Wednesday, December 29, 2010
Tuesday, December 28, 2010
Thursday, December 23, 2010
Friday, October 08, 2010
Friday, October 01, 2010
Sunday, September 26, 2010
Friday, September 24, 2010
Saturday, September 11, 2010
Friday, September 10, 2010
Wednesday, September 08, 2010
Tuesday, August 31, 2010
Friday, August 27, 2010
Thursday, August 26, 2010
Tuesday, August 24, 2010
Saturday, August 21, 2010
Sunday, August 15, 2010
Friday, July 02, 2010
Monday, May 31, 2010
Saturday, May 15, 2010
Friday, April 09, 2010
Wednesday, April 07, 2010
Thursday, April 01, 2010
Tonight I went to see two different works. Jame Lavadour and Julia Mangold. The galleries, PDX Contemporary and Elizabeth Leach, were next to each other. Their works are different and also similar. Lavadour's abstract landscapes seems like a shamanic vision after a strong peyote trip. The vast spaces created with a subtle mix of bright color that are layered with pure neon unmixed colors and lines. The toxic color seems to have flatten the space and yet adds depth because of the layering. Some of the pieces are explosions from a volcano against the misty haze of distant land. There are sharp depth of field and jagged mountains. The shapes seems to come purer in it's abstraction where as a realistic or photographic depiction of the landscape would have organically rounded off the geometries. Despite the strong tone, the whole body of work seems to stay with a certain strong palette. A comparison could be made to Cezanne's cubist rendering of the landscape, reducing the mountain mass into flatten shapes. Cezanne's landscapes are more cubic then Lavadors. If Julia Mangold painted a landscape, it would be more a keen to Cezanne then Lavadour.
Then there is the austere work of Julia Mangold. She stays with in a certain tone yet still manage to produce an illusion of space. Her palette is black against the gallery's white wall. Her work contains a certain purity and religious tones. Her vision is also shamanic, though more hermetic and monastic, less gregarious then Lavadour's, though no less powerful. The work hungs on the wall as sculpture and painting at the same time. The more successful compositions are the pure square, almost cubes. Lavadour's forms and lines are organic becoming geometric and Julia Mangolds forms are geometric becoming organic. The lights cast ghostly shadows, light grays angels beneath the cube pieces hanging on the wall. Lavadors are panels that protrude slightly off the wall where as Julia's form extend from the wall and into the space of the viewer and room. In a way, Lavadour's work is minimal and flat. There are few colors within the painting and few shapes in the volcabulary. These issues, these tools are more distinct in Julia's work. Julia also has some pieces that are on a flat plane. They too are dimensionally projecting. The layers of transparency and space is perhaps most similar to Lavadour's paintings. They seem to be layers up on layers of vellum sheets, the top sheet has a slight curve at the top that shows how the pieces were constructed. They are also restricted to pure platonic shapes, like her sculptures. Their layering seems more apparent and constructed where as Lavadour's veils are hazing the mountain peaks beyond in mists. Lavadour rejoice in the un-ruliness, Julia reveal in the restraint.
The volumes bisected by the white lines that are between the rectangular shapes. Their forms create another shape casted by the gallery light. There are groupings of three square. Each is carefully constructed to bring out the proportions. For example, the smaller square groups has more depth and become more cube like in their volumes while the larger square groupings have flatter depth. This choice seems to be congruent with the way we perceive space and how we measure our body against the work. There were more obvious sculptural pieces as objects on the floor. The volumes, boxes lay flush against each other at times and then protrude no more then half an inch beyond each other. There seems to be a game, a consistency. For example, the horizontal lines between the space of the wall pieces are less then half an inch. There are limitations in dimension to create implied lines. The vertical wall pieces seem less successful and radically different from the implied square. It's not the unruliness's of the dimension that makes them alien to the square composition, it's their departure from the square that creates such a jarring affect. Though they are of the same color of black that unites the pieces, it is the geometry that makes them different and seem to belong to another artist. In the back of the gallery are the prints of Donald Judd. Only two are in black and white. Though they are lines, the black and white twins demonstrate the minimalist technique of varying only a few lines to make a slight but totally different space. It is no accident that the two are shown together. Julia works in the same line as Judd and even her last name Mangold recalls another minimalist, Robert Mangold. I shook her hands but did not ask her if she is related to Robert. Her work certainly carries the line and field color of Robert in shape but not color. It reminds me of Frank Stella's black and white prints and his radical departure in sculpture of metallic french curves protruding from the wall. I would have expected Frank Stella's work to be more like Julia's work if he carried on the same black and white palette and remain pure in his geometry of linear lines and rectangular shapes. Julia's work is a ghost of Donald Judd and Frank Stella. She carries on their tradition and I almost prefer her work to her fore bears, the masters of minimalist. Judd's work is sometimes too pure, dare I say boring, where as Julia's work allows a range of visual games to engage the viewers. Her work recalls another minimalist, Ann Truitt. Not long ago, I saw Truitt's column piece at the Portland Art Museum's Disquieted show. It is a column, an extended cube. In height, it is about the size of a woman. It is perfectly executed, like Julia's work. However, Julia's vertical pieces pales in comparison. If only Truitt's column were black, they would belong in the show as a mother watching over her children, Julia's child, playing quietly, sneakily protruding from each other on the wall and on the floor.
Saturday, March 27, 2010
I made a quick rough draft of Event/Wedding images to show to clients who are interested in having a book made of their events. It's a slim volume compare to the Kolo Album that I put together of the images. I think both serve a different purpose. I think that the book would be a great item for corporate events and a Kolo Album would be better for personal events such as an engagement.
Sunday, March 21, 2010
Friday, February 19, 2010
Wednesday, February 17, 2010
Originally uploaded by lexly87 aka Duc N. Ly
The Pleasures of the Text began as my curiosity of there the reader's mind goes when he/she is lost in a book. It is the same look that video games have? That concentrated gaze. When some one is lost in a book, it's hard to get their attention. It makes photographing them a bit easier as they are not aware of anything other then the book that engages them. In this high tech culture, the printed page is vanishing. I foundly remember the bookstores I frequent at lunch time which no longer exist today and marvel at the places that still survive. I regret not documenting these places before they disappeared. Some places still have high ceilings and floods of light into the skylight. Other places are dark and dingy and seem to represent that part of our brain.
Originally uploaded by lexly87 aka Duc N. Ly
I had the big camera out which gathered a crowd. Then took this one with a digital camera. It happened to be in front of Papaya Thai restaurant. The family talked to me for a bit during diner. They had a huge painting of Can Tho. I might go back to make a picture of it.
Tuesday, February 16, 2010
Subject: [writers-HdSwkTFR] New Meetup: Close Reading - Poetic Devices - Selections of Flash Fiction
What: Close Reading - Poetic Devices - Selections of Flash Fiction
When: Sunday, March 14, 2010 6:00 PM
McMenamins Tavern & Pool
1716 NW 23rd Ave
Portland, OR 97210
This month, we will be reading several pieces, each very short, and each very free. In this way, we will not bogged down with discussion of 'plot' or logistical confusions, so we can focus upon language, visuals, and emotions. We will compare and contrast each piece, and how effectively each uses poetic techniques to enhance its narrative.
I've attempted to be diverse in my selections:
Jack Anderson's "Calamitous Dreams", part of the "Traffic: new and selected prose poems" collection. (If the link doesn't work, you should be able to find it yourself through Google Books.)
T.S. Eliot's "Hysteria"
Ernest Hemingway's "A Very Short Story"
Raymond Carver's "Little Things"
I encourage everyone to print these out, read and re-read, and annotate.
Learn more here:
Saturday, February 13, 2010
Originally uploaded by lexly87 aka Duc N. Ly
Happy Chinese New Years. Year of the Tiger. I was at Wallace Bookstore and found this book. I made a picture of it for the occasion.
2010 begins a new decade and the new symbol. The idea began when I saw Borge's Dreamtigers at a bookstore after the new years. I had seen certain images of the tiger pasted to my bedroom wall as a child and I regard it as protection. I had been told my my parents that when we sleep, our soul being becomes an animal and roam the landscape of dreams. I believe that we became our Zodiac counter part, our doppleganger. It was believe that the face of the dreamer would not be distrubed or deface because the dream counter part would not be able to recognize the host upon it's return. The realm of sleep and dream is sacred. TThis is the reason why pictures of people sleeping is frown upon. I was looking at the color and symbols of Red, the Chinese red. At the time, I was looking at images with the color red as symbols of love. I had an idea for a while of gathering all of the images that I had taken that has something to do with Asian and the Asian culture. Part of it seems that I have fallen into the same cliche and stereo types. It might be a mirror that reflects my own prejudices and preferences.
Tuesday, February 09, 2010
Monday, February 08, 2010
Here's a picture of Charles giving a reading several years ago at the Wieden/Kennedy building in Portland, Oregon. I heard about Charles writing studio which he keeps immaculate. That would be a cool space to make a photograph.
I thought this is a great picture from Charles's wife Holy. I believe that is a close up pictures of Charles reading his poem.
I stood near my image 'Indian Point' to answer questions. Near me stood Josh Hobson's and his image "Coming, Going, Coming."
I asked Josh where that was taken and when he said 'Can Tho', I could not believe my ears. That's where I grew up I tell Josh this. Josh was listed as a non-portland artist because he was just a few weeks ago. His picture arrived in Portland before he did. Josh had travel with his wife in Vietnam and Korea (to teach English). Portland has welcomed Josh in a big way because his other image is showing at the same time at the NewSpace Center for photography. (The show is call Carnival.)
I had to show Chris Bennett's picture: 'View from Hart Mountain'. I thought it was quiet a coincident and thought I make a post of it. The show will be on until the end of February.
Jeff Antebi.com has been doing some very powerful work in Haiti before the earthquake.
I've looked at there work recently on the websites and admire their approach.
Wednesday, February 03, 2010
Friday, January 29, 2010
Tuesday, January 05, 2010
This photograph is now in a group show.
Monday, January 04, 2010
Our 4th annual New Directions exhibition,
juried by Carol McCusker, curator of the Museum of Photographic Arts
is pleased to present 42 artists challenging the ideas of distance and scale.
Participating artists -
Robbie Acklen | John Aldredge | Jeff Antebi
Cordelia Bailey | Chris Bennett | Heidi Bertman
Andrew Binkley | Charles Blackburn | J. Wesley Brown
Alejandro Cartagena | Pete Cosenza | Matthew Derezinski
Kristen Fecker Peroni | David George | Colin Graham
Steve Guttenberg | Ray Hau | Nicole Jean Hill
Joshua Hobson | Adam Jaocno | Kirby Johnson
Jeffrey Krolick | Sarah Marie Land | Larry Larsen
Nathan Lunstrum | Duc Ly | Kora Manheimer
Patricia McInroy | Daniel Melo | Charles Mintz
Emily Nathan | David Jaewon Oh | Wayne Palmer | Ric Peterson
Dawn Roe | Wendy Ross | Michael Seif
Sarah Sharp | Peter Tilgner | Ronit Toledano
Anna Maria Vag | Jacqueline Walters
Here's the On-line Gallery
More information here.