Emergence (In ‘The In-Between: Journal of Digital Imaging Artists)
Landscape Sublime(In ‘The In-Between: Journal of Digital Imaging Artists)
Emergence is the debut book-work by Brooklyn artist Mark Dorf, as well as the introductory volume of In the In-Between Editions, a limited edition book series that features artist portfolios and accompanying essays.
Mark Dorf’s series Emergence utilizes photography and digital media to scrutinize ideas of landscape, sublimity, and scientific inquiry within the context of our data-driven information age. In this work, Dorf adopts the classical genre of landscape as a point of departure to analyze how new media technologies have significantly altered the ways in which we understand and think about the natural world.
“Our explanations tend towards the smooth and the orderly, a reflection of Plato’s conception of the world as the product of divine craftsman. InEmergence, Dorf implicates the “larger puzzle,” the development from the fragile, social foundations of natural science, where objectivity is but a fragile myth of authority, into its application the throes of ubiquitous technology.”
-Excerpt from The Data Fields of Mark Dorf, by Mike Pepi
Landscape Sublime is the debut book-work by Anastasia Samoylova, and the second volume of In the In-Between Editions, a limited edition book series that pairs exceptional photographic projects with essays by emerging arts writers. Vol. I, Emergence by Mark Dorf, was published in October 2015.
Anastasia Samoylova (b.1984) was born and raised in Moscow, received an MA in interior design from Russian State University, and an MFA from Bradley University. By utilizing tools and strategies related to digital media and commercial photography, her work interrogates notions of environmentalism, consumerism and the picturesque. Samoylova’s work participates in the landscape photography tradition while scrutinizing the consumable products it generates.
“The sublime is colonial in its central conflict about the appropriation of beauty and the conquering of nature, but also in its orientation toward the mother market. The picturesque lubricates consumerism, disseminated in the modern period on paper media, flat and shiny, and in plastics of mass appeal. The formally elaborate installations in Landscape Sublime are a material reminder that photographic saturation means contending with all that the image takes and leaves for dead.”
From Ecoterminal Aesthetics: 7 Premises, by Stephanie Amon