Exposures: Explorations of Darkroom Printing

Exposures: Explorations of Darkroom Printing

Work by Megan Fu, Adam Jost, Yamini Krishnan, Javier Alejandro Masis, Nina Petelina and Julia Sokol

A black and white photograph is a sheet of paper tinted with shades of gray. Yet, despite the simplicity of the medium, the manifestations it offers are virtually limitless. In this group show, we explore some of these possibilities through variations of the developing and printing process. Experimenting with everything from subject matter and composition to film, paper, and exposure, each photographer is guided by his or her preferences and experiences.

Megan Fu and Yamini Krishnan capture the beauty in elements of our day-to-day lives that go unnoticed, each with her own unique approach. Adam Jost focuses on abstract shapes in natural and man-made landscapes, particularly where the two meet. Julia Sokolcaptures the ways in which light shapes our surroundings. Nina Petelina demonstrates how overlaying multiple images on the same photograph adds detail and strengthens the idea of the photograph. Javier Alejandro Masis explores the nature of perception and portraiture.

On Display: September 1 – 30, 2018

Javier Alejandro Masis Obando, "Montreal 2," 2017. Tricolor gum print.

700 470 530

Work by: Nathan Tyrell & Javier Obando

“In visual perception, a color is almost never seen as it really is – as it physically is. This fact makes color the most relative medium in art” ~ Josef Albers

Our retinas contain three color sensitive cells that capture light at wavelengths that roughly correspond to red, green and blue (700, 530, and 470 nm). These cells turn the red, green and blue photons into electrical impulses, effectively encoding the color world around us into three separate color channels. It is not until these separate streams reach our brains, and our brains decipher the channels based on where they came from, that we actually “see” in color. Even though color seems like such a natural and immediate part of our experience, it is in this sense artificial. The notion of color arises in our neural circuitry, where many factors come into play when perceiving a color, and it is not an external, immutable attribute of the objects we see.

Using a complex, home-made color projector, we seek to make this process tangible. Along with the mechanisms of color perception and reproduction, we are interested in machines that are both arbitrary and purposeless in the conventional sense. Such machines seem to rebel against their identity: they self-consciously defy the purposefulness inherent in the definition of a machine. This underscores a certain dialectic tension within machines: a machine is always idiosyncratic—it always loses something (information? understanding?) and thus cannot be perfect. True to form, our color projector is not perfect—in fact, it is the least efficient color projector we can think of—and it certainly loses information at almost every step of its process. But the truth is that so do our eyes and brain, which begs the question: what is real color, and what isn’t, and does it actually matter?

On Display: July 1 – 31, 2018

Exhibition in the MIT Wiesner Student Art Gallery, 2018 Schnitzer Prize Recipients.

The Harold and Arlene Schnitzer Prize in the Visual Arts 2018 Recipient Art Exhibition

Featuring work by the 2018 award recipients:

FIRST PRIZE
Andrea Ling, Graduate Student, Media Lab

SECOND PRIZE
Nicolás Kisic Aguirre, Graduate Student, Program in Art, Culture and Technology

THIRD PRIZE
Brian Huang ’18, Electrical Engineering and Computer Science

HONORABLE MENTION
Gary Zhexi Zhang, Graduate Student, Program in Art, Culture and Technology

Read more about the 2018 Schnitzer Prize recipients.

June 1 – 30, 2018

Painting by Jessie Wang, displayed in the Wiesner Gallery as part of the exhibition Euryhaline

Euryhalia

Paintings by Jessie Wang, Electrical Engineering and Computer Science

We always think there’s enough time to do things with other people.
Time to say things to them.
And then something happens and then we stand there holding on to words like ‘if’.
-Fredrik Backman, A Man Called Ove

Orpheus said the mind is a slide ruler.
It can fit around anything.
Show me your body, he said.
It only means one thing.
-Sarah Ruhl, Eurydice

Now I’m not artistic.
I saw it was of a fellow with no clothes on –
I always wonder why it’s Art to take your clothes off:
they never put in the goose pimples.
– Diana Wynne Jones, Homeward Bounders

May 11-30, 2018

Murals of the Senior Haus. Courtesy of the artists.

Murals of Senior Haus

Work by Residents of the Senior House

MIT’s oldest residence hall has long been a home for counterculture, people of color, minorities and LGBTQ folk. In the past 20 years, residents painted more than 450 murals in the building and used the internal architecture to create an immersive experience.

Last summer, the residence was closed and converted to graduate student housing. A group of students, alumni, staff and local artists joined together to document, preserve and share these murals beyond the walls of 70 Amherst Street.

April 21 – May 7, 2018

Diastrofismos

Work by Nicole L’Huillier, Yasushi Sakai and Thomas Sanchez Lengeling

Diastrofismos is a sound installation with a modular system that sends images through rhythmic patterns. The installation changes depending on its context. The last version was done in the context of the Media Arts Bienal in Santiago, Chile, where it was built on a set of debris from the Alto Río building that was destroyed by the 27F earthquake in 2010 in Chile. For this occasion, the piece is built with the detritus of MIT, where the production of things is extremely fast, the landscape is in a constant shift, and there is constant tension between the new and the obsolete, the future and the past.

March 2018

The February School.

The February School

MIT Program in Art, Culture and Technology graduate students  set up a temporary school as an intervention into the nested ecosystem of education at MIT. This school is a subsystem of education where students and the general public are invited to participate in ACT student-led classes, cinema cycles, exhibitions, discussions, conferences, fellowship, workshops, construction and celebrations throughout the month of February. The intervention uses the structures and conventions of a typical university to explore other ways of learning, sharing and building knowledge and community.

This student-organized exhibition is part of ACT’s year-long celebration of the 50th anniversary of the internationally renowned MIT Center for Advanced Visual Studies (CAVS). You can read more about the anniversary festivities on the ACT website.

February 2018

Vidhya, Aurelien van Hollebeke. Courtesy of the artist.

Kerala

Work by Aurelien van Hollebeke, Visiting Graduate Student in Aeronautics and Astronautics

Kerala showcases the work of Aurelien van Hollebeke through his photographs taken during his 2015 stay in the south Indian state of Kerala.

 

January 8 – 31, 2018

Detached, Ivy Li.

Detached

Work by Ivy Li, Sophomore, Physics
On Display: December 8-30, 2017
A series of works contending with emptiness while finding tranquility amidst the silence.

December 2017

Shelter, by Ohyoon Kwon, Sophomore, Brain and Cognitive Sciences.

Shelter

Work by Ohyoon Kwon, Sophomore, Brain and Cognitive Sciences

Pistachios are a great snack. What happens to their protective crusts after the nuts are consumed? Their journey thereafter.

sheltered feelings, fragility, decadence

joy, craze, confusion, expression, explosion, chaos, celebration, consolation, acceptance

A series of mixed media works.

November 2017

“Suffocated” by Allan Gelman. Courtesy of the artist.

Success and Failure

A group show curated by Kate Weishaar, Architecture ’18.

The pressures of MIT have a tendency to distort students’ definitions of “success” and “failure”. Faced with the high expectations of family and friends and the high standards set by highly successful peers, many MIT students self-identify as failures. This show, composed of art from several current undergraduate students, shares a few student definitions of “success” and “failure”, while challenging viewers to redefine these words for themselves.

October 2017

briar, installation view. Credit: Katherine Paseman and Maxine Beeman.

MIT in Flight + briar

MIT In Flight is a photographic project created by Landon Carter to explore the fleeting moment of a leap, the twist of a ribbon and the beauty of traditional Chinese dance at MIT. Featuring dancers from the MIT Asian Dance Team, lighting collaboration with Jake Gunter, and assistance from Rachel Wu. Funded in part by a Director’s Grant from the Council for the Arts at MIT.

briar is a small pavilion intended to evoke a sense of comfort, curiosity and wonder created by Katherine Paseman and Maxine Beeman.

February – March, 2017

Paper Curiousities

What happens when we make circuits for self-expression? This exhibition featured interactive creations by artists and engineers to explore this question.

April-May 2016

Wildlife Conservation Society’s Glover's Reef Research Station in Belize photographed by student Sasha Chapman, MIT Knight Science Journalism Fellow.

Visiting Artist Class, Underwater Photography

Visiting Artist Keith Ellenbogen and theoretical physicist Allan Adams created and co-taught “Underwater Conservation Photography,” a cross-disciplinary course. The class spent several intensive weeks in the MIT pool honing their diving and photography skills and testing equipment and techniques, before heading to the Wildlife Conservation Society on Glover’s Reef off the coast of Belize. They documented damselfish, parrotfish, seafans, Christmas tree worms, sponges and eels, among other creatures, and then exhibited their photographs in the Wiesner Gallery, accompanied by text explaining the technological, biological and ecological stories behind the images.

March 2016