By Francis Frascina, Rachel Stevens, Claudia Pederson, Stephen Longmire, Christine Ross, Alisia G. Chase,
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Extra info for Afterimage Vol. 38 No. 2
Inside that world, the images convey a bittersweet nostalgia reminiscent of Southern Gothic literature. Adding to the gothic feel, Carter presents numerous pictures of children in decaying and fuzzy friames, often accompanied by a natu ral element. The result is an innocent yet eerie collection of images reminiscent of Dave McKean's work in Mirrormask (2005). blurred elements add not only to the sense of nostalgia but also to the sense of gothic obscurity. Although there are some photographs in the book that perhaps compromise the cohesiveness of the artist's message, over the entirety of this monograph, Carter creates a coherent narrative that explores the uniquely surreal and magical nature of childhood.
Baldessari works ill iJohn Baldessari is a deisigod in Laos Angeles at re'vered educator, panton, lhinkci, and artist. Countless individuals have been inflt'ncedi' lil' teachings, as well as his works, to such ain extent tlUil Ailiist iiiilhing thlt jtuxtaposCs fiAliid image and tcxt is devoid myriad media, making paintings. prints, tphotographs, installations, and now even as iPhone app 'Ih finished pieces are usually derived from isolating or rearranging taking iltings apart and putting thein back together anew.
Gersht photographs Holocaust sites in the Ukraine; the resulting and the Archive," examines the postmoodern imagine recreating Baldessari's early work IWrong. Here the wrong has become a right. a prijection depicting their rearrangement of the elements in Banquet Still Lift (1667) by Abraham,, an Beyeren. The projected display front the "Seeing" exhibition can now be rearranged by the finger oni the The ocean murals are part of Brain/Cloud (2009), a multimedia uses the painting Falling Cloud (1965) as its point of departure.
Afterimage Vol. 38 No. 2 by Francis Frascina, Rachel Stevens, Claudia Pederson, Stephen Longmire, Christine Ross, Alisia G. Chase,