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                     Keith Telfeyan, Endless, Nameless 2015, Digital c-print, 6x6 inches, courtesy of the artist 
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            NEW YORK, June 17, 2015 – The Sheila C. Johnson  Design Center at The New School presents “Camera Work,” an exhibition of photographic  and video work created using a variety of media and processes. The exhibition  opens with a public reception on Thursday, June 25, 6-8 p.m.             
            “Camera Work” features a wide array of artwork,  from framed prints and moving images on glowing screens, to mock natural  history dioramas, iPad slide shows and more, by graduates of the MFA Photography Program at Parsons  School of Design.             
            Work in the exhibition ranges from Keith  Telfeyan’s deceptively casual series of prints, Endless, Nameless (2015), which walk the line between Instagram  kitsch and the Romantic sublime, to Erik Madigan Heck’s sumptuous portrait Etro (2014), which exists between fine  art and fashion photography, to Marie Vic’s Blowing  Riccardo (2015), a video that slyly sends up commercial advertising using a  Givenchy gown, industrial fans, and the fuselage of an abandoned airplane.  Bobby Davidson’s photo series Number 34 and his video Principia (all 2014) use  the great American pastime—baseball—to explore relationships between optical  and photographic vision. In John Deamond’s installation, which is accompanied  by his self-published book, A Field Guide  to the Extinct and Extirpated Birds of North America (2013), images of  taxidermy passenger pigeons flank a life-size diorama of a natural habitat in  which clay-shooting targets have replaced birds.             
            “From the outset, we positioned MFA Photography as  a technology-forward program that would define the role of the photographer in the wake  of the digital revolution,” James Ramer, director of the program, says. “The  exhibition not only demonstrates the ways in which these artists represent and  shape our world, but also their commitment to the medium even while expanding  the breadth of their photographic practice.”             
            Much of the artists’ work can be found in  printed publications. The reliance on the printed paper format coupled with  forward-thinking artistic approach echoes Alfred Stieglitz’s pioneering  photography publication Camera Work,  which also serves as the name of the exhibition.             
            “Stieglitz’s Camera  Work began by championing pictorialism, the already old-fashioned idea the  photography could prove itself a fine art by imitating painting, but ended its  distinguished run by presenting the most modern photographic vision of its time,”  the curators said. “The artists in this exhibition similarly keep an eye on the  legacy of the photographic past while bringing camera work into the future.”             
            “This exhibition continues the SJDC’s  exploration, begun with Prison Obscura this spring, of the unexpected ways in  which cameras can be put to work,” said Radhika Subramaniam, Director/Chief  Curator of the SJDC. 
             The exhibition is  curated by Sarah Hasted, a  founding partner of Hasted Kraeutler, a contemporary art gallery in New York  City, and Joseph R. Wolin, an independent curator and  critic. It features work by Jun Ahn, Berk Çakmakçı, Alison Chen, Xiao Chen and Yichen Zhou, Bobby  Davidson, John Deamond, Nathan Harger, Erik Madigan Heck, Brigitte Lustenberger,  Joy McKinney, Charlie Rubin, Keith Telfeyan, José Soto and Marie Vic.  
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