For over a decade, Chris Sims has been photographing the simulated war zones where US soldiers train for deployment. On these dusty back roads at American military bases, live scenarios and constructed sets are designed to resemble urban centers and villages in the war zones of Iraq and Afghanistan to prepare soldiers with believable immersive experiences.
Sims, who serves as the undergraduate education director for Duke University’s Center for Documentary Studies, has photographed training grounds at Fort Polk, Louisiana; Fort Bragg, North Carolina; Fort Irwin, California; and the Hohenfels base in Germany. His forthcoming book, Theater of War: The Pretend Villages of Iraq and Afghanistan, is a compilation of his photographs.
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On Thursday, September 14 at 7:00 p.m. Bart O’Reilly will give an artist lecture at McDaniel College. The event will be held in in Peterson Hall, Room 104.
McDaniel College is located at 2 College Hill in Westminster, MD 21157.
“My work is concerned with the actions of time, light and human activity on places and their objects,” says O’Reilly. “Within this framework I try to open a space for imaginary and poetic intervention. Using physical objects or specific places I explore their history and materiality. A claim to truly know or understand seems at best arrogant and at worst extremely dangerous. I try to explore the slippage between what we perceive and what we claim to know.”
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Damon Arhos reflects on his recent thesis exhibition, Targets and Trophies, on MatthewsPlace.com, the official blog of the Matthew Shepard Foundation.
Through a series of mixed media two and three-dimensional works, Arhos conducted an investigation of gay culture as an ongoing target of discrimination and violence.
“As a studio artist, I wanted to emphasize how horrific events often make things better for others — how the tragedy of someone like Shepard (or Harvey Milk, whose portrait I also painted for the exhibition) also creates hope.”
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In Laura Borneman’s work, perception of place is fictionalized into invented structures and scenes that are not literal, but are expressive of states of mind, imagination and fantasy. Working between sculptural form, painting and drawing allows the artist to explore the psychological aspects of interior space, whether it be imaginative or reflective of actual structures. By stacking a variety of modalities she addresses the absurdities of the human condition and the urgent search for stability and clarity through everyday pursuits. Borneman juxtaposes shapes and structures that suggest impermanence, giving shape to anxieties. Rather that presenting clear answers or sound solutions, the work accepts the absence of any singular path or prescriptive guideline for seeing and experiencing the world.
On view through August 4, 2017.
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This summer’s MFAST thesis shows featured the work of Damon Arhos, Natalie Bheekie, Sarah Clough, Ume Hussain, Caryn Martin, Kwaku Osei, David Shurbutt, Susan Striepe and Nancy VanNoppen.
Congratulations to the MFAST Class of 2017!
This exhibition traces Hoxworth’s evolution from representation toward abstraction in painting, as well as her new fiber-based sculptural work. Probing internal experiences of sensation and desire and external experiences of movement, Hoxworth explores the human body as a part of nature – a force that’s beyond control or understanding – a fluid force of growth and change.
On view through August 6, 2017.
The Mansion at Strathmore is located at 10701 Rockville Pike, North Bethesda, MD 20852.
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For more on the artist, please visit emilyhoxworthart.com.
The gym is a place where everyday antics—sexuality, competitiveness (within and between the sexes), ego, and primal behaviors—are amplified in a stage-like environment where there is a hyper-awareness of bodies in a public space. Engaging the politics of looking through both male and female gazes, we sneak glimpses of others in mirrors and through makeshift windows in gym equipment.
Instead of idealizing the body, I’m interested in exemplifying its strangeness, as well as the peculiarity of certain gym exercises and the awkward, compromising, sometimes sexual positions they put people in.
Most people have entered a gym at least once in their lives, or have goals to promote their own health and live longer, happier lives. Telling gym stories through serious yet comical visual narratives, I hope to bring up conversation about gender issues, body politics and trends, competition, and the propaganda of progress in other spheres of our lives.
-Caitlin Albritton, 2017
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For more information on the artist, please visit http://www.caitlinalbritton.com.