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IVLA_expo

IVLA Expo 2022

IVLA Expo 2022

IVLA Expo 2022

VIEWS & VISIONS: CONNECTING & SHARING THE VISUAL | August 10, 2022 - March 10, 2023


[Click on the image below to view the exhibition!]


SEEING ACROSS DISCIPLINES is the third juried virtual exhibition presented by the International Visual Literacy Association (IVLA). It is presented in conjunction with the IVLA 54th Annual Conference, held in Finland.


HOSTED BY THE DEPARTMENT OF LANGUAGE AND COMMUNICATION STUDIES IN THE FACULTY OF HUMANITIES AND SOCIAL SCIENCE IN COLLABORATION WITH THE MULTILEAP (MULTILITERACIES FOR SOCIAL PARTICIPATION AND LEARNING ACROSS THE LIFE SPAN) PROFILES AREA OF THE UNIVERSITY OF JYVÄSKYLÄ


Includes exhibition catalogue for download, artist statements, prizes and honorable mentions.


This exhibition is FREE and OPEN to the public.


To learn more about IVLA and the conference visit http://ivla.org.

Follow this link for the conference website: http://ivlaconference.org


CATALOGUE

Sharable download link to PDF Catalogue on Google Drive: Coming Soon!


3D exhibitions

  • IVLA Expo 2022

    VIEWS & VISIONS: CONNECTING & SHARING THE VISUAL

    10 Aug 2022 – 10 Mar 2023

    VIEWS & VISIONS: CONNECTING & SHARING THE VISUAL By Kate Nearpass Ogden, Professor of Art History, Visual Arts Program, Stockton University (USA) The 2022 IVLA Virtual Art Exhibition “Views and Visions: Connecting and Sharing the Visual” features work by seventeen artists from countries as diverse as Canada, Hungary, Japan, Korea, Pakistan, Peru, Turkey, United Kingdom, and United States. The thirty-one works of art in the exhibition lean heavily toward digital photography, although there are also hand-crafted prints and drawings, photo-constructions, a video, and stills from virtual reality projects. The title “Views and Visions”(1)is meant to distinguish works of art that are views of real places and things from art that depicts visions imagined by the artist. The title seems particularly appropriate for this year’s online exhibition. “Views” immediately connect us to the visual reality we share with others; “visions” allow artists to share their personal dreams, ideas, and interpretations of the world around them. Both views and visions can be powerful and expressive modes of art-making. This year’s online exhibition includes works of art from both camps, as well as images that straddle the line between them. The interpretations given here are the writer’s; to read the artists’ own words, please see the information in the online exhibition. Some of the most straightforward views in the exhibition – seemingly unmanipulated photographic windows onto the world – are Eric Zeigler’s images of interior spaces and landscapes, and Faizan Adil’s views of mosques and city streets in Lahore, Pakistan. Zeigler’s color image of a control room full of computers and monitors and Adil’s black and white photograph of the Badshahi Mosque make an intriguing pair: both images are shown frontally and are roughly symmetrical, but the first is a high-tech, modern interior (a gravitational wave detection lab) while the latter is a romantic 17th century edifice. Photographs can operate simultaneously as both views and visions. N. Toros Mutlu’s black and white photographs appear to be straightforward, unmanipulated images of the world around us, yet their inky, velvety darkness turns rocks, leaves, and clouds into something more magical. Zsolt Bátori’s photographs combine architecture and nature, often in straightforward ways, although one dark, slightly blurred image from the series The Orchard and the City contains more than a hint of mystery. Susan Jane Britsch’s photograph “Her Demesne” is both view and vision. Britsch uses a double exposure in an otherwise straightforward photograph. She has literally layered an interior world (a kitchen sink) with an outdoor scene (branches silhouetted against the sky). This color photograph is from a series inspired by her great aunt’s handwritten cookbook from the early 20th century; in the series she layers past and present, family relationships and personal identity. Another crossover between the two modes is found in Marita Ibañez Sandoval’s work. Sandoval uses photographs of real buildings pieced together into miraculous fictional structures; some appear to float in the air while others rest on flat surfaces. Her architectural sources are buildings found in the Japanese prefecture Ibaraki, where many Brazilian immigrants live. Barbara Miner’s lush, colorful prints lean more toward visions than views. Based on leaves, seedpods, and other natural forms, they seem inspired by nature, but the artist’s color combinations and geometric patterns push them into the realm of abstract visions. Miner’s prints are made with hand-carved stamps on matte photographic paper. Dan Hernandez’s artwork, made with inkjet transfer and acrylic paint, is likewise more vision than view. “Grotta” resembles an old-fashioned video game. Instead of the Mario Brothers, however, this imaginary underground world has been populated by religious idols, merfolk, and other mythical creatures. In other images, the artist takes inspiration from medieval manuscripts, the art of other countries, and Hieronymus Bosch. Gary McLeod’s images involve a form of layering. His “Omachi” is a still from a virtual reality project. It looks like a view of a real place with an overlay of the same scene photographed at a different point in time. Like Britsch, McLeod is interested in past and present, depicting views as they looked in 2011 and again in 2021. A second virtual reality project in the exhibition is Thomas Wilcox’s “Bendtwist III,” which is more vision than view. Wilcox seems to have created a strange new world: an empty desert landscape populated by twisting parabolic shapes. Debra A. Davis uses another type of layering to create artistic visions: her images of water, clouds, and sky have an overlay of open geometric lines and shapes. Titled “Environmental Convergence – Water,” her work suggests a futuristic world, perhaps a water-covered planet elsewhere in the universe. Patricia Search likewise creates imaginary worlds, molding colors and shapes into visions that explore, in her words, “the interplay between color, space, and time.” Like other works in the exhibition, Search’s images – including “Lyrical Reflections” – “juxtapose realism and fantasy, logic and emotion….” Several artists in the show combine text with images, an artistic option available since the invention of collage in the early 20th century that gained traction with the conceptual art of the 1970s. The addition of text works against purely realistic image-making. The artists Viviana Torres-Mestey and Lisa Winstanley combine text with images to create surrealistic visions. Torres-Mestey is represented by a photomontage, “I am Nadja,” which references the title of a book by André Bretón, founder of the Surrealist movement. Winstanley’s digital collage “Birdcage / Gramophone Feather / Listen Hand” explores our “innate human ability to find connections from seemingly unconnected themes.” The artists Hyungjoo A. Kim and Tracey Bowen also mix text and images. Kim creates clean, sometimes minimalistic graphic designs, often in the service of environmental and humanitarian messages. Her design “We Breathe and Live, Together” seems to depict a single branch with round leaves. On closer inspection we see tiny plants, animals, humans, and a single ball of the Covid-19 virus that adds new meaning to the image. Bowen’s drawings combine handwriting and abstract imagery in a way that suggests scientific experiments, and the artist confirms this relationship by explaining that she uses drawing as a way to think through issues and problems in the world that puzzle her. This year’s online exhibition includes a video by Misaki Kawahata titled “Even with our eyes open/closed.” Video, like film, cannot help but seem realistic, given its innate ability to replicate the world around us. When broken and intercut with changing images, however, video becomes a more abstract medium. Kawahata’s video has closeups of a clock and an eye, split-screen images, and solid blocks of red, black, and blue. As the artist explains, it is about “two paradoxical visual experiences. … With our eyes open,” she says, “we cannot see anything in the dark. … With our eyes closed, we see the color of our own blood by light.” Despite the reality of its individual images, the video represents an artist’s exploration and interpretation of the act of seeing. In a sense, it is both view and vision. ____________ (1)Kate Nearpass Ogden, Views & Visions: Recent American Landscape Photography (NY: International Center of Photography, exhibition brochure, 1985). And Edward J. Nygren, Views and Visions: American Landscape Before 1830 (Washington, DC: Corcoran Gallery of Art, 1986). SELECTED ARTISTS Faizan Adil Zsolt Batori Tracey Bowen Susan Jane Britsch Debra A. Davis Dan Hernandez Misaki Kawahata Hyungjoo A. Kim Gary McLeod Barbara Miner N. Toros Mutlu Marita Ibañez Sandoval Patricia Search Viviana Torres-Mestey Thomas Wilcox Lisa Winstanley Eric Zeigler AWARDS AND HONORS 1st Place - Barbara Miner, "Winter Sunset" 2nd Place - Dan Hernandez, "Grotta" 3rd Place - N. Toros Mutlu, "Tides' End - XI" Honorable mention - Marita Ibanez Sandoval, "Mending Landscapes: Mirroring Jōsō" Honorable mention - Hyungjoo A. Kim, "we breathe and live, together" EXHIBITION JURY Petronio Bendito Associate Professor of Visual Communication Design / Rueff School of Design, Art, and Performance College of Liberal Arts Purdue University, USA Peter Carpreau Adjunct directeur generaal/Directeur général adjoint War Heritage Institute Brussels, Belgium Kate Nearpass Ogden Professor of Art History Visual Arts Program Stockton University, USA Dana Statton Thompson - Conference Co-Chair IVLA Vice-President Research and Instruction Librarian & Associate Professor Murray State University, USA EXHIBITION COMMITTEE Karen Tardrew, co-chair Petronio Bendito, co-chair Peter Carpreau Geri Chesner Debra A. Davis Rhonda Robinson Kate Nearpass Ogden Dana Statton Thompson Michelle Wendt Nancy Woods ONLINE VR INSTALLATION TEAM Petronio Bendito, coordinator, 3D/VR installation design Karen Tardrew, coordinator Geri Chesner, installation team Debra Davis, installation team Nancy Woods, installation team CONFERENCE PLANNING COMMITTEE Michelle Wendt IVLA President Technology Integration Specialist & Adjunct Instructor Stockton University Dana Statton Thompson - Conference Co-Chair IVLA Vice-President Associate Professor & Research and Instruction Librarian Murray State University Joanna Kendra - Conference Co-Chair Postdoctoral Researcher Department of Language and Communication Studies University of Jyväskylä Jackie Fleming IVLA Communications Coordinator Visual Literacy and Resources Librarian Indiana University Frank Cerreto Professor of Mathematics Stockton University Kazuyo Kubo Associate Professor of Social Science Lesley University Sarah Huber Associate Professor & Engineering Tech Librarian Purdue University Karen Tardrew - Art Exhibit Co-Chair Associate Professor, School of Advanced Professional Programs National-Louis University INTERNATIONAL VISUAL LITERACY ASSOCIATION The International Visual Literacy Association (IVLA) is an interdisciplinary organization of professionals working toward a fuller understanding of the way we derive meaning from what we see and the way we interact with our visual environment. IVLA MEMBERSHIP IVLA members represent a wide range of disciplines, including arts, sciences, communication theory, semiotics, graphic design, photography, videography, media studies, digital technology, architecture, business, education, educational technology, instructional design, health, psychology, linguistics, philosophy, cultural anthropology, brain research, computer applications, museum studies, and more. In addition to regular membership, IVLA offers student, retiree, life, and institutional membership. https://ivla.org https://ivlaconference.org _______ This online exhibition is presented by the International Visual Literacy Association (IVLA) in conjunction with its 54th annual conference: Connecting & Sharing – Envisioning the Futures of Visual Literacy (Aug 10-12). The conference is hosted by the Department of Language and Communication Studies in the Faculty of Humanities and Social Sciences in collaboration with the MultiLEAP (Multiliteracies for social participation and learning across the life span) profiling area of the University of Jyväskylä, Finland.

    latest works

    • Misaki Kawahata

      Even with our eyes open/closed, 2022
      video
    • Thomas Wilcox

      Bendtwist III, 2020
      Sculpture VR
    • Viviana Torres-Mestey

      I am Nadja, 2022
      Digital Photography
    • Lisa Winstanley

      Birdcage | Gramophone Feather | Listen Hand, 2021
      Digital Art
    • Hyungjoo A. Kim

      one color as two, north and south, 2019
      Poster
    • Hyungjoo A. Kim

      we breathe and live, together, 2020
      Poster
    • Hyungjoo A. Kim

      HUMANITY, MAKING A BIG HEART: the way we live and design [together], 1991
      Poster
    • Marita Ibañez Sandoval

      Mending Landscapes: um olhar para Jōsō, 2022
      Photomedia
    • Tracey Bowen

      What makes a country?, 2021
      digital print
    • Tracey Bowen

      What makes a country?, 2021
      digital print
    • Zsolt Batori

      La huerta y la ciudad (The orchard and the city), 2019
      Photography
    • Eric Zeigler

      LIGO (Laser Interferometer Gravitational Wave Observatory) Control Room/Detection in Progress, 2020
      24 x 36 inch (h x w)
      Archival Inkjet Print
    • Eric Zeigler

      OSIRIS-REX Disturbed Surface, 2021
      36 x 60 inch (h x w)
      Archival Injet Print
    • Eric Zeigler

      Tiehm’s Buckwheat (Eriogonum tiehmii), Last 10 Acres of Habitat, Nevada, 2022
      20 x 25 inch (h x w)
      Archival Injet Print
    • Marita Ibanez Sandoval

      Mending Landscapes: um olhar para Jōsō, 2022
      Photomedia
    • N. Toros Mutlu,

      Tides' End - XI, 2021
    • N. Toros Mutlu

      Tides' End - VII, 2021
      Photography
    • N. Toros Mutlu

      Tides' End - III, 2021
      Photography
    • Dan Hernandez

      Romance of Pauline, 2021
      33 x 24 inch (h x w)
      inkjet transfer and acrylic paint on paper on panel
    • Dan Hernandez

      Grotta, 2021
      29 x 45 inch (h x w)
      Inkjet Transfer and Acrylic on Paper on Panel