Art Lies, Volume 10, April-June 1996 Page: 25
40 p. : ill. ; 28 cm.View a full description of this periodical.
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Computer genrated images have a tendency to appear
cold and impersonal, or a more appropriate descrip-
tion might be lacking emotion, but this is not always
so. One installation that presents a broad spectrum of
digital images is Cyberwhat?, a group show at Com-
merce Street Warehouse. A cornucopia of digital de-
lights- ranging from impersonal pixillation, to roman-
tic recollections and emotionally charged abstracts - it's
all here. Computer generated photography holds the
key to the future of this medium. I believe the silver
print will always be around, but with a blinding flash,
technology may reduce traditional photo techniques to
an obscure medium, such as the platinum print has be-
come today.
There are quite a few exhibitions that merit particular
attention. The first that comes to mind is 20th Century
Masters at John Cleary Gallery. This new fine art pho-
tography gallery is a walk through the history of pho-
tography, full of vintage prints like Satiric Dancer by
Andre Kertesz, and Clearing Winter Storm by Ansel
Adams. The Eve Arnold Retrospective at the Menil is
a collection of unbelievably intimate and candid im-
ages. Photojournalistic in nature, most of these pictures
are of public figures, produced on assignment, by an
artist whose presence is seemingly unnoticed by her
subjects. Romualdo Garcia : Portraits 1905 - 1914 at
the Mexican Cultural Institute is but a small sampling
of the work of a master of portraiture. In viewing these
pictures I have to ask myself if it was the respect of the
photographer had for his subjects that instilled in them
an uncommon look of pride and integrity. There is a
magical quality about these historical documentaries
that seems to give viewers a deeper understanding of
their own existence. The discoveries within the
FotoFest Meeting Place at the Old Cotton Exchange
Building includes a group show containing a series of
dark, evocative images by Debby Flemming Caffery,
several multiple print pieces that play off the assump-
tion of reality in a photograph, from the series, "It's
only water in a stranger's tear", by cuban photogra-
pher Rogelio Lopez Marin "Gory", and a series of theo-
retical photomontages produced by the team of Span-
ish photographers Pilar Albajar/ Antonio Altarriba.
As confusing as FotoFest can be, the ultimate judge-
ment of our craft as photographers, whatever the tech-
niques we use, is based on our ability to present com-
pelling images to the human eye and heart. And in
that respect FotoFest 96 was a definite success.25
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Reece, Garry. Art Lies, Volume 10, April-June 1996, periodical, April 1996; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth228041/m1/27/: accessed April 24, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; .