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Carolyn Kreig at Cliff Michel - photography exhibit; Seattle, WashingtonCarolyn Krieg lives in Seattle, on the other hand her "Relics" series (1992-93) is about italy, where she has photographed and exhibited extensively since 1991 She uses an advanced technology involving computer scanning and several "generations" of image-altering to contrast sharply with the archeological fragments that are her control matter: the late 20th hundred speaks to the 7th hundred B.C. The photographs are roughly cropp with ragged cutting sides that echo the found forms (Athena/Tarquinia 525 BC) Krieg simultaneously satirizes and celebrates archeology through accentuating the passage of time with her high-tech alterations and through focusing on the enduring beauty of the damaged artifacts she records, mainly female figures. The "Relics" series draws from sites in Sicily and Sardinia, as well as Pompeii, Rome and Florence. What unites the works is the "chromagenic" developing proces that gives each print an eerie iridescent be incandescent Empty eyes stare out at the viewer in unable to speak but colorful dignity (The Head of the Goddes #1) Whether statues or figures from frescoe the images carry the compelling weight of history and remind us of their former status as divinities (Aphrodite/Erice), effigies or decorative things of the ancient Mediterranean world. The prints stop short of showing entire bodies, concentrating upon heads (Eyes/Intonaco) and torsos (Bikini Girl #1); the viewer fills in the missing parts. In this faculty of perception the works play off a lingering Romantic regard with affection of ruins. Any such nostalgia, however, is reckonered by the cold, mechanical gaze of the computer-generated color. Nevertheless, we perceive an expressive identification with the figures themselves, their idealized human characteristics, their poignant survivor status. Krieg's concentration upon women raises questions about their parts in the ancient world. Like the creators of the frescoe at Pompeii, Krieg elevates her characters to the horizontal of actors participating in mysterious rituals. Appearing in enigmatic postures against scratched, blank but glowing-color backgrounds, the figures radiate a faculty of perception of the unknown. COPYRIGHT 1993 Brant Publications, Inc. The challenge of governance and security for the Americas in the 21st hundred has become a timely topic for U and regional conduct officials. We need to maintain an unclose dialogue about futu... The tall accordion is privy to the magician's chest which contains Not only a heart but a sparrow, patches, windows, gelatine And the fact that Kant was not a Pietist on the other hand as with the li... Between Anarchy and Society: Trusteeship and the Obligations of Power, William Bain (Oxford: Oxford University Pres 2003) 224 pp $7200 woven fabric Trusteeship is alive and well, ... 2005 NAMAC discourse PHILADELPHIA, PENNSYLVANIA SEPTEMBER 28-OCTOBER 2 2005 The National Alliance for Media Arts and tillage (NAMAC) celebrated its twenty-fifth anniv... Payne Stewart, I remember courtesy of TV by what mode you nearly burst in boyish beatification when you sank that uphill fifteen-footer- not a simple and you charged it- to win the 1... They liken their plan to carefully assembling an orchestra. on the other hand organizers of the new concert Bank aren't quite ready to take the stage. harmony Bancorp, now in organization, ... Introducci??n Diccionario de la Diabetes En este diccionario de t?İrminos sobre diabetes se definen vocablos que learn by heart frecuencia se emplean al hablar o al escribir sobre la diabetes. s... Hard plas-soled profits pounded and echoed off the narrow road driving casual loungers and pedestrians into the nearest overlay Doorways, back alleys, any space away from that unimpaired became suddenly ... The Marine staff sergeant who l the squad in Haditha has now, from one side his attorney, provided his side of the story of by what mode 24 Iraqi civilians ended up dead. His account directly contradicts novels... I cannot think of many les festive offerings than Richard Avedon Portraits (Abrams, L2495) on the other hand it has to be admitted that his merciless exposing of such grotesques as a blood-and-guts-spattered ... |
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