Creative Strategy, Design, Communications, Pedagogy | Curator, Arts Consultant, Poet
[12. How important is it for reviewees to have their idea completely fleshed out regarding their project?]
BM: I don’t find it necessarily important to have a fully determined concept or idea to have a productive or informative review; In fact, it can be limiting to the review process. On more than one occasion I’ve had reviewees that worked with me as a reviewer because they needed help with undoing an overly determined concept or way of thinking about their practice or particular body of work that had them feeling stagnant or uninspired. The purpose for having a review is the opportunity to build on where you currently are at any given point of your process or practice.
[14. How important is the technical quality of physical objects (prints?) being presented at the review session? How do you feel about work being presented on a tablet or computer?]
BM: This idea continues to be a challenge for reviewees when thinking about the final object, how to present a concept as a tested process/material, and when they are faced with having to value a work or what they do. I think it’s a challenge that reviewees should welcome, and as a reviewer I like to reinterpret the idea and ask the reviewee how important the object/concept/intention is to them now, in its current state – its material, exchangeability, value – to your overall understanding of your relationship to it, and then – how you imagine its relationship to others. If you work with prints or installations in physical spaces, having physical works present during the review can be most helpful. Works being presented digitally for review are fully acceptable as well.
Published Work, Contributor_
Selections from Both Sides of The Table
Both Sides of The Table: Photography Portfolio Reviews Do's and Don'ts | Published by RIT Press, 2024
Integrated by the subject of witness as intimacy, and Women's body as communion, together, works by Tee A. Corinne and Carmen Winant fuse a radical visual narrative to collective bearing and the sensorial. Both works are dedicated to a happening or endangered visibility of the body–outside and within its singularity–reliving and outliving constructs of memory, of its own witness and nativity.
*A women's body subject to its bearing(s)–of pleasure, life/birth, violence, the sacred posture of memory when it is shared and held closely.
*Implying our seeing as safety;
even when subjects/objects of the work were not.
*When is the act of access/seeing/publicizing safe, as a shared beholding?
On the Subject of: Tee A. Corinne and Carmen Winant:
Significant to its production, Tomka poses a type of new architecture with the series, that reconsiders traditional constructs of analogue printmaking and image form. Having materialized in Tomka’s single suite apartment–assembled from a process solely subject to elements of his living space–he invites a view, in consideration of intimacy, and the rediscovery of self in relation to our private and shared spaces.