December 13, 2024 - Januay 11, 2025
Snap National Juried Exhibition
Selected Artists:
Brandin Barón, Mona Bozorgi, Terence Cover, Heather Gardner, Gwendolyn Leandra Hopkins, Michael Koole, Mara Magyarosi-Laytner, Stephen Marc, Janice Milhelm, Katie Mollon, Mary Onifer, Sara Peak Convery, Carol Record, Tryst Red, Donita Simpson, Shawn Solus, Ani Tung, & TyeMoores
Juror Statement
Snap — short for snapshot… a word that conjures up notions of a quick button press to form an image. It’s something anybody can do. Cameras are designed to allow the function of photography to be easily managed and executed. The "snapshot" is an idea carried over from the early days of Kodak cameras, when “you push the button, we’ll do the rest” delivered that promise in a million homes, with millions and millions of images created by a mere press of a button. What could be easier?
Soon after photography became a product consumed by the masses, it became a mass communication Goliath, and further reached into our daily lives. Cameras became more complicated and more diverse, but still designed to easily make photographs.
But what about those messages contained within each image? That’s the hard part, and over time it’s evolved into a language of its own, complete with sub-genres including fine art. That's what we're talking about here in "SNAP” — the art of photography, and where it’s going.
Most of the images in this exhibition explore a variety of topics in a way that also takes risks. The slightest difference of exposure, composition, chemical or lighting imbalance will render the results DOA. Yet, there are also forms of photography exhibited here where the ideas or methods are old and known, but are simultaneously new in their forms. They present old ideas, processes, and styles in a fresh and risky way. They break away from mere snapshots to engage us mentally and emotionally.
It’s heartening to see some completely new forms presented too. Images whose messages rely upon that language of the images from early days, being passed down, completely reimagined and presented in new and novel ways. Even vernacular (snapshot-style) images, but with razor edge compositions, or tropes flipped upside down to reveal an expression and emotion impossible in another form are here.
In closing, the state of the art of photography is healthy and thriving it would seem.
Snap away. Snap away. Keep on snapping.
Brandin Barón, Mona Bozorgi, Terence Cover, Heather Gardner, Gwendolyn Leandra Hopkins, Michael Koole, Mara Magyarosi-Laytner, Stephen Marc, Janice Milhelm, Katie Mollon, Mary Onifer, Sara Peak Convery, Carol Record, Tryst Red, Donita Simpson, Shawn Solus, Ani Tung, & TyeMoores
Juror Statement
Snap — short for snapshot… a word that conjures up notions of a quick button press to form an image. It’s something anybody can do. Cameras are designed to allow the function of photography to be easily managed and executed. The "snapshot" is an idea carried over from the early days of Kodak cameras, when “you push the button, we’ll do the rest” delivered that promise in a million homes, with millions and millions of images created by a mere press of a button. What could be easier?
Soon after photography became a product consumed by the masses, it became a mass communication Goliath, and further reached into our daily lives. Cameras became more complicated and more diverse, but still designed to easily make photographs.
But what about those messages contained within each image? That’s the hard part, and over time it’s evolved into a language of its own, complete with sub-genres including fine art. That's what we're talking about here in "SNAP” — the art of photography, and where it’s going.
Most of the images in this exhibition explore a variety of topics in a way that also takes risks. The slightest difference of exposure, composition, chemical or lighting imbalance will render the results DOA. Yet, there are also forms of photography exhibited here where the ideas or methods are old and known, but are simultaneously new in their forms. They present old ideas, processes, and styles in a fresh and risky way. They break away from mere snapshots to engage us mentally and emotionally.
It’s heartening to see some completely new forms presented too. Images whose messages rely upon that language of the images from early days, being passed down, completely reimagined and presented in new and novel ways. Even vernacular (snapshot-style) images, but with razor edge compositions, or tropes flipped upside down to reveal an expression and emotion impossible in another form are here.
In closing, the state of the art of photography is healthy and thriving it would seem.
Snap away. Snap away. Keep on snapping.
