Photography Restaged

Location: Photoville Pavilion

Date: Saturday September 19th

Time: 1:00PM-2:00PM

Featuring: Saul Ostrow (Moderator), Rose DeSiano, Lori Nix, and Lorie Novak

Artist Lori Nix, Lorie Novak and Rose DeSiano talk with critic and curator Saul Ostrow about contemporary photographers practices of “Re-Staging”. By employing handmade miniatures, reenacted theatrics and, elaborately staged room installations these three artists draw attention to the uncanny state of the real world.

Since 1999, Lorie Novak has been analyzing New York Times images appearing “above the fold”, Novak has noticed history repeating itself in the form of recurring image tropes. Carefully, she physically sorts, reorganizes and re-stages these newspapers in front of the lens. By re-photographing them in their new state, she questions how our world-views are heavily mediated through a very limited range of reoccurring photographic messages.

Hyper aware of these exact same tropes, Rose photographs 20th-century war reenactments carefully considering the compositions and lens optics originally implemented during the historic battles. Back in her studio, DeSiano splices and reorganizes them into realistic singular compositions as a nod to these motifs and an examination of how we visually represent our own histories.

As a child in the rural Midwest Lori Nix was witness to countless natural disasters. Now living in New York, Nix carefully observes the ever-changing urbanscape. Pulling from both her real world observations and photographic tropes, she constructs intricate table top environments in front of the lens, which draw attention to the absurdities of life.

While this panel does not require advance registration, seating in the Photoville Pavilion is first come first served so we recommend you arrive promptly.

Related Exhibition:
On Restaging…

ostrow- portrait Saul Ostrow is an art critic, curator and self-described “opinionated bastard” originally from New York.In 2012 he founded Critical Practices Inc. a non-profit organization committed to facilitating critical discourse. His writings have been published in numerous art magazines, journals, catalogs, and books in the U.S. and Europe. He is the Art Editor at Large for BOMB Magazine and, was the editor of the book series Critical Voices in Art, Theory and Culture published by Routledge and the journal Lusitania. Ostrow has curated over 80 art exhibitions in the US and abroad since 1987. These include such exhibitions as Working Digitally: no Websites Please at The Center For Visual Arts and Culture, University of Connecticut and Modeling the Photographic: The Ends of Photography for the McDonough Museum of Art located in Youngstown, Ohio. As an art instructor Ostrow has taught at The School of Visual Arts, Pratt Institute, served as the Director of the Center of Visual Art and Culture at The University of Connecticut and as acting head of the MFA studio program at New York University. He was the chair of Visual Arts and Technologies at The Cleveland Institute of Art.

Bio_DeSiano_WEB Rose DeSiano is a photographer who uses alternative processes and the visual allure of the digitally reconstructed photograph. Her work is concerned with the photographic collective consciousness and the long, tangled history of the photograph as a record keeper and myth maker. Most recently, DeSiano has been photographing the visual pageantry of war re-enactments in the United States. In 2015, she received a Pennsylvania (PASSHE) grant that will allow her to continue this body of work internationally. She has shown extensively in the United States in exhibitions organized by influential contemporary curators such as Nathan Trotman of Guggenheim Museum and Lilly Wei of Art in America. Internationally, her work has been exhibited in Spain (International Biennial of Photography), China (Orange Changsha Photo Festival) and the Netherlands. DeSiano’s work has appeared in publications including The New Photo Review and UK’s Aesthetica magazine. In 2014, she was a finalist for the Julia Margaret Cameron Award, an international award for women in photography. She received her MFA from Art Center, Los Angeles, and her BFA from NYU-Tisch School of the Arts. When not crawling in the mud of “staged trenches”, she lives in Brooklyn and is Professor of Photography at Kutztown University.

lorinix (1) Lori Nix is fascinated by the intersection of the natural and manmade worlds that surrounds her. They react to and inform each other in meaningful ways that we still can’t fully comprehend. Her work examines this coexistence and its potential future in the face of a rapidly changing environment. Through the construction of dioramas Lori explore nature’s strength and perseverance in man’s absence. Painstakingly created in miniature, these constructed scenes raise awareness and inspired reflection on our everyday actions and means of survival. Lori is an artist based in Brooklyn, New York. Her photographs have been exhibited nationally and internationally at the Museum of Arts and Design, the Toledo Museum of Art, the Museum Schloss Moyland in Germany, ClampArt Gallery in New York, the George Eastman House and other venues. Lori is a 2014 John S. Guggenheim Fellow and a 2010 and 2004 NYFA Artist Grant recipient and a current Smack Mellon Studio Artists in residence.

novak Lorie Novak is an artist and Professor of Photography & Imaging at Tisch School of the Arts, New York University and Associate Faculty at The Hemispheric Institute of Performance and Politics. She has been in numerous exhibitions, and is the recipient of grants and fellowships including residencies at the Rockefeller Foundation’s Bellagio Center (Italy), Bogliasco Foundation, (Italy); ArtSway (England), and Mac Dowell Colony (US). Her photographs are in numerous permanent collections including the Art Institute of Chicago; Bibliotheque Nationale, Paris; Center for Creative Photography, Tucson, AZ; The Jewish Museum, and Museum of Modern Art, NY. HerRandom Interference installation was exhibited in the inaugural Photoville in 2012. Novak uses various technologies of representation to explore issues of memory and transmission, shifting cultural meanings of photographs, and the relationship between the intimate and the public. Her Web project, 1996-present, exploring how family photographs shape our memory, was one of the earliest interactive storytelling sites. She is the founder and director of Future Imagemakers (www., a free participatory photography project for New York City area high school students taught by NYU students and faculty.