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Perry Burns, Jali
Jali is a square painting in which a photograph of a group of Islamic women is nearly indiscernible due to the application of a black pixilated pattern such as one that might be found in a QR Code, the title refers to a term for a perforated stone or latticed screen common in Islamic architecture. The pattern obstructs an image of Pakistani women wearing burqas and thus reveals multiple layers of separation between the viewer (us) and the subjects of the painting (them).
Burns work will be on exhibition at the Sara Nightingale Gallery starting June 30th, 2012. For more information, contact Sara Nightingale, 631-793-2256 or connect with Perry Burns via Facebook. http://www.facebook.com/perryburnsart

Perry Burns, Jali

Jali is a square painting in which a photograph of a group of Islamic women is nearly indiscernible due to the application of a black pixilated pattern such as one that might be found in a QR Code, the title refers to a term for a perforated stone or latticed screen common in Islamic architecture. The pattern obstructs an image of Pakistani women wearing burqas and thus reveals multiple layers of separation between the viewer (us) and the subjects of the painting (them).

Burns work will be on exhibition at the Sara Nightingale Gallery starting June 30th, 2012. For more information, contact Sara Nightingale, 631-793-2256 or connect with Perry Burns via Facebook. http://www.facebook.com/perryburnsart
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Do you see what I see? 
The politics of seeing……
Politician II (part of the Heads of State series)
Perry Burns Art, Sara Nightingale Gallery, Water Mill, NY. June 30th-August 3rd. 
Opening reception Saturday June 30th from 6:00-8:00 pm
688 Montauk Hway
Watermill, N.Y. 11976
#631-793-2256

Do you see what I see? 

The politics of seeing……

Politician II (part of the Heads of State series)

Perry Burns Art, Sara Nightingale Gallery, Water Mill, NY. June 30th-August 3rd. 

Opening reception Saturday June 30th from 6:00-8:00 pm

688 Montauk Hway
Watermill, N.Y. 11976
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My work is most fundamentally about the politics of seeing, and how the act of seeing affects, shapes, and informs our experience of the world both personally and publicly. The act of seeing is at once personal, public and political, and profoundly so at every level. —-Perry Burns, Artist. www.perryburns.net

Please join Perry Burns Art in an opening reception Saturday June 30th, 2012 from 6:00 to 8:00 pm at the Sara Nightingale Gallery.
688 Montauk Hway
Watermill, N.Y. 11976
#631-793-2256
www.saranightingale.com
www.perryburns.net

Show runs June 30th-Aug. 3rd

@PerryBurns
www.facebook.com/perryburnsart

My work is most fundamentally about the politics of seeing, and how the act of seeing affects, shapes, and informs our experience of the world both personally and publicly. The act of seeing is at once personal, public and political, and profoundly so at every level. —-Perry Burns, Artist. www.perryburns.net


Please join Perry Burns Art in an opening reception Saturday June 30th, 2012 from 6:00 to 8:00 pm at the Sara Nightingale Gallery.

688 Montauk Hway
Watermill, N.Y. 11976

Show runs June 30th-Aug. 3rd

@PerryBurns

Link

A special thank you to NY Times writer Constance Rosenblum and NYC resident Nancy Sheppard for including me in this article. Nancy, thank you for supporting my art!

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The 99 Percent aren’t limited to one city or one state. Perhaps the state is a place within. Their heads, their hearts, their minds.
Sign, sign, everywhere a sign,Blockin’ out the scenery, breakin’ my mind.Do this, don’t do that, can’t you read the sign?
The sign says…..occupy.

The 99 Percent aren’t limited to one city or one state. Perhaps the state is a place within. Their heads, their hearts, their minds.

Sign, sign, everywhere a sign,
Blockin’ out the scenery, breakin’ my mind.
Do this, don’t do that, can’t you read the sign?

The sign says…..occupy.

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Like a video game on pause, Perry Burns’s Over Kandahar, named  after the Afghan city, captures a computerized battle. Helicopters fly  directly toward the viewer, and from the smoke in the left-hand side,  it’s clear that there is destruction ahead.  Below the bright blue skies  surrounding these bombers is a series of colored and grayscale streaks  followed by op-art bulls-eyes. Burns challenges the complacency of  playing a video game with the reality of the death and destruction of  war.

Like a video game on pause, Perry Burns’s Over Kandahar, named after the Afghan city, captures a computerized battle. Helicopters fly directly toward the viewer, and from the smoke in the left-hand side, it’s clear that there is destruction ahead. Below the bright blue skies surrounding these bombers is a series of colored and grayscale streaks followed by op-art bulls-eyes. Burns challenges the complacency of playing a video game with the reality of the death and destruction of war.

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Perry Burns Art is pleased to announce the “Karma Icons Show” taking  place at Arc Fine Art, LLC October 21st through November 23, 2011.
OPENING RECEPTION WILL BE Saturday October 29th, 2011 from 6pm-8:00 pm. 
For more information, please visit http://arcfineartllc.com/ or contact Adrienne Ruger Conzelman, tel. 203-895-9595. Email: arc@arcfineartllc.com

Perry Burns Art is pleased to announce the “Karma Icons Show” taking place at Arc Fine Art, LLC October 21st through November 23, 2011.

OPENING RECEPTION WILL BE Saturday October 29th, 2011 from 6pm-8:00 pm.

For more information, please visit http://arcfineartllc.com/ or contact Adrienne Ruger Conzelman, tel. 203-895-9595. Email: arc@arcfineartllc.com

Link
Photoset

While roaming the country and observing different places, I had the opportunity to capture the present version of America’s past. What do I mean by that? Here’s an example from Selma, AL.

Road Trip - Selma, Alabama - In 1965 became the heart of the civil rights movement after a small group of local citizens organized 600 people to march to Montgomery in protest of the current voting practices in the state. At the time the board of elections would open only 2 days a month, arrive late and take long lunch breaks in order to discourage blacks from registering to vote. Those 600 people were attacked with dogs, tear gas, beaten and driven back to Selma. Two weeks later Martin Luther King joined them and completed the march to Montgomery, by which time the number had grown to 25,000.

Each year now, there is an annual bridge crossing Jubilee which takes place the first weekend in March at the foot of the Edmund Pettus Bridge and is attended by 30,000 people!  It is a street festival of music, art and history.  In addition, the Jubilee is the celebration and commemoration of the right to vote and March from Selma to Montgomery. It also serves as a reunion for many of the Voting and Civil Rights participants.

The politics of seeing….bridging the gap.