Nabil Harb's exhibition, "Mater si, magistrate no" is on view until April 25th!
Harb uses his camera to look rather than gaze at the wily scenes and moving bodies; his images disturb the before and after of a photograph by showing a moment extended or an instant flashed with a strobe. The project title informs Harb’s reasons and choices around his subject matter with his opinions and beliefs about this landscape, the people who inhabit it and move through it, and his subjecthood. The history of land usage in Central Florida greatly influences where he goes to photograph and how he looks at his surroundings. The narratives in his work are conflicting and intermingle with one another. The overriding story is one of man versus nature, of beauty and destruction coexisting in an atmosphere that is surreal, seductive, and breathtaking. Where the conflicting notions of destruction and rebirth intersect is also the point at which Nabil Harb’s formalism and conceptual photographic practice meet, showing us the potential for beauty in destruction and foreboding rebirth.
Special thanks to Daylight Blue Media
www.daylightblue.com
On view until April 25th!
Nabil Harb’s project "Mater si, magistra no" (a macaronic phrase that translates as “Mother yes, teacher no”) presents photographs that describe and depict moments and scenes within his hometown of Lakeland in Polk County, Florida. This Central Florida location is both the backdrop and main character of Harb’s visual narrative: a story that emits surreal qualities which twist ideas of the region through photography’s formal language into a conceptual idea—an idea of how to describe the atmosphere of a place without words.
Harb writes, “The landscape is the perfect reflection of our society, our ultimate index—it holds our histories, our secrets, our failures, and our hopes for the future.”
Special thanks to Daylight Blue Media. Watch the full artist profile on our Vimeo channel!
www.daylightblue.com
Light Work’s Urban Video Project is pleased to present the exhibition of "This Side of Salina" by filmmaker Lynne Sachs exploring reproductive justice from October 12 – December 21 at our architectural projection venue on the Everson Museum facade in downtown Syracuse.
Four Black women from the gritty and tenacious city of Syracuse, New York, reflect on sexuality, youthful regret, emotional vulnerability, raising a daughter, and working in reproductive health services. In a series of their own choreographed vignettes, each woman thoughtfully engages with the neighborhoods she’s known all of her life.
In conjunction with the exhibition, Sachs will be present for the special event "Communities of Care: Documenting Reproductive Justice in a Post-Roe Country" in Watson Theater at Light Work (on the SU campus) on Thursday, October 17 at 5:30pm.
Visit the link in our bio for more information!
Copies of Contact Sheet 226: Light Work Annual 2024 are available in our shop. Collect your catalogue today! Shop through the link in our bio.
-
Contact Sheet 226 Light Work Annual 2024 features work produced by the 2023 Light Work Artists-in-Residence Abdul Kircher, Agnieszka Sosnowska, Ahndraya Parlato, Ajamu X, Bruce Bennett, Clifford Prince King, Devin Fenimore, Dylan Hausthor, Jim Mangan, Joiri Minaya, Kyoko Hamaguchi, Marcus Xavier Chormicle, and Sayuri Ichida. The publication also includes work by 2023 Light Work Grant Recipients Koz, Tahila Moss, and Linda Moses. Also included is a recap of the year of Urban Video Project (UVP) exhibitions and commission with artists Evan Starling-Davis, the Institute of Queer Ecology, and Crystal Z Campbell.
Join us for "How Do I Tell You I Remember", a screening of short works by experimental filmmaker Crystal Z Campbell, followed by a Q&A with the filmmaker. Light refreshments from Recess Coffee & Roastery.
This event is FREE & OPEN to the public.
"How Do I Tell You I Remember" is presented in conjunction with the exhibition Crystal Z Campbell: Makahiya, which will be on view in the plaza following the indoor event.
Rooted in botanical research on a plant that displays the unusual trait of thigmonasty, or touch-induced movement, Campbell’s film is structured like intertwined vines. Digital video filmed on a recent trip to their mother’s ancestral homeland in the Philippines mingles with hand-drawn animations, manipulated photographs and archival news coverage of the 1991 eruption of Mount Pinatubo and its aftermath. The work explores this seemingly sentient plant’s paradoxical identity, from rampant “invasive” weed to medicinal plant, reflecting on photosynthesis, memory and the violent colonial impetus of regimented forgetting.
CONGRATULATIONS!
The Whitney Museum (@whitneymuseum) announced their 71 artists & 2 collectives included in its 2024 Whitney Biennial. Those included are Urban Video Project's Commissioned Artists Kite (2021/22), Simon Liu (2021), and Isaac Julien (2014). Also, former Light Work Residency Participant (2021) & Exhibiting Artist for both Light Work & UVP (2016) Dionne Lee.
We’re honored to have provided time, space, and resources for so many of these artists early in—and throughout—their careers. We congratulate all artists on being a part of the 81st edition of the Whitney Biennial—the longest-running survey of contemporary art in the United States.
Direct support to artists working in photography and digital imaging – residencies, publications.
