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DIALOGIC: 21st C Family

Priya Kambli (I), Diane Durant (I), Emily Hanako Momohara (I), Beth Dow (I)

Friday, March 06 - 9:00AM to 10:45AM
Galleria III&IV

Buttons for Eyes, Priya Kambli
Buttons for Eyes is Kambli's 20/20 vision response to her mother's playful question, "Do you have eyes or buttons for eyes?". It is a question laced with parental fear. Kambli's mothers concern was not only about Kamblis inability to see some trivial object right in front of her, but their collective inability to see well enough to navigate in the world. And with the benefit of hindsight those worries have political dimensions that may be read as implicit in the work.

Stories, 1986-88, Diane Durant
"Stories, 1986-88" puts a new spin on old histories as my 10-year-old daughter stands in for a youthful me--the one I remember and the one I wasn't quite allowed to be. Deadpan portraits in generic landscapes pair with short narrative texts in my own handwriting to create juxtapositions, dichotomies, contrarieties, and the occasional nostalgia, bringing the past into the present as we relive and rewrite my childhood stories while also calling into question the role of snapshots, family records, and personal truths.

Fruits of Labor: A Legacy of Immigration and Agriculture, Emily Hanako Momohara
Emily Hanako Momohara will discuss her artworks in "Fruits of Labor," designed to connect the golden years of U.S. immigration with today's immigrants. Momohara's imagery of agriculture and migration explores her family's story in Hawaiian pineapple fields and migrating workers generally. Momohara smartly manipulates historic and contemporary mediums such as stereographs and video installations to blend the stories of yesterday with today. As America is a country of immigrants, her presentation will shed light on the human aspects of immigrant labor from 1920 to 2020.

Prediction Error: Making Sense of What We Think We See, Beth Dow
All photographs misrepresent the truth no matter how realistic they may appear. In the same way that a camera does not document complete reality, we do not see reality - only a semblance of it. Our eyes receive data from the outside world, and our brain combines this data with our stored knowledge of past sensory experiences to make predictions about the nature of what we think we see. In Prediction Error I am modeling the unseen processes that occur while we attempt to see. What does this process look like before and after the image?


Beth Dow
Beth Dow
Diane Durant
Diane Durant
Emily Hanako Momohara
Emily Hanako Momohara
Priya Kambli
Priya Kambli

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