About

Hyphen This is the work and findings of Amelia 'Sme' Mitchell.

Currently studying BA (Hons) Visual Communications, Leeds College of Art.

http://cargocollective.com/acfmitchell

Contact: acf.mitchell@hotmail.co.uk

See also: Magnetic Tapes
www.magnetictapes.tumblr.com

Exhibitions

2010- 3 works exhibited as part of Light Night Leeds, Leeds College of Art, 8th of October.

2011- 1 handmade, hardcover book, 'What Did You Do?', Leeds International Artist's Book Fair.

2011- 4 A3 portraits, acetate, Vis Com Year One (Are A Bunch Of) Show (Offs)

2012- 1 printed A5 image, 1 A4 book/file, 'William Strange Project- A Collection of Personal Possessions', Visual Communication Mid Year Show

2012- 1 A4 book/file, 'William Strange Project- A Collection of Personal Possessions', 9-5 5-9 exhibition (A show curated and organised by Leeds College of Art Interdisciplinary students and Art In Unusual Spaces) Park Square Leeds

2012- 'Untitled Landscape' w 1660 mm x h 2480 mm, 80 A4 plain paper sheets, F11 Photography Exhibition, Leeds, Hyde Park

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cavetocanvas:

Vik Muniz, The MoMA Series, 1995

From the Metropolitan Museum of Art:

In this series Vik Muniz playfully takes on one of modernist photography’s greatest heroes, Alfred Stieglitz, along with one of modernism’s greatest institutions, the Museum of Modern Art. In the early 1920s Stieglitz made a pivotal series of photographs of clouds-small, abstract compositions cropped from the broad expanse of sky overhead. He called these cloud studies “Equivalents,” because he saw them as pure, formal expressions of his inner emotional and psychological states. 

Muniz conceived his series of “Equivalents” after viewing an exhibition of Stieglitz photographs at MoMA in 1992. As he was leaving the exhibition, he noticed the cloudlike forms in the lobby’s gray and white marble floor. Using hastily improvised props, including a flashlight and a dime painted white, Muniz made his own “Equivalents,” which he printed at the same size and on the same paper as Stieglitz’s originals. This affectionate satire cleverly sets into motion a complex series of equivalences-between a marble floor and a cloudy sky, between Stieglitz’s original photographs and Muniz’s reworkings of them, between the literal and the conceptual image-and thus expresses postmodernism’s concern with the potency of tradition and the changes it must undergo to remain vital.