’t one of them. Somewhat hilariously, he builds labour into his image-making process where none need exist. "

"Frieze Magazine | Archive | Archive | Florian Maier-Aichen." Frieze. Web. 30 Oct. 2011. <http://www.frieze.com/issue/review/florian_maier_aichen/>.

Florian Maier-Aichen
Der Watzmann
2009
C-print
86 3/4 x 62 1/4 inches

Florian Maier-Aichen

Untitled

2005

c print

54 x 42 1/4 inches

Florian Maier-Aichen

Chamonix - Rue Nationale et le Mont Blanc 2007

c-print

24 3/4 x 31 1/2 inches

framed edition of 6

Florian Maier-Aichen

The Best General View

2007

c-print

84 x 70 1/4 inches

Link to a video: http://blog.art21.org/2010/07/09/florian-maier-aichen-rejecting-tradition/

Gallery Representation: http://www.saatchi-gallery.co.uk/artists/florian_maier_aichen.htm

Artist does not have a site.

Images from 303 Gallery

Idea Entry #7: Manipulation

After watching the episode of Art 21 on Florian Maier-Aichen that was suggested to me, I became interested in the idea of photo manipulation. Aichen would manipulate his photos digitally, changing elements that he did not like, even going so far as adding in things that were not in the image beforehand. It got me thinking about how I could really bring my own vision to the images I am creating, especially after my meeting where I expressed concern with people not liking my images because of where they were taken.

“A new concept in urban design and landscape literature emphasizes how façade treatment can create a more attractive and friendly pedestrian environment. To illustrate this idea and to engage the residents with this concept, the team used photo-manipulation to demonstrate the visual impact of incorporating ground-floor retail into a blank parking ramp. The team selected photographic images of parking ramps and commercial storefronts and used cut and paste functions to combine them. To make the combination more realistic, they used the drawing tools of the software program to blur lines and colors so that the result appeared to be one original image. Some of the storefronts that the team selected were from local stores that had Mexican art in the façade design. The resulting images helped to demonstrate how using space creatively, such as using the parking ramp as a retail store, could reinforce cultural identity in the streetscape of the neighborhood.”

“Our experience suggests that photo-manipulation is most helpful in cases where the design issues have already been defined, since the image library must be prepared ahead of time. In the advanced workshops in the Pilsen project, the participants had already brainstormed and identified problems when the photo-manipulation technique was introduced. The photographic images facilitated more precise design decisions. Instead of showing various pictures of different styles of benches, the team could show exactly what the benches would look like when actually located along a particular street. The participants could evaluate how well they blended with the existing streetscape. This kind of realism, which included vivid colors, seemed to stimulate excitement and commentary. It proved to be a very helpful tool in explaining new designs and eliciting responses.”

(63), In Scopus. "ScienceDirect - Landscape and Urban Planning : Using Visualization Techniques for Enhancing Public Participation in Planning and Design: Process, Implementation, and Evaluation." ScienceDirect - Home. Web. 26 Oct. 2011. <http://www.sciencedirect.com/science/article/pii/S0169204699000249>.

Susan Sontag's On Photography deals with the state of photography and how it has changed throughout its short history. She discusses a variety of issues, from photo manipulation to appropriation, photographs as evidence, etc. She talks of how photography has become a commonplace thing, not the exclusive hobby that it was first starting out. People collect photographs, they are printed, re printed, over and over again. People collect them as trophies, memories of trips.

"Photographs, which fiddle with the scale of the world, themselves get reduced, blown up, cropped, retouched, doctored, tricked out. They age, plagued by the usual ills of paper objects; they disappear; they become valuable, and get bought and sold; they are reproduced. Photographs, which package the world, seem to invite packaging. They are stuck in albums, framed and set on tables, tacked on walls, projected as slides. Newspapers and magazines feature them; cops alphabetize them; museums exhibit them; publishers compile them.

Sontag, Susan. On Photography. New York: Farrar, Straus and Giroux, 1977. Print.

Visual response to Art 21 video

After watching the Art 21 video, I decided to try to experiment with some digital painting. Broke out the tablet, got it all set up, and this is what I have so far. Right now I am focusing on bringing out bits of the existing image, and messing with the sky.

Lecture Questions/Response: Nnenna Okore

1. Are you interested in renewing the objects you use in your work? Or is your aim to keep the objects in the state they were found?

2. Does the history behind a task/process influence your work at all?

Response:

3 words: diversity, identity, life

Nnenna talked a lot about life and the life of the objects she uses in her work. She explained that in Nigeria, where she grew up, it was useful for people to find ways to reuse paper and other objects for different things. She phrased it as "reusable life". She also expressed interest in the life beyond objects. Specifically she mentioned paper. In some of her work she creates structures that have to do with architecture, the past, etc.

She feels that because of her background, it influences her work, she said some of her work is a response to her struggle with culture shock in America. She also works with history in her work. Specifically, in her piece "Abandoned History" she took discarded library catalog cards and reused them in this piece, giving them new life. She talked about what the history meant to her specifically how, in Nigeria, they used card catalogs even now, and when she came here, we have moved to online catalogs and it really threw her for a loop. After hearing her thoughts on this piece, it really became something more to me, and I have a better understanding of it.

In some of her newer work she has focused on the human figure and biomorphic forms. I really enjoyed her work "Lamps II" and its forms that mimic the human figure. It also had a really neat light element to it, which I always love seeing in work. In her work "Emissaries" she strived to embody mortality, life, and aging through using discarded items and reassembling them into these forms. She said that she lets the natural processes get at her work, she let's the materials take their course. And in this she says she is glorifying aging and making it important, that we should embrace it.

I believe I know the answers to my questions. She prefers to let the items take their natural course, and she really doesn't do anything to prevent that from happening. If she sells a piece, she leaves it to the buyer to preserve it how they wish, she takes no responsibility for what happens to the piece after it leaves her hands.

She uses a lot of traditional methods in her work, and she seems to pay attention to the process, the craft, and she doesn't stay wrapped up in the outcome.

Artist Entry #7: Olivo Barbieri

Artist Entry #7: Olivo Barbieri

I came across Barbieri’s book called Artificial Illumninations in the library where I was looking for books on night photography. I really enjoyed this book, and I think that his photographs at night are really interesting. Someon

e mentioned in my critique the other week that they liked how two of the images you had trouble telling if they were during the day or night, and I think Barbieri’s have the same quality.

"Olivio Barberi was born in 1954 in Italy and began to exhibit in 1978. In 1993, 1995 and 1997, he was part of the Venice Biennale and also numerous international contemporary visual Art Fairs. In 1996, the Folkwang Museum of Essen did a retrospective of his work. In 2003, he participated in "Strangers", the first Triennale of Photography and Video organised by the International Centre of Photography ICP in New York. In 2003, he began the project "Site_specific" which involved several cities including Rome, Montreal, Ammam, Las Vegas, Los Angeles, Shanghai and Seville."

“the images convey the nocturnal fever, the feverish state of the one who has dreamed, produced, retaken them, seeing them first in the dream of the technological half closed eye of Rimbaud, in the blurring of Kasper Hauser’s magic super-8 or of Herzog’s Fata Morgana. Night, kingdom of the subjective of the arbitrary, of the darkness, to imagine or to fill, becomes a hallucination of objectivity and of precision.” (p.vi) Enrico Ghezzi

Barbieri, Olivo, and Enrico Ghezzi. Artificial Illuminations. Washington, DC: Smithsonian Institution, 1998. Print.

“if we are aware of the process, then we know why Barbieri’s pictures in the night strike us so strongly, well beyond the suspicion of a technical artifice, of a recoloration, of a trickery of “edition”. Adopting time as a set, in the already expanded and deserted dimension of the night, the pictures manage to give time itself in the image of the night, a before, a during, and an after of the light. Nothing moves because it is time that moves.” (p. vi-vii)

Barbieri, Olivo, and Enrico Ghezzi. Artificial Illuminations. Washington, DC: Smithsonian Institution, 1998. Print.

Link to a review of his project “Site Specific”: http://www.metro.co.uk/metrolife/11706-olivo-barbieri-site-specific

Gallery Representation: http://www.yanceyrichardson.com/artists/olivo-barbieri/index.html

Artist’s Site: http://www.olivobarbieri.it/index.html

Idea Entry #6: Noctural

Idea Entry #6: Nocturnal

I was looking at some artists for next week’s post, and I decided to look at a photo book I checked out from the library by Olivo Barbieri called Artificial Illuminations. The introduction mentioned nocturnal a lot. Nocturnal light...nocturnal exposure....

Dictionary.com says:

noc·tur·nal   [nok-tur-nl] Show IPA

adjective

1. of or pertaining to the night (opposed to diurnal).

2. done, occurring, or coming at night: nocturnal visit.

3. active at night (opposed to diurnal): nocturnal animals.

4. opening by night and closing by day, as certain flowers(opposed to diurnal).

noun

5. Archaic. an astrolabe for telling time at night or fordetermining latitude by the position of certain stars inreference to Polaris.

I really liked the introduction that Enrico Ghezzi wrote for this photo book, I thought it was so wonderfully written, and gave a great intro for the photographs that followed it. It gives you so much to think about while you are looking at the images.

“the images convey the nocturnal fever, the feverish state of the one who has dreamed, produced, retaken them, seeing them first in the dream of the technological half closed eye of Rimbaud, in the blurring of Kasper Hauser’s magic super-8 or of Herzog’s Fata Morgana. Night, kingdom of the subjective of the arbitrary, of the darkness, to imagine or to fill, becomes a hallucination of objectivity and of precision.” (p.vi) Enrico Ghezzi

“if we are aware of the process, then we know why Barbieri’s pictures in the night strike us so strongly, well beyond the suspicion of a technical artifice, of a recoloration, of a trickery of “edition”. Adopting time as a set, in the already expanded and deserted dimension of the night, the pictures manage to give time itself in the image of the night, a before, a during, and an after of the light. Nothing moves because it is time that moves.” (p. vi-vii)

Barbieri, Olivo, and Enrico Ghezzi. Artificial Illuminations. Washington, DC: Smithsonian Institution, 1998. Print.

I chose this topic because it has a lot to do with what I am interested in exploring right now in my work. When I googled nocturnal photography, there were a bunch of interesting sites and groups online that deal with the style. I plan on investigating them more in depth as the semester goes on. After reading Ghezzi's introduction, it got me thinking about working with getting all the light out of a scene as possible. Long exposures, stopping the camera way down so they are even longer. I wonder what could happen with that? It'll be interesting to see where this goes.

Image from: http://complicatedthings.wordpress.com/tag/nocturnal/

Lecture Questions/Response: Zwelethu Mthethwa

1. How much of a role does the space in a picture have for your work?

2. Are there any social issues that you are hesitant to address?

Response:

I was super super excited for this lecture, Mthethwa is one of my recent favorite photographers, especially after seeing his work at the VMFA and at the Anderson Gallery. I was curious to hear about his work from him personally.

I really liked when and how he explained his process for his Interiors series. He said that he let them choose how they would be portrayed. He phrased it as "giving dignity back" to them. He stated that the process was important to the work. He would walk around and ask people if he could photograph them inside their homes. Eventually he broke the barrier of stranger and became familiar. People began to trust him.

3 words: fluidity, collaboration, open ended

I had no idea that he worked in video. I really enjoyed the video work he showed us, particularly the third video with the guys playing soccer. I would have enjoyed seeing that piece as it was intended to be shown.

In response to the questions I initially had, I generally know the answers to them both. In general his process plays a big role in the images. The space plays a role in that he is exploring how people have constructed their personal space, what they have chosen to surround themselves with. As for my second question, it seems to me that he avoids addressing politics in his work. He prefers to explore the other layers first. He also does not like to show poverty in his work. I suppose poverty for poverty's sake. He does not want to exploit the poor. In fact he stated that he hopes that his work can help them by bringing attention to the places and people in his work.

Lecture Questions/Response: Mia Rockel

1. Could you explain more about your No Hidden Message project?

2. Do you think that the idea could hold the same meaning across disciplines?

Response:

I really found I was having a hard time really understanding a lot of what was said during this particular lecture. I think the fact that it was a graphic design lecture had a part in that. There were a lot of technical things discussed, as well as a lot of principles of graphic design that I really didn't have much knowledge of beforehand. However, it was interesting to see a lecture from such a different discipline. It's almost the exact opposite of photography.

Rockel discussed her project Bonia, which was commissioned during an internship in NYC. She took a man's diary and designed it into a book. She used the symbolism of info graphics and maps to illustrate bits of the book. She would also take certain parts of the text and give them an entire page, using the size and placement to show how important the text was. She also talked about another project, her thesis work, No Hidden Message. This was the project I was most excited to hear her talk about today, and I found what she had to say very interesting, but it was different from what I thought the project was looking at it online. "The message is the medium is the message is the medium is the message is..." was an interesting quote from that segment of the lecture, it was essentially the idea behind the whole thing. She described how her thesis advisor asked her to come up with a mission statement for it, and she wrote:

"The medium is the mission,

fonts are software,

words are images,

and the moment is now."

At one point she mentioned that you have to know what you are looking for, and she related the idea to photography stating that you can have a hard drive full of images, and you have to select the one that has the most potential from many. Which I thought was interesting. It sort of answers my second question a bit. One person asked how the basics and fundamentals of graphic design worked in her projects and wether she used them or just threw them out the window, and she said that having the knowledge beforehand helped her to be informed and to make decisions in her work. So they are always there.

Artist Entry #6: Elizaveta Porodina

I discovered Elizaveta through a post that Photojojo (only the most awesome site ever) made on Tumblr the other day, her work really grabbed my attention and has stayed in the back of my mind since. One series in particular I really enjoyed, her Light Project series. Another one that caught my eye was her Gold Project. I think you all can guess why I enjoy the Light Project if you've seen my previous work. I really like light, and I really enjoy trying to find interesting ways it is used/or how I can use it to really create an interesting picture. To the basics.

Porodina was born in Moscow and on her website she says "in her photography, she shows us Glam Rock and fairy worlds, interprets fashion with an often sexual aesthetic which is shaped by her psychological knowledge and full of hidden emotion.

She prefers to work with natural light-a preference which has emerged from the initial lack of equipment and the will to capture the "right moment". Her photography is never just fashion, it also shows a "below" which attracts us as the visible piece of skin of the perfect, mask-like make-up of a geisha."

I really like that she works with natural light, something I can agree with. I don't like to complicate my work with artificial light and all sorts of extra equipment, so to find someone else who likes the idea of natural light and uses it to her advantage is really wonderful.

On her inspiration: "My inspiration comes from my environment. Winter nights in a big city, books, facial expressions and attitudes of my friends, tiny unique moments between me and this other irreplaceable person, other works of art, memories about growing up, music, music, music."

"Becoming obsessed with photography is the best way to elevate the level. When you are obsessed with something, it is the middle of your existence,the most important thing. You start thinking all the time about it and your mind searches for inspirations and expressions constantly like a hunting dog. You start practicing all the time – not because someone says it is necessary, but because you need it like air to breathe. So – a constant obsession would be my advice."

Prayers for Rain

Firestarter

Interview: http://www.inspiredm.com/elizaveta-porodina/

Artist's Site: http://www.porodina.net/index.php

Cites:

"Inspired Talks: Elizaveta Porodina - A Photographer Who Brings Dreams to Life."Inspired Magazine. Web. 16 Oct. 2011. <http://www.inspiredm.com/elizaveta-porodina/>.

Images from Artist's site.

Idea Entry #5: Urban

Urban anthropology is a subfield of anthropology concerned with looking at the city as the subject of study. The city itself can be the variable or a social group within the city could also act as the subject of study. I like the concept behind urban anthropology, and I am interested in the idea of the city being the subject of my work. I was thinking of taking specific areas of the city and concentrating on those. I’d like to incorporate this idea with night time work, not sure how exactly it would work yet. But I’m going to try it out.

“Exploring the City: Inquiries Toward an Urban Anthropology” Ulf Hannerz

Hannerz, Ulf. Exploring the City Inquiries toward an Urban Anthropology. New York: Columbia Univ., 1980. Print.

In this book Hannerz gives a good overview of the field of urban anthropology, starting from its origins and even pulling from other subfields their concepts on urban anthropology. He provides a great understanding of urbanism and its directions.

“Many anthropologists were more directly touched by developments at home, in the 1960s ethnicity and poverty were rediscovered, and in Europe at the same time. They were defined as urban problems. There was a search for new understandings and anthropologists felt they could play a part in it.”

“[Anthropologists] had specialized in ‘other cultures’ but had looked for them far away. Now they found them across the tracks.”

Lecture Questions/Response: Jennifer and Kevin McCoy

1. How much importance does the story behind the work hold?

2. What would happen if you were to take away the stories from the work? Would it still make sense?

Response:

I really enjoyed this lecture, I thought that they had very interesting things to say about their work, and I really enjoyed the collaborative aspect behind their work. I found their statement in the end about how the concepts prevalent in their work; databases and loops came about because there was a need for them to be brought out in conversations. At the time they began their work they focused on those two ideas because no one else was addressing them.

3 words:

-database

-story

-loop

Before this lecture I did not realize how important a role stories played in their work. I feel that if you were to take that away, the work would lose an important element. It's almost like the one thing they really need is explanation. I also did not realize how personal their work was, like their "Dream Sequence" project and "Traffic #1". Going back to how important the story was, knowing their story was what really made the project stick with me. If I did not know and was forced to form my own story for it, it would have been a totally different experience.

Artist Entry #5: Lynn Saville

I discovered Lynn Saville’s series Night/Shift at Brian Ulrich’s studio, we were looking through his extensive photo book library and this book was one that I saw. I’ve always been interested in night time photography, I like how things are different depending on the time of day. Light has a transformative quality to it, and Lynn Saville’s series captures images around New York during the transition between night and day.

“Fine-art photographer Lynn Saville was educated at Duke University and Pratt Institute. Saville specializes in photographing both cities and rural settings at twilight and dawn, or as she describes it, "the boundary times between night and day."

Her photographs are published in two monographs: Acquainted With the Night (Rizzoli, 1997) and Night/Shift (Random House/Moncelli, 2009). ÊHer work is represented by the Yancey Richardson Gallery in New York and is in the permanent art collections of major museums, corporations, and individuals. She lives in New York City with her husband, the poet Philip Fried.” -from the artist’s website

“It is the trompe l'oeil of post-twilight, when shadows work like makeup to erase a city's blemishes (sidewalk cracks, stoops strewn with matted leaves, the unseemly peel on otherwise handsome facades), that attracts Ms. Saville.”

Danto, Ginger. "Acquainted With the Hour That Falls Before the Night." Lynn Saville : Fine Art Photography. New York times, 05 Jan. 2003. Web. 09 Oct. 2011.

“I appreciate the mysterious spaces created by the illumination of architecture and urban public places and their sources of light. At night, these places are filled with perceptual ambiguities created by deep shadows, light, and blurred outlines. In photography, there is a dislocation between the subject and its normal context. I shoot in twilight most of the time because most of my images have the sky and building in them. If there is no contrast between the sky and the building, it becomes dull and loses depth. During the twilight, the sky and architecture separate from each other and there are interesting details showing on a roof. I don’t want to miss these details. I respond to the mystery of night, to its beauty and its sublime qualities. I like the visual aspect of darkness and artificial light sources.”

Lee, Minny. "Night Vision, Lynn Saville." Daylight. Daylight Magazine, 11 June 2009. Web. 09 Oct. 2011. <http://www.daylightmagazine.org/blog/2009/6/11/421>.

59th Street Bridge New York, USA

Columbus Circle New York, USA

Number 39 New York, USA

Taxi in Times Square New York, USA

Images from Artist's Site

Link to Interview/Review: http://www.daylightmagazine.org/blog/2009/6/11/421

Artist’s Site: http://www.lynnsaville.com/index.html

Gallery Site: http://www.yanceyrichardson.com/artists/lynn-saville/index.html

Idea Entry #4: Transformation

After seeing Lynn Saville’s Night/Shift, it got me thinking about night photography. I have worked with the idea before, but I haven’t ever really sat down and thought about why I am so drawn to photographing at night, it’s only been a part of a larger idea (like with light painting in Concepts and the Surveillance work I did in Location). I think one of the reasons why I am so drawn to night photography is because you can really see the transformation that a place goes through at night, everything looks very different under the street lights and house lights. The dictionary defines transform as to change something in “structure, appearance, or character.”

“What impels many of us to photograph at night is our fascination with the transformation of reality by the passage of time; the compression of time into a single image.”-Steve Harper

“The night photograph is an expression of time as a single still image, but our senses can only percieve time as a continuum. Night transforms our experience of the world from one routine certainty to one of mysterious unknowing.” -Lance Keimig

Night Photography: Finding Your Way in the Dark by Lance Keimig

Keimig, Lance, and Scott Martin. Night Photography: Finding Your Way in the Dark. Amsterdam: Focal/Elsevier, 2010. Print.

This book outlines various night photography techniques and styles, and give you a good introduction to the origination of night photography as far back as Stieglitz's and Steichen's photographs in New York. Various photographers have contributed work to this book, and provide an inside look at how they produced the images.

Below is one of the images from Troy Paiva's book Night Vision, which I feel illustrates the ideas expressed above.

Troy Paiva

Works Cited:

"Transform." Webster's Dictionary. Springfield: Merriam-Webster, 2004. 760. Print.

Keimig, Lance, and Scott Martin. Night Photography: Finding Your Way in the Dark. Amsterdam: Focal/Elsevier, 2010. Print.

Photo Essay Class Final Project

Relationships: Washington Square/Times Square from Stephanie Fry on Vimeo.

Artist Entry #4: David Michalek

I actually found out about Michalek because of his project Portraits in Dramatic Time, which is a series of videos of individuals and some groups doing different activities. There was one featuring the fabulous Alan Rickman, and it is just fantastic. Super super slow-mo video of Alan Rickman making iced tea, and then flipping a table. It is so slow that you can see every minute detail in his facial expressions, every change, every motion of the body, down to the millisecond. I have never seen anything else like it before. Someting that probably took all of 15 seconds to take place stretched out to 8 and a half minutes.

In New York, I did a bit of work with video and I actually find that I am not so apprehensive about video as I was before. I've been thinking about incorporating some sort of video or multimedia piece into my project this year, and I chose to do a post on David because he is one of my favorite video artists right now, and these videos almost exist as still portraits as well as cinema, they are multi-faceted. Not just existing as one thing or the other.

Portraits in Dramatic Time: Alan Rickman

Portraits in Dramatic Time (Alan Rickman) from Moving Portrait on Vimeo.

Bio: “David Michalek is an artist who takes the concept and techniques of portraiture as the starting points for the creation of his works, on both a large and small-scale, in a range of mediums. While earning a B.A. in English Literature from U.C.L.A., Michalek worked as an assistant to noted photographer Herb Ritts. Beginning in the mid-1990s, he began his professional photographic career working as a portrait artist for publications such as The New Yorker, Vanity Fair, Interview, and Vogue. Concurrently, Michalek began to delve into performance, installation, and multi-disciplinary projects. Since giving up commercial photography in 1998, his work has been shown nationally and internationally with recent public art and solo exhibitions at the Brooklyn Museum, Sadler's Wells, Trafalgar Square, Opera Bastille, Venice Biennale, Yale University, The Kitchen, and Lincoln Center.” -from the artist’s website: http://www.davidmichalek.net/about.php

"Paul Ekman, who has studied emotions for decades and whose book, Emotions Revealed summarizes this work, says that until he saw these segments, he thought he had seen everything about facial expression of emotion. But, watching this extremely slow motion display is like looking into a microsope for the first time: seeing a world that has always been there, that surrounds us, that we can now observe. Paul saw sequential recruiting of facial muscles into a brief moment of fury, or profound mourning (Chowdry) or the blossoming joy as a toddler is past into the arms of his mother (an actress dancing) and spies her father (strumming the mandolin)."

"International Psychoanalysis » Blog Archive » David Michalek: Portraits in Dramatic Time." International Psychoanalysis. 20 July 2011. Web. 02 Oct. 2011. <http://internationalpsychoanalysis.net/2011/07/20/david-michalek-portraits-in-dramatic- time/>.

"What I'm trying to do is create something that exists between portraiture, still photography, cinema and theater," said Mr. Michalek. "It's all of those things—and none of those things."

Catton, Pia. "'Portraits in Dramatic Time' by David Michalek at the Lincoln Center Festival - WSJ.com." Business News & Financial News - The Wall Street Journal - Wsj.com. Web. 02 Oct. 2011. <http://online.wsj.com/article/SB10001424052702304584004576419990759204596.html>.

Slow Dancing: Nejla Y. Yatkin

Slow Dancing by David Michalek: Nejla Y. Yatkin from Moving Portrait on Vimeo.

Slow Dancing: Introduction

Slow Dancing by David Michalek from Moving Portrait on Vimeo.

Kafka Fragments: Performance

http://davidmichalek.net/kafkafragments/performance.php

Review: “Projecting ‘Portraits’

David Michalek thinks outside the box (and the walls) at Lincoln Center”

http://www.nypress.com/article-22617-projecting-lsportraitsrs.html

Artist’s Website: http://davidmichalek.net/

Gallery Representation: http://www.opus3artists.com/about/