Photo vaunt in Troy focuses on a medium

April 12, 2017 - photo frame

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From a distance, a quarrel of little frames appears to be grainy images subsequent from an enigmatic routine in a darkroom ensuing in chemicals and light blending to emanate a musty hardness on imitation paper.

Move closer, a black-and-white images solemnly vaunt graphic patterns, rather in a grid, that seem to be lifted like little stitches, though a apparition is real.

Through an perplexing process, fabric is indeed woven into a digital images, mixing an aged record and a new one, merging excellent art, a practical and folk art into a array dubbed “(F)lossy electronic jacquard” by Sarah Comfort.

“In digital imaging, ‘lossy compression’ describes a use of estimate information to describe something. (F)lossy is a array of photo-based images woven in electronic jacquard that cruise a detailed as an supernatural peculiarity that can insist over an impassioned detriment of information and tarry interpretation to far-removed mediums,” writes Comfort in her artist statement.

If we are looking for what a destiny binds for photography, we should make a indicate to see a vaunt “Material Witness” during Collar Works in Troy. With 34 objects by 8 object-makers from a Capital Region and beyond, “Material Witness” explores a edges of digital photography and succeeds in capturing a well-rounded “snapshot” of where a middle is headed.

Each artist employs digital photography not as final outcome of a process, though as a matter during a routine of merging paintings, drawings, sculpture, installations and projections into their production. Some are painters and sculptors who ride to photography for a ability to enhance time and space, while others are photographers who use a characteristics to redefine a frame, mostly sculptural in nature. Assembled together an existential doubt emerges: Is photography, as we know it, dead? Hardly.

Not too prolonged ago, there was most discuss about either a digital platform, though a darkroom process, was a legitimate art form. Without chemically-based exposures, “purists” saw digital as a “dumbing down” of a medium’s finer qualities, while others saw pixels’ coherence as a energetic form. “Material Witness” strongly suggests that not usually has digital been supposed as an artistic medium, though it is a passage to pull it out of a comfort section into interdisciplinary projects.

More Information

If we go

“Material Witness: The Object of Photography”

When: Through Apr 29

Where: Collar Works, 621 River St., Troy

Hours: noon-6 p.m. Thursday and Friday; noon to 4 p.m. Saturday

“Collard Greens: Dinner + Dialogue”

When: 6 p.m. Thursday

Where: Collar Works, 621 River St., Troy

Tickets: $35, reservations required

Info: 285-0765;

Anna Yeroshenko, who lives in Boston, takes digital cinema of architectural models and transforms them into detailed sculptures that mislay a stipulations of “our thoughts and constrain a clarity of self,” while digital photos and CO paper “facilitates a send for a blueprint to watercolors” in Siena Professor Scott Nelson Foster’s urbanscapes, formulating paintings partially rendered by digital information, including Google Maps.

Video, sound and imitation are used in a routine that manipulates available digital media in Marist Professor Matt Frieburghous’ penetrating projection installations. Danny Goodwin, a highbrow during a University during Albany, describes his interiorscapes as “Decoys, Duds and Dummies” mostly in grids, that are “an ongoing inquire of detailed veracity” that merges film-scratched landscapes, objects and surfaces and 3-D printing.

An designation that spills out on to a building in Nichola Kinch’s “Love Stories: A Forest for a Trees.” “explore picture and picture prolongation as calculable and petrify occurrences” formed on investigate “that spans pre-photographic practices to computer-aided pattern and manufacturing” that concentration on elegant and fantastical objects as a result.

Sculptures of arms are replicated in images in Ellie Krakow’s Arm Armature array that “integrates photography and sculpture into furniture-pedestals, a interpretation of museum pedestals that advise domestic vanities and have legs of their own.”

Curated by Rob O’Neil, William Jaeger and Justin Baker, “Material Witness” sublimely illustrates a instruction of photography is taken mostly found during larger, big-city museums than during an up-and-coming non-profit in a quick brazen way, presenting tantalizes glance of a destiny by inserted in detailed story by asking: What is photography, anyway?

Tim Kane is a visit writer to a Times Union.

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