Welcome to the MICA Photography Department
Additionally, Gallery 788 highlights a rotating lineup of monthly shows, musical performances, educational series, and presentations, building a welcoming environment for a diverse and dynamic audience.
Aint-Bad Magazine is a quarterly publication that promotes new photographic art. Founded in Savannah, Georgia by five emerging photographers, the magazine seeks fresh photography and text in support of a progressive community of artists from around the world for our printed publication, web-based forum, and periodic exhibitions and events. Photographic images remain at the core of how we make sense of culture, politics, and history, and Aint-Bad Magazine reveals an ever-more urgent, critical conversation about the human condition by way of provocative imagery.
The American South is both a reality and a fiction, a conceptual and a cultural entity. As such, it has been famously challenged and perpetuated through photography in the form of singular iconic images in the work of photographers like William Eggleston and in the form of the photo-essay, bridging journalism and fine art as in the work of Walker Evans and James Agee.
Issue No. 8 of Aint-Bad, a magazine founded in Savannah, Georgia, is comprised of photographs and essays or photo-essays which engage in contemporary conceptions of The American South and how it is defined and being re-defined; how it effects the rest of the U.S.; the socio-cultural impact of the region as a new reality and a new fiction.
Target Gallery explores the future of photography with the exhibition Post-Photography: Beyond the Print. This exhibition investigates alternative applications of photography and challenging new contexts for creating images. Submissions are open to all-media artwork that involves an innovative approach to the photographic medium, including, but not limited to, photo-manipulation, stop-motion video, mixed media collage, artist books, photographic sculpture, alternative process photography and GIF art.
“When self-subscribed “cartography enthusiast” and “crypto-anarchist,” Rob Brulinski, moved into a Baltimore factory once owned by the inventor of the bottle cap, he was ready to be freed from the daily grind of office life at an engineering firm. Brulinski — who’s primarily a photographer, travel writer, and online editor for Blood of the Young these days, and who documents American culture with a discerning eye — turned to creative partner and photographer Alex Wein, who was in search of a thesis project in his last year at the Maryland Institute College of Art. They planned to start a photo studio together at the defunct factory-turned-artist-residence, The CopyCat, but what ensued was a photo series that allowed them to see deeper into the lives of their artist neighbors.”