Please come out to our 4th Photofeast Slideshow Exhibition!

Friday December 16th 2011 
7-9PM
64 Gansevoort Street
New York NY

Curated by: 
Alfonso Chavez
Jasmin Chun
Tatiana Godoy
Justin Wolf

Installations by: 
Bryan Krueger 
Wan-Ju Wu

A Performance by: 
Alana Celii and Diwa Tamrong

A Video by: 
Kolbrun Love

Photographs by:
Alana Celii
Abigail Muir
Alex Thebez
Andrew Williams
Anthony Tafuro
Bryan Krueger
Christina Baez
Connie Jang
Diwa Tamrong
Eidia Moni
Elizabeth Renstrom
Greta Titelman
Hannah Kuo
Jacob Ogden
Jake Sigl
Jeanie Choi
John Deamond
Kalena Patton
Kristie Muller
Kolbrun Love
Melinda Wright
Nicole Zonsius
Nikol Burgos
Remi Pann
Rodolfo Diaz
Ryan Whittier Hale
Sam Guest
Shmu Levine
Son Le 
Spencer Ostrander
Vicki Thai
Weston Clay
William Chan
Yana Bannikova 

4:05 pm  •  11 December 2011  •  26 notes

mossfull:

chrisfrump:

Opening is tonight!

This should be really good (even though they botched Ashlei’s last name). Read our interviews with a few of the people featured, including Bryan here!

3:17 pm  •  30 November 2011  •  10 notes

The Lytro Camera is the newest development in technology that changes photography. The camera is known as a “light field camera” and what differentiates it from all the other cameras is that you can take a photograph and focus on any part of the image afterwards. Thus, this camera creates the perfect image because what you want will always be in focus. There will be no blurry images, ever again. You can see an example of how this camera works by looking through the picture gallery. If you click on part of the image, it refocuses on that part, making it interchangeable. 

Even though the Lytro camera can revolutionize the realm of image making… it disregards all creative aspects of photography. The Lytro Camera works with the click of a button, where the focusing of an image is done in post editing. If you were to compare it to an analog camera, or even a digital, it ignores all aspects of a manual camera where one has to learn how to physically focus on an image, and set the aperture and shutter. Aside from the technical aspects of the camera, it leaves no thought when it comes to image making. A photographer will put time and effort into framing an image, and choosing what part of the image they want to focus on. Depth of field can be very important too. The Lytro Camera just makes it all too easy. It leaves no room for mistakes, but it is through trial and error where a successful photograph can come into play.

Vicki Thai

1:01 am  •  30 November 2011

1:17 pm  •  28 November 2011

Hello friends,

The end of our Kickstarter fundraising project is nearing.  Your help is very much needed, as we only have raised $310 of our $800 goal.  Please know that any and every dollar that you contribute to this project will be greatly appreaciated! Please donate whatever your pocket allows, and spread the word to your friends and family.

Much love,

Photofeast

8:54 pm  •  25 November 2011  •  2 notes

Photofeast’s Slideshow is a biannual curated exhibition that incorporates photographic, video, installation, and performance work by young artists who live/work in and around New York City.  This is a one-night event that is comprised of multiple projected photographic and video presentations, installation work, and performances that happen throughout the night. This event is also accompanied with a zine that includes all the work exhibited and brief interviews with selected artists. The goal for this event is to provide a creative outlet and foster the sharing of work and ideas between the young New York City art community.

Our previous Slideshow exhibitions have taken place at the International Studio & Curatorial Program located in East Williamsburg, and at Milk Gallery located in Manhattan’s Meat Packing District. The 2011 Fall Slideshow Exhibition will be hosted by Dagny & Barstow, a clothing store in the Meat Packing District that sells clothing designed by young local designers. The date of the show is December 10th, 2011.

Your monetary contribution will help fund some of the exhibition expenses, which include promotional material, food and drinks for the show, and the making of the zine. 

For more information and updates on the show, please visit our website:www.photofeast.org

(Source: kickstarter.com)

9:10 am  •  18 November 2011

The Horizons series of Sze Tsung Leong have enabled experiencing the transformation or materialization of abstract or substantial things. By demonstrating that the art materializes non-substantial objects while, at the same time, stating non-existence of unquestioned existences, the role of neutralizing people’s general notion is fulfilled in my new perspective.

   This work of his shows the process of materialization which gives form to the horizon on a flat surface, which exists in concept only since it exists but cannot actually be reached like the end of rainbow in fairytales with a pot of gold which cannot actually be touched or reached. Realizing that the horizon is, after all, just our concept by looking at the shape of simple horizon is another aspect of surprise and enjoyment that we can gain from the medium referred to as art.

     In addition, he attempted to include numerous changes by people on the horizon. In the context of the changing horizon and changes in our concepts and ideas, could it be that how the substantial changes of this world, triggered not by reality but by our thoughts, take place is perhaps what he tried to expose to us?

LIGHT

12:50 am  •  16 November 2011

One picture captured my eyes and I checked its name, thinking it really reflected her feature. Sally Mann, I just only have seen about the children of Sally Mann, embracing some special pleasant feelings before passing them by. She approached an object for love with slightly different ways and views. I got a feeling that her special eyes and emotions enabled her to adopt a way to package and put forward her object of love, and that she intended to leave what she desires to reveal remaining unchanged by any means. Like a stuffed animal to some extent, or like drawing deep in lithograph. I watched her refreshed look in front of me after going through a stage of understanding her task that way. What changed was not her children but the very breathing space for her and her children.

      I imagined ‘Sally Mann’ expressed her place surrounding her as if it described her children. I came to think it was fantasy-like, super-natural and super-real, but at the same time it was her own start, full of affection. Besides she had a feeling that a place she was looking at and residing in was what she deeply loved —- like the belief that it will stay beside her everlastingly until she departs her life.

     Her feelings displayed in her previous work <Immediate Family> seemed to transfer from her children to the living space for her and her family. The living space for the people she loves. As I also already had such a view, I was able to understand her all the more, just thinking she could have caught my eyes. The space I and we live, not many people around me and passersby do —- the moment they are all gone in the space, I think, would not have far more different feelings and meanings, but possibly have the unique power and energy of the space itself.  All of us feel burdened as we feel and think about the coexistence of “space” and “humans” separately. This is because their separation is really difficult to make.

     A photographer should step in there also to seek a space where we are not seen around. But if a photographer stands at the back of a camera, I imagine many people can experience intensely their space through me though I am present as a photographer. That way she conveyed to us her own views and emotions toward her space separated through her unique way.

The space for a belief, never forgettable and changeable.

LIGHT 

12:49 am  •  16 November 2011

Open Call For Photofeast’s Fall Slideshow Exhibition

Photofeast is currently accepting submissions for its biannual slideshow exhibition.

We are accepting photography, video, zine/publication, installation, and performance submissions from all students and young artists in the New York area.

Submission details:

• All submissions must include:
—Name
—E-mail address
—Phone number
—Institution and grade level (only if applicable)
• Send your work as an attachment.
• The name of your files should be in the following format, firstname_lastname_#.extension (e.g. jane_doe_01.jpg)

• Use “2011 Fall Slideshow Submission” in the subject line of your email, and send it to photofeast@gmail.com

Photography - 10 images maximum, 1600px on the longest side, 300 dpi.

Video - send a YouTube, Vimeo or another link. Propose ideal setup.

Installation - complete submission form, send images if available.

Performance - complete submission form, send images/video if available.

Zine/publication - complete submission form. submit up to five images, 800px on the longest side, 300dpi.

If accepted, your images may be displayed on our website and included in a poster, and/or zine produced for the exhibition.

3:14 pm  •  11 November 2011  •  10 notes

Matthew Stone Optimism As Cultural Rebellion

The Hole November 1-December 10

In his new show Matthew Stone reinvigorates the tiresome and painfully ubiquitous photograph of the nude youth with a collection of stunning three-dimensional prints. 

 It is difficult to say into which medium these works best fit.  When I first saw the pieces, covertly gazing through the window the night they were being installed, I thought for sure they had to be paintings.  I thought, “Their reference to classical painting seems unmistakable.  And after all they were printed on wood and silk so even though they look like photos it’s seems quite unlikely.”  It wasn’t until the opening the following night where I was able to realize my private embarrassment.  They were in fact photos exquisitely rendered on plywood and cloth.   Some were affixed with hinges to mold around corners, some strewn on low tables, and others conventionally hung but with excitingly unconventional dimensions.  How could I have just assumed they were paintings?  At first I felt utterly uncouth, but then I wondered if perhaps that was the inexplicable power of these pieces: their allure came from their initial, exciting mystery.  

 What I found to be equally endearing was that, however beautiful, the imagery is nothing we haven’t seen before.  They are mostly all photos of nudes lying on top of one another, writhing and pawing at each other, supple skin stretching over muscle etc.  So I have to say, had these been traditionally presented as c-prints in frames I’m not sure I would be writing about this work.  And in fact I’m not sure this artist would even have a show at this space.  This work is powerful to me because the artist respects the viewer enough not to bore us.  He doesn’t rest on his haunches.  He works hard to create something dynamic and new.  This work seems to bring together all of Stone’s sensibilities and inaugurate an entirely new and beautiful framework from which to understand and appreciate the human form.

Kelley Losier

9:54 am  •  9 November 2011  •  1 note