s u m m e r 12
photography exhibition
UNIVERSITY OF MEMPHIS
UN I V E RS I T Y O F ME M P HI S SU M M E R 2 0 12
The integration between the Renaissance philosophy of creative, progressive innovation and our 21st century art practices are at the crux of this exhibition. The students in this class were charged with drawing inspiration from the art and architecture of Renaissance-era Florence and then re-interpreting what they saw into a contemporar y vision utilizing High Dynamic Range digital imaging and digital panoramic stitching techniques. The d i g i t a l r e - i n t e r p r e t a t i o n s a r e n o t m e a n t t o b e l i t e r a l , l i n e a r t r a n s l a t i o n s o f t h e o r i g i n a l s o u r c e . R a t h e r, t h e y a r e personal reflections and internalizations of what Michelangelo, Brunelleschi, Botticelli, or Galileo must have felt w h e n t h e y p o n d e r e d “ w h a t i f ? ” F r e e d f r o m c o n s t r a i n t s , t h e c r e a t i v e m i n d m u s t w a n d e r, a n d t h e a c t o f w a n d e r i n g necessarily leads to discover y. Michelangelo said, “A man paints with his brains, not with his hands.” If anything, t h e R e n a i s s a n c e p r o v e d t o u s t h a t t h e i n t e l l e c t i s t h e e n g i n e o f d i s c o v e r y. We w o r k a s a r t i s t s , n o t b e c a u s e w e choose to do so, but because we can do nothing else. Through exploring our artistic past, embracing our creative present, we move, eagerly into the future.
Introduction
F l o r e n c e i s a c i t y w i t h h i s t o r y b u i l t i n t o i t . I t i s i n t e g r a t e d into the architecture, the art, the food, and the culture. It has a tangible presence you can feel when you walk around the city. This feeling resonates with me in the idea of layers and people. The people here are innately tied to a past that exists in their present lives and h o m e s . Yo u c a n ’ t s e e i t b u t t h e r e i s a r e p e t i t i o n o f thoughts and actions that, over time, creates a beautiful, cyclical patchwork. I find the numerous marble figures in Florence to be the most compelling Renaissance art. Their body language and expressions tell so much and are very different from what we see in contemporary art because they were made for a different purpose, maybe a more true one. I used them to inspire the poses and allowed the city to p r o v i d e t h e i r c o m p l e m e n t a r y p a i r i n g , w h i c h t o g e t h e r, translate my own interpretation of the Florentine experience.
Amillia Stembridge
a r e i n r e a l i t y, b u t a s t h e y a p p e a r a t t h a t v e r y m o m e n t .
some art imitates the appearance of things, not as they
others, and as im lost in their perspective, i find that
of, i am forced to view things from the perspective of
is why i do what it is that i do. sometimes in the process
person will see something different.'' This very difference
people the same picture and its guaranteed that each
Being an artist, i hear quite often, ''you can show several
Danterrio Dansberry
of
these
very
intimate
moments.
These
e x p e r i e n c e s w h i l e i n I t a l y.
pieces in juxtaposition against my personal ephemeral
exploration by pairing these seemingly timeless Italian
moments resurface within my work through conceptual
memories
its culture. As I am preparing to leave, I am left with only
of Italy have radically shifted after being submersed within
t h e w o n d e r s o f I t a l i a n c u l t u r e . H o w e v e r, m y e x p e c t a t i o n s
Many of my years as an artists have been spent admiring
Molly Brown
UN I V E R SI T Y O F ME M P H I S SU M M E R 2 0 1 2
dream?......
W h e n I t r a v e l b a c k h o m e , w i l l I w o n d e r- Wa s i t a l l a
experiencing something that most people never will.
w a l k i n g a r o u n d i n a d r e a m s t a t e s i n c e a r i v i n g t o I t a l y,
e s s e n c e o f Tu s c a n y a n d t h e R e n a i s s a n c e . I h a v e b e e n
present, a spontaneous moment that has captured the
have been able to capture represent a time of past and
s t r e e t s o f Tu s c a n y, I f e e l a s e n s e o f c l a r i t y. T h e i m a g e s I
streets. While behind the camera lens capturing the city
has overtaken me while strolling through the Italian
Tu s c a n y h a v e i n s p i r e d m e . M a n y t i m e s , a Z e n l i k e f e e l i n g
greatness. Everything from the artists to architecture of
a r i v i n g i n I t a l y, I h a v e b e e n i n a w e o f t h e c a p a c i t y f o r
o p p o r t u n i t y t o v i s i t t h e p l a c e s I l o v e d t o s t u d y. S i n c e
B e f o r e l e a v i n g f o r I t a l y, I w o u l d s i t a n d d r e a m a b o u t t h e
Wa s i t a D r e a m ‌ . .
Courtney Barnwell
Barriers are constantly used to keep the
Architecture in Italy has a long history with
Viewing these particular churches through framework in which art is placed.
manmade barriers reinforces the “look, don’t touch”
themselves.
c a r e f u l s t u d y, t h e y h a v e r i s e n t o t h e l e v e l o f a r t w o r k s
m a s s e s t o d a y, t h r o u g h t h e l a s t f i v e o r s i x c e n t u r i e s a n d
Although these buildings are still being used by the
the past.
engineers, masons, and artists to improve upon or outdo
of large ecclesiastical buildings that pushed architects,
a n d R e n a i s s a n c e I t a l y, i n p a r t i c u l a r, s a w t h e m a r k e d r i s e
buildings constructed for eclectic functions. Late Gothic
people.
architecture, which always has been meant to be used by
p u b l i c a w a y f r o m a r t w o r k s . H o w e v e r, t h i s i s n o t t r u e f o r
atmosphere.
In general, art is placed in a “look, don’t touch”
Alexandra Pearson
the
common
architecture
of
the
are,
in
itself,
its
own
form
deviation.
the
within them.
defines the parallel between my photos and the graffiti
cropped,being far from traditional methods, it further
the graffiti does on its own. the photos are left un-
architecture is warped transforming it in my own way like
photos
between tradition and deviation is what inspired me. My
assume, the deviants of the italian citizens. This contrast
symbols and messages generating from, what i can only
idols, nevertheless the city streets are riddled with its own
symbols, and plazas dedicated to saints and christian
of graffiti. The Italian cities are filled with churches,
the architecture that i didn't imagine was the abundance
movies, books, magazines, but the contrasting aspect of
knew what the streets and buildings looked like, from
of the visual perception of the cities. Before arriving I
apartments,stores, and churches is a dominating aspect
Venice,
Being in the middle of a dense city like Florence or
Sully Allen
From it's
It is a way to
emulate
those
of
the
prevailing
social
The culture of the bicycle is a n insightful metaphor for human nature.
neglect and rejection.
needs, make seductive physical contact and endure
jockey for space, compete for resources, share common
structure in both harmonious and contentious ways. They
interactions
contemporary culture. Their physical and social
environment, the community of the bicycle reflects
a n d u n i q u e i d e n t i t y. W h e n s e e n i n t h e i r n a t i v e
facetted machine that can still maintain it's own individual
of transporting goods to and from the market – a multi-
work, a way to get the kids to and from school, a means
t r u e m a r k e r o f s p e c i f i c c u l t u r a l i d e n t i t y.
But as universal as it has become, the bicycle can be a
maneuverability, recreation and purposeful transportation.
invention, the bike has represented freedom,
all became the pervue of the common man.
w h e e l , l i f e c h a n g e d f o r e v e r. C o m m e r c e , i n d u s t r y, t r a v e l ,
The ubiquitous bicycle – once humans discovered the
David Horan
Department of Art Chair
Richard Lou
Study Abroad Advisor
Jonathan Holland
Study Abroad Director
Rebecca Laumann
At The University of Memphis:
Facilities Manager
Eleonora Accorsi
vice president for university relations and program development
Luca Bucciarelli
D I VA C h a i r
D a v i d We i s s
Dean of Academic Affairs
Daphne Mazzanti
President
Gabriella Ganugi
At Palazzi:
and this exhibition, a success:
generous assistance in making the Memphis Photo Program at Palazzi,
We w o u l d l i k e t o e x t e n d o u r g r a t i t u d e t o t h e f o l l o w i n g p e o p l e f o r t h e i r
Acknowledgement
Via Magliabechi, 1 - 50122 Florence Italy ph. +39 055 244664 info@divaflorence.com
PALAZZO DONI FLORENCE ITALY WWW.DIVAFLORENCE.COM
digital imaging visual a r t s
di va