Stanley Smith
Art and Artifice: Constructing Photographs
  • Lauren Marsolier
    Transition to a Digital World
  • Josef Astor
    On Assignment: Agenda vs Serendipity
  • Angela Bacon-Kidwell
    “Why am I here and where am I going?” An exploration of self-awareness,...
  • Doug Rickard
    A New American Picture
  • Nadine Boughton
    Adventures in Digital Collage
  • Julie Blackmon
    The Power of Now and Other Tales From Home
  • Richard Ehrlich
    Ansel Adams Would Have Loved Photoshop
  • Connie Imboden
  • Todd Baxter
    Anatomy of Process in the Digital Age
  • Douglas Prince
    Evolving Vision: The Testimony of A Living Photo Fossil
  • Andrea Galluzzo
    Beyond The Photograph
  • Stanley Smith
    Art and Artifice: Constructing Photographs
  • Ted Grudowski, Mike Pucher, Christopher Schneberger
    Three Views on 3D
  • Jodi Cobb
    Inside Closed Worlds
  • Claudia Kunin
    Ghosts, Memories and Mirrors
  • Michael B. Platt with Carol A. Beane
  • Joel Grimes
    The Creative Revolution
  • Greg Downing and Eric Hanson
    Post-Digital: Expanding the Boundaries of Photography
  • Brooke Shaden
    Shocking Your Mind in the Digital Age
  • Jean-François Rauzier
Stanley Smith
Art and Artifice: Constructing Photographs
Thursday, February 23, 2012 6:30-8:00pm

Stanley Smith has exhibited his work widely in galleries and museums all over the United States, most recently in the 2008 exhibition Smoke and Mirrors at the Seattle Art Museum and in 2009 at the University Art Gallery at Cal Poly in San Luis Obispo.  He currently is Head of Collection Information and Access at the J. Paul Getty Museum in Los Angeles. Prior to coming to the Getty Mr. Smith managed the digital photo studio for Seattle’s Experience Music Project where he was instrumental managing the digitization of EMP’s extensive collection.

Show more...

These days, Photoshop has become a verb and every photograph can be suspected of stretching the truth.  In his lecture, Smith will discuss this notion within the context of traditional photography but also in the context of his own transformation from taking photographs to making photographs.  Smith’s digital “constructions” bear little resemblance to reality, but still embrace a photograph’s unique ability to record it.  His reluctance to focus on a “decisive moment” is accommodated by a working method that is more aligned with less immediate forms of art such as painting or sculpture.

Show less...
Show less...

Add to: