January 12, 2012
RSVP: vip@joywaigallery.com
October 28 – November 7, 2011
508 West 26 Street, 9E–9F New York, N.Y. 10001
Opening hours: 10 a.m. - 6 p.m. 7 days a week
Free admission
Aaron Olshan is an American-born artist from New York City. He was raised in the Bronx and graduated from High School Of Music & Art in 1974, followed by a Bachelor of Fine Arts at the School of Visual Arts in 1977, and later went on to complete a Masters of Fine Art at Hunter College (CUNY) in 1988. Mr. Olshan has been an independent artist for over thirty years and is a fixture in the New York art scene since his early art school days. His study of classical technique can still be observed in his current work of today, though more abstract in nature. He appeared on the cover of The New York Times' Sunday Arts & Leisure section.
143 W 19th Street, between 6th & 7th Avenue
Tuesday to Saturday 10-8pm, Sunday 11-7pm, Monday closed.
Free admission
For our exhibition, we are honored to showcase the works of nineteen international fine arts photographers selected through an open call.
The overwhelming frontier of new technology demands a constant and deep reflection on the status of the image, especially the codes that are embedded in the medium of photography. Though the process of recording light, through film or sensor, has basically remained consistent from its inception, creating pictures is now a more complex affair. Photography involves techniques and ideas drawn from many fields, such as architecture, cinematography, fashion, design, and craft. There is a cross-pollination occurring where photography becomes the deposit site for ideas that are in constant flux and collision.
Because of the proliferation of new possibilities, the interaction with the image has changed. The genre of self-portraiture allows a particularly deep introspection into the changing nature between the subject/object and production of imagery. The collection of work showcased in this exhibition draws upon former codes of beauty; there is a suggested lack of self-consciousness and an avid attention paid to the surface of the photograph. Though self-portraiture is referential, we observe here an ambiguity now prevalent in its vocabulary. The traditional codes of photography are here revised and enriched by digitalization, abstraction, tableau, and appropriation. Composition, framing and light are employed to reveal a part of the artists' persona. The two selves are hence involved on stage, the performer and the creator.
This microcosmic atlas of self gives a glimpse of the possibility of the image to utilize an active voice to engage in dialogue with the viewer. Whose Self-Portrait? The Subject Behind the Camera presents a panorama of artists who intimately explore themselves and their relationship to the medium.
