Break Boundary

Places Real and Imagined

Jenee Mateer, Francine Weiss

Inspired by the paintings of Mark Rothko, Jenee Mateer rendered oceans, lakes, and rivers into unique photographic "waterscapes” that reconceptualize our relationship to the environment.
Date Published :
December 2018
Publisher :
George F Thompson Publishing
Language:
English
Illustration :
34 color photographs by the author
Format Available    QuantityPrice
Hardback
ISBN : 9781938086595
Pages : 88
Dimensions : 11.875 X 11.5 inches
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Overview
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“Break Boundary” refers to the transformative point at which any system suddenly and irrevocably changes from its original state into something new. Coined by Kenneth E. Boulding in 1963, the term serves as the underlying metaphor for the photographs of Jenee Mateer. In her original works of art, the horizon that divides land, water, and sky shifts and multiplies producing bands of varied colors and luminosity that transform the natural landscape into imaginative “waterscapes” and challenge our understanding of photography. Reminiscent of the abstract paintings of Mark Rothko and the photographic seascapes of Hiroshi Sugimoto and New Mexican landscapes of Edward Weston, Mateer’s images are layered photographs of the natural world assembled to suggest imaginary places where light, water, land and sky coalesce into rhythmic patterns of shimmering opalescence or luscious color.

Break Boundary features 34 of Mateer’s waterscapes and also includes her opening essay about the work and two poems by the artist, "The World Is Water" and "The Sky Is Lemonlime," that separate the first series of images from the second series and offer a deeper look into the artist’s thoughts about the work. In the concluding essay by Francine Weiss, curator of the Newport Art Museum, Weiss writes: “From surface to self, Jenee Mateer takes the viewer on a journey from one psychological and spiritual state to another. In Mateer’s “waterscapes,” the conventional or anticipated boundaries between land, water, and sky begin to vanish; horizons multiply and join; and the break boundary emerges.

About The Author
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Jenee Mateer is a photographer, video artist, and Associate Professor of Photo Imaging and Chair of the Department of Art + Design, Art History, Art Education at Towson University. Her work has been exhibited widely, including at the ArtHamptons Art Fair, Biggs Museum of American Art, Delaware Center for Contemporary Art, Jordan Faye Contemporary in Baltimore, Los Angeles Center for Digital Arts, Masur Museum of Art, Newport Art Museum, Rhode Island Foundation, San Francisco Art Market, Scope International Art Fair in Miami, and Texas Contemporary Art Fair in Houston. She is the author of The Animals (2012), her essays and photographs have appeared in This Is Visual Poetry (2011), the 1st International Photography Annual (2012), The Photo Review (2012), Masters of Photography (2012), Philosophy of Photography, Vol. 4 (2013), and Alphabet (2016), and her photographs are in numerous private collections, including China Trust Bank. She received an Award of Merit in 2012 from the Maryland Federation of Arts Gallery, a Faculty Development and Research grant from Towson University in 2014, and honorable mentions for work in the Santa Fe Workshops contest, Water, in 2014, the New York Center for Photographic Art’s MACRO in 2016, and A. Smith Gallery’s exhibit, Alphabet, also in 2016.

Francine Weiss is Senior Curator at the Newport Art Museum in Rhode Island who previously served as Acting Assistant Curator of the National Gallery of Art in Washington, D.C. (2010–2011), Curator of the Photographic Resource Center in Boston (2012–2014), and editor of Loupe Journal (2012–2014). She has developed numerous solo exhibitions, including "Larry Fink: Somewhere There's Music," "Henry Horenstein: Honky Tonk," "Jason Evans: Boys of Summer . . . ," "New Light through Old Windows: Lindsey Beal & Ron Cowie," "Peter Hussey: Stops Along the Way," and "Caleb Cole: Forget Me Not."

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