| About the Exhibitions:
appropriate manipulate duplicate
Departing from our regular program, appropriate manipulate
duplicate is one in series of 4 exhibitions at Gallery
Joe curated to run concurrently with Philagrafika
2010, a citywide event celebrating print-making.
More and more frequently we see artists incorporating the
computer in the development of their artwork. Whether
gathering data from the internet or writing complex software,
they are experimenting and mastering this versatile tool.
Gallery Joe has invited 5 artists who use digital technology
in the development of their artwork to participate in appropriate
manipulate duplicate: William Betts, Gil Kerlin, Ati Maier,
Andrew Millner, and Eva Wylie.
Betts gathers source material from surveillance cameras,
then, using an automated system he developed he recreates
thousands of pixels to replicate the images on mirrors.
Kerlin uses targeted searches on Google to mine hundreds of
digital images that he then culls, re-sizes, and organizes
to create a kind of visual compendium. Maier digitally animates
her drawings incorporating a sound track of her own music.
Millner draws images of plants and trees with a stylus and
graphics tablet, using digital images shot from different
perspectives as reference material. Wylie explores the nature
of the connectivity of the Web, developing imagery which she
then silk screens directly on a wall in the gallery.
Shelley Spector, Big Ditty
Big Ditty is one in series of exhibitions at Gallery
Joe curated to run concurrently with Philagrafika
2010, a citywide event celebrating print-making.
Of her work Spector states:
My work acts as a magnifying glass for the familiar.
Most recently I have used digital prints … to look
at everyday objects, like television remotes, matches, dollar
bills and pencils. I pay homage to these unsung heroes,
things we cannot live without, that tend to be the visual
equivalent of white noise.
… Through the process of image documentation
and manipulation, I record and create changes in meaning,
appearance, and context, which enables me a way to both
unravel and redefine it. Individually, they are a forced
study of the mundane, things easily overlooked in a world
that loves big, fantastic and new.
Spector lives and works in Philadelphia. Her prints are in
the collections of the Philadelphia Museum of Art, the Pennsylvania
Academy of the Fine Arts, and the Free Library of Philadelphia.
She is a recipient of the Pennsylvania Council on the Arts
awards, 1999, 2000 and the Independence Foundation Fellowship
in the Arts, 2004.
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