Joanna Manousis displays the thoughtful decision making and control of media that allow her to successfully break out of the identification as a “glass artist” and bring her works squarely into the realm of contemporary art. Her glass and mixed media pieces are wrought with symbol, history and mysterious ambiguity.
Though I have photographed since 1970, by way of a serious approach, I do not consider myself to be a photographer. I do not have an identity as a photographer, rather, as a conceptual artist, I use photography as a tool to achieve the original idea for the body of work being produced, which is always serial in nature, with hundreds, and sometimes thousands of images being produced within the theme, or body of work.
“It's not that I don't care about content, but content is not the only way a photograph has meaning."1 ~ James Welling
Only when we recognize the historical patterns of isolation and accept the responsibility of supporting those artists who express themselves in a universal language of form will black American artists be seen as major contributors to the art of this century. – David C. Driskell
The concept for “Confluence: Partnership and Creativity” was cooked up over dinner by potter Pam Korte and her husband, poet Richard Hague, and ceramic sculptor Terri Kern and her husband, graphic artist and letterpress printer David Umbenhour. Why not show the work of couples, to show how their personal relationships affect their art?
When I arrived by car at YADDO, the artist/writer’s retreat in Saratoga Springs, NY, the 400-acre estate that borders the picturesque and famous Saratoga Racetrack, over a foot of snow had fallen. The estate, which makes up the famed colony, had a quiet that would occasionally be interrupted by the wind making its way through giant, ancient trees that peppered the property.
Restaurant cell-phone photography is so ubiquitous that the act of documenting public dining has become de rigueur.
