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本篇paper代写- Eileen Quinlan and Walead Beshty讨论了艾琳·昆兰和瓦希德·贝西蒂。艾琳·昆兰和瓦希德·贝西对摄影的诠释既相似又独特，俩人常常因其独特的造型和现代主义绘画范式，常常被贴上抽象和现代主义的标签。然而，昆兰和贝西蒂都不同意这种标签，因为他们更关心的是如何通过各种材料和创作手段来呈现图像的可视化。昆兰能够通过拍摄泡沫、镜子等常见材料的结构来创建多维图像。而贝西蒂的照片纯粹通过一套特定的预先设定的规则，在暗室里将彩色纸暴露在光线下。本篇paper代写由51due代写平台整理，供大家参考阅读。

The conversation between Eileen Quinlan and Walead Beshty gives a fair amount of insight into how these artists think and process imagery. Their interpretations are both similar yet unique when it comes to photography. Quinlan and Beshty's works are often labeled as abstract and modernistic due to their unique look and the modernist painting paradigm. However, both Quinlan and Beshty disagrees with this labeling as they are more concerned with presenting a visualization of how images can be displayed through various materials and means of creation. Quinlan is able to create multi-dimensional images through photographing constructions of foam, mirrors and other common materials. On the other hand, Beshty's images are purely a game of chance through a particular set of predetermined rules by exposing multicolored paper to light while in the darkroom. Quinlan and Beshty are also influenced by the conepts and ideals of Lazlo Moholy-Nagy; Moholy-Nagy has always been remembered as someone who advocated for the integration of technology and industry into the arts. In other words, he was an extremely innovative individual when it came to art and often went against the norm to create something entirely different. The same can be said for Beshty and Quinlan; in their conversation, they touch on the subject of creating art through multiple means, techniques and materials. Beshty's photo-grams are a clear example of the complex process in which his images are created; the final work is the result of multiple factors such as tension between papers, confines of the darkroom, the architectural infrastructure and environment around him. Ultimately all of these factors added together will create a unique image. It's also important to note that each image created will have minute differences which might be undetectable to the naked eye, which makes each image unique.

One of the ideas that Eileen discussed was her view towards uniqueness and scarcity. It's very interesting how she interprets scarcity and value of her images. As someone who enjoys going against the current, Eileen expresses her belief that images can be both created in mass as well as generate the feeling of exclusivity. One of the examples is her work The Full Edition of Smoke and Mirrors this is basically a set of images which from afar look to be all the same but upon closer look the minute details are different. In addition, this image consists of 6 individual canvases with the same image and is sold as one piece. In this sense, not only is the image reproducible but it's also scarce as the each of the 6 images are not individually sold. Another interesting discussion the two artists touched on, was the idea of an image displaying more than just the image itself. In the words of Quinlan “encourage people to focus less on the image and more on the distribution itself, the construct of editioning”. This is a pretty important notion as basically Quinlan wants her images to not focus on simply being eye-candy but to give the audience a first hand look and experience on how imagery shifts depending on material and the process in which a single image is achieved.

The viewpoints and insights shared between Quinlan and Eileen are most definitely respectable and agreeable. However, I do disagree with their idea of not being classified as abstract. Looking at how they create their artwork and taking into account the definition of abstract, their images most definitely lean more towards abstract in nature. The images created by the two artists lack a concrete form to be labeled as non-abstract. In addition, many of the images are a collage of shapes and arbitrary lines or patterns created by the use of techniques specific to the ideals of 'modernistic artwork'. Of course that is not say that because their images are abstract, but simply to state that their images do indeed belong in the family of abstract art.

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