Juxtaposition In John F. Kennedys Speech Video
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Judges: Adlai S. Hardin, Jr. Metromedia Fiber Network, Inc. Bankruptcy Nos. United States Bankruptcy Court, S. New York. July 15, Gottlieb, Esq. Sussman, Esq.
Juxtaposition In John F. Kennedys Speech
Chambers is a documentary photographer and visual artist, and he is currently working with the pixel as Suprematist Art "Pixelscapes" and Kazimir Malevich 's "Black Square" "Black Square Interpretations".
He has over exhibitions to his credit. Chambers' Pixelscapes as Minimalist Art and in keeping with Malevich's Suprematism - the feeling of non-objectivity - the creation of a sense of bliss and wonder via abstraction. Chambers' action of Jobn within a portrait photo of Kazimir Malevich to find the basic component spixel s is the same action as Malevich looking within himself - inside the objective world - for a pure feeling in creative art to find his "Black Square", "Black Cross" and other Suprematist works.
And there's a mathematical parallel between Malevich's primitive square "Black Square" The pixel is the most basic component of any computer graphic, and it can be represented by 1 bit a 1 if the pixel is black, or a 0 if the pixel is white.
And filters tools [e. So Kennerys Chambers mentions in his Pixelscapes article, Malevich and those Minimalists who followed later would probably have had great appreciation for this basic and mathematical component And beginning inhis Pixelscapes were somewhat of a revelation for him when compared to the nonobjective works of Malevich and other Minimalists generated many years before the pixel and the Digital Revolution.
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It seemed that Chambers had managed to do what they had done through the simple process of magnification, treatment and isolation of the pixel s. For several years now, Mr. Chambers has treated his students at Zhaoqing University and their peers at selected universities ranging from Wake Forest University, the University of Louisville, the Art Institute of Boston, the State Art Museum of Novosibirsk, Russia, Rensselaer Polytechnic in Troy, New York among othersas well as, anyone with access to the web to a cross cultural mix of student digital art and photography.
Chambers has infused his students with his own sense of wonder, introspection and a desire Juxtaposition In John F. Kennedys Speech examine and communicate. Which brings us to one of Tom Chambers' own most recent and personal exhibitions entitled "My Dear Malevich" on display from April 2 through 15 in the art gallery of Zhaoqing University.
Wherein we see on the web a presentation of what must be, in real-time and space, a very striking exhibit. Consisting of many, large-size, black and white prints of hard-edged geometric designs "My Dear Malevich" is also an homage to the Russian artist who carried earlier Cubist work entirely into the abstract and non-representational. Kazimir Malevich founded the Suprematist art movement around and opened the door to true non-objectivity in modern art. This exhibition expands inward so to speak from research into the progenitors of Minimalism, an artform in which Mr. Chambers has been experimenting for several years with his series of "Pixelscapes" exhibitions. Utilizing the most basic unit of any computer graphic; the single pixel, his "Pixelscapes" serve as colorful pathways into the purely metaphysical aspects of art which, by virtue of presenting so little, leads the viewer to so much in terms of their own emotional content.
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With "My Dear Malevich", Chambers describes for the viewer a process by which he travels via magnification into a digitized photograph of Malevich and discovers at the singular pixel level arrangements which echo back directly to Malevich's own totally abstract compositions. This process is such an apt metaphor for Malevich's own journey deep with himself, as well as, his discovery of the non-objective soul of art contained within the objective world as to Juxtaposition In John F.
Kennedys Speech a form of visual poetry. This visual poetry contains the ironic connection between Modernist philosophy which moved visual art from figurative representational pictures of the physical world into an expressive and emotional world of abstraction; and, the digital realm in which the purely abstract unit of one pixel off - one pixel on, has been utilized to reproduce once again, with breath taking accuracy the physical world. Now, Chambers' has shown a path by which this tool, which so often serves hyper-reality, is forced to reveal the abstract soul at its very core.]
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