In-site: A New Realism - WWU Art Studio 2020 Catalog

In-site: A New Realism is the 2020 Western Washington University Art Studio BFA Exhibition Catalog. It features the work of 10 artists, their artist statements, and responses by art historians.https://cedar.wwu.edu/bfa_catalogs/1001/thumbnail.jp

Gray Matter Changes in Parkinson's and Alzheimer's Disease and Relation to Cognition

Purpose of Review We summarize structural (s)MRI findings of gray matter (GM) atrophy related to cognitive impairment in Alzheimer's disease (AD) and Parkinson's disease (PD) in light of new analytical approaches and recent longitudinal studies results. Recent Findings The hippocampus-to-cortex ratio seems to be the best sMRI biomarker to discriminate between various AD subtypes, following the spatial distribution of tau pathology, and predict rate of cognitive decline. PD is clinically far more variable than AD, with heterogeneous underlying brain pathology. Novel multivariate approaches have been used to describe patterns of early subcortical and cortical changes that relate to more malignant courses of PD. New emerging analytical approaches that combine structural MRI data with clinical and other biomarker outcomes hold promise for detecting specific GM changes in the early stages of PD and preclinical AD that may predict mild cognitive impairment and dementia conversion

Display Cases, Western Washington University Art Department, Bellingham, WA

Display Cases: Title: Display Cases, Western Washington University Art Department, Bellingham, WA Medium: Photographic Construction Scale: 36 in x 137 in Modernism attempted to portray a powerful utopia through rigid ideals that dictated our culture. These ideals can be represented in the architecture we inhabit and the institutions we gain knowledge from, creating an illusion that the modern way is the only way. Photography, in the digital age, blurs the categorizations previously put in place in the modern era and assumes a post-modernist role of a democratic technology by returning to its origins as a form of documentation. By creating images using digital technologies that highlight the physical features of Western’s Art Department, I recontextualize the previous model of distributing knowledge through categorized institutions in terms aligned with our current landscape. Through appropriating modernism’s use of the grid, the images function on two planes: the physical and the abstract, allowing for a dichotomy between readings that look outward to the world while also reflecting back into the frame. The physical nature of the images as uniform units of lockers and display cases represents modernity’s goal in enforcing power and homogeneity, while the abstract allows for an interpretation that extends beyond the image. A reading on how these rigid ideals have dictated the spread of knowledge through formulaic institutions and what may be their future in our current time that embraces difference and fluidity. The result is an image that creates a moment of frustration by being unable to be grasped as a whole and being seen as the truth of the past, but simultaneously allowing for calmness in the reinterpretation of the past to fit the whole present.https://cedar.wwu.edu/bfa_images_2020/1016/thumbnail.jp

Lockers, Western Washington University Art Department, Bellingham, WA

Lockers: Title: Lockers, Western Washington University Art Department, Bellingham, WA Medium: Photographic Construction Scale: 36 in x 105 in Modernism attempted to portray a powerful utopia through rigid ideals that dictated our culture. These ideals can be represented in the architecture we inhabit and the institutions we gain knowledge from, creating an illusion that the modern way is the only way. Photography, in the digital age, blurs the categorizations previously put in place in the modern era and assumes a post-modernist role of a democratic technology by returning to its origins as a form of documentation. By creating images using digital technologies that highlight the physical features of Western’s Art Department, I recontextualize the previous model of distributing knowledge through categorized institutions in terms aligned with our current landscape. Through appropriating modernism’s use of the grid, the images function on two planes: the physical and the abstract, allowing for a dichotomy between readings that look outward to the world while also reflecting back into the frame. The physical nature of the images as uniform units of lockers and display cases represents modernity’s goal in enforcing power and homogeneity, while the abstract allows for an interpretation that extends beyond the image. A reading on how these rigid ideals have dictated the spread of knowledge through formulaic institutions and what may be their future in our current time that embraces difference and fluidity. The result is an image that creates a moment of frustration by being unable to be grasped as a whole and being seen as the truth of the past, but simultaneously allowing for calmness in the reinterpretation of the past to fit the whole present.https://cedar.wwu.edu/bfa_images_2020/1017/thumbnail.jp

Darkroom Enlargers, Western Washington University Art Department, Bellingham, WA

Darkroom Enlargers: Title: Darkroom Enlargers, Western Washington University Art Department, Bellingham, WA Medium: Photographic Construction Scale: 36 in x 92.5 in Modernism attempted to portray a powerful utopia through rigid ideals that dictated our culture. These ideals can be represented in the architecture we inhabit and the institutions we gain knowledge from, creating an illusion that the modern way is the only way. Photography, in the digital age, blurs the categorizations previously put in place in the modern era and assumes a post-modernist role of a democratic technology by returning to its origins as a form of documentation. By creating images using digital technologies that highlight the physical features of Western’s Art Department, I recontextualize the previous model of distributing knowledge through categorized institutions in terms aligned with our current landscape. Through appropriating modernism’s use of the grid, the images function on two planes: the physical and the abstract, allowing for a dichotomy between readings that look outward to the world while also reflecting back into the frame. The physical nature of the images as uniform units of lockers and display cases represents modernity’s goal in enforcing power and homogeneity, while the abstract allows for an interpretation that extends beyond the image. A reading on how these rigid ideals have dictated the spread of knowledge through formulaic institutions and what may be their future in our current time that embraces difference and fluidity. The result is an image that creates a moment of frustration by being unable to be grasped as a whole and being seen as the truth of the past, but simultaneously allowing for calmness in the reinterpretation of the past to fit the whole present.https://cedar.wwu.edu/bfa_images_2020/1018/thumbnail.jp