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Nicole Dintaman Gallery in association with The Call proudly presents CONVERSAZIONE, a group show of new photographs. Please join us on Saturday, October 18, 2003 for this one-day event at 4823 Pico Blvd (2 blocks east of La Brea - click for map). The studio will be open from Noon to 8:00pm with an evening reception from 5:00 to 8:00pm. 

CONVERSAZIONE is an Italian word meaning a social gathering for conversation or discussion especially about the arts. Created from a need for a community of artists and ideas much like the artists of the early 1900's had in Paris, we have organized this one-day event to get people excited and involved in a discussion about the 10 participating artists' new work.

Artists and their statements (click on image for larger preview):

BETH BLOCK
Night is both provocative and contradictory; it evokes feelings of both danger and beauty. Everything is intensified at night: emotion, light and mood. The night-light creates, projects and alters sensibilities. Into the Night is a body of work that relies on natural and environmental light to enhance and intensify the quiet contemplative moments found in and around the city. These ordinary nightscapes appear to be awakened and jolted from their foundations. Their penetrating colors affect the subject matter and open a window into the night.

RANDALL CABE
I originally set out to simply become proficient at the medium format camera in order to take pictures I could paint portraits and nudes from--no one has the patience to sit for more than 5 minutes anymore.
I became obsessed with getting the lighting I wanted and went back to the basic problemsolving and shot some still life. So I have been bitten by the proverbial "shutter bug."I am just trying to bring a sense of humor to formal problem solving, and trying to have fun doing it.

ALICE FLATHER
What initially drew me to the scrims as a subject was their formal characteristics. The color variety, the geometric simplicity and the monumental scale of the scrims appealed to me. Although the purpose of the scrims is largely functional (they prevent debris from falling off building sites), they also play an aesthetic role and reflect that certain aesthetic decisions have been made. 
As a traveler in a foreign city, the scrims became familiar landmarks guiding me along my journey. The scrims came to represent the tenuous time between the past and the future that I experienced on my trip. Concurrently I became interested in how identity is revealed/hidden and how identity shifts for a traveler away from their native country.

THAD RUSSELL
My work is more about observation than creation. My images are not made, but found. It is not hunting, but gathering. For me, it's all about being out there, under the sky, witnessing the constant and dynamic interplay between weather, light and landscape.

DENNIS SCHAEFER
If Nicole were to put a gun to my head, I could probably think hard about my photographs, and come up with some claptrap about the mystery and sanctity of nature, and the power of the moment when the puzzled viewer realizes the true nature of what he or she is looking at. Luckily, Nicole does not own a firearm. That I know of.

EMILY SKINNER
This is, very simply, a series of photographs born out of frustration. Born out of a single moment of being agitated. This sometimes subtle, and other times almost violent movement became a way that I photographed many different places. Places and things that I was familiar with; that I had photographed frequently. What remains is something very still. A very still image, created through movement. Images and color blur together deconstructing what is a very common form or view, giving the viewer the possibility to redefine the image.

ANNA WALKER
This work records the past and how lives are colored by that that has passed before, the imprints left upon the surface of a structure, the history that brings us to this place. The ghosts that haunt the journey, the recurring stories that become entangled in the energy of a building only to be relived over and over by new occupants. This is where my interest lays - in what is sensed rather than seen, in what is felt rather than actually perceived.
It is in an endeavor to question what we see before us and our capacity for believing and understanding the invisible. The camera records only physical images and so photographers are forced to reexamine the  larger expressiveness of realistic images and the nature of symbols, this has generated an intense inquiry into what it means to see.

WINNI WINTERMEYER
There are fascinating stories that are overlooked by the everyday world. I am attracted to places and things in a state of deconstruction and isolation. They are sites unnoticed for their mundane banality. It is only at second sight that a narrative begins to emerge. What has happened in this place and what may become of it in the future?

BIL ZELMAN
I don't crop my images. I don't focus my cameras. I don't even look through my camera.
These pictures are quiet. The act can be so hostile. A camera thrust fourteen inches from a strangers face. Explosion of flash breaks the evening. Startled. Adrenaline. Defense.
I'm making art I tell them. They think I'm an ass. And like magic the photos come back quiet. It's the noisiest of bus stops but the pictures are somehow quiet. Poetry. Perfectly sensitive in every way.

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