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Artist Exhibitions:
Solo Exhibitions
2001
Greater Flint Arts Council,
Flint, MI
Weitman Gallery, Washington
University, St. Louis, MO
2000
University Center Art Gallery,
LSU-Shreveport, Shreveport, LA
Robert May Gallery, University
of Kentucky, Lexington, KY
1999
Artist Residents of Chicago
Gallery, Chicago, IL
"Pictures from the Attic",
DeWaters Gallery, Mott
Community College...
Further Information
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Artist Galleries:
Photoeye - Showcase galleries,
Santa Fe, NM
http://www.photoeye.com/darrylb
aird...
Further Information
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Artist Reviews:
Coming Soon!
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Collections:
Coming Soon!
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Commissions:
Coming Soon!
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Artist Statement for Darryl Baird
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I’m interested in how our visual world has been constructed by the invention and practice of photography. Primarily, I’m interested in how the photograph became associated with notions of truth or evidence in our society, but I’m also intrigued by the creation of an “image-consciousness” that fuels a consumer economy and creates photographic "standards."
Using our eyes we receive the visual world through the process of human sight -- an organic process of recording sensations. The images arrive in momentary glimpses, transmitted and recorded by impulses of light on our eye’s retinal surface and then transmitted as electronic stimuli to our brain. Our brain continues to process this stream of imagery, allowing only a fraction of a second for identification and assimilation of each image into meaningful information. To continue to process images we receive, we must rely on memory, or rather our ability to hold an image as a visual thought. In a corresponding fashion, photographs are records of (usually) short durations of light and chemically retained on sensitized surfaces, yet they are durable and available for prolonged scrutiny -- tiny details and spatial context are infinitely reviewable. What could be a better system for better understanding, perpetuating or extending our brief view of the real world?
Despite the simplicity of the above comparison, the actual differences between sight and photography is anything but simple. Instead of greatly expanding our ability to see the world, we struggle to grasp the barrage of imagery that photography permits and fosters in our modern culture. We are exposed to more photographic images than previous periods in history. Our visual world is saturated by images designed to grab our attention amongst a dizzying display of competing visuals. We end up with overtly graphic and stereotypical images instead of achieving a deeper understanding of the world. What happened?
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