Tuesday, November 10, 2009

Gustav Gustafsson







Gustav Gustafsson

Work from 24 Photographs (Mostly).

"Evasive and mysterious, Gustav Gustafsson, is a talented young Swede who does not abide by scholastic philosophy. Maybe this is the key to understanding his work, a photographic investigation which is driven by its significance rather than technique, which ironically bends a certain Scandinavian tradition. His project on “Reduced Visibility” is probably the most striking example of this. Amidst the white perfection his pictures are indirect portrayals which assert themselves not so much for what they are but for what they evoke. By capturing the fog which impairs our vision engulfing the horizons and trace of snow-covered fields, Gustafsson reminds us that the countryside is not an icon, but is in constant change, suggesting that we should look beyond the physical state and appreciate its spiritual and supernatural character." - via Urbanautica

Monday, November 9, 2009

James Welling







James Welling

Work from his oeuvre.

“The various steps involved in the creation of these works are instructive: Welling first arranged and exposed plumbago blossoms on black-and-white sheet-film negatives then printed each one using a different assortment of colored gels. Each work is, then, like the result of a performance in the darkroom, where the admixture of infinitely shaded hues seems to pulse, swell, and bleed around and through the spiky branches—a performance that can be repeated, varied, and completed by each viewer in the act of looking. They are also exuberant displays of analogue technical wizardry that constitute an implicit rebuke to the surfeit of digitally manipulated photography that is less than truthful about its methods and effects.” - Text from The Whitney Biennial via Darius Himes

Sunday, November 8, 2009

John Baldessari






John Baldessari

Work from his new book, Pure Beauty.

"The combination of film, photography and painting has become one of the key elements in Baldessari’s art. Beginning with his early photo-and-text works from the late 1960s, the exhibition includes his extensive use of found film imagery in the combined photographs of the 1980s, the irregular-shaped and over-painted works of the 1990s, as well as video, and concludes with his most recent works to date.

In the 1960s he notably painted statements derived from contemporary art theory and instructional manuals onto canvas. These early major works from Everything Is Purged …1966-68 to Tips for Artists Who Want to Sell 1966-68 will be included in the show. From the 1970s he marries his humorous pursuit of a new visual language to film. I Will Not Make Anymore Boring Art 1971 sees Baldessari record himself on videotape repeatedly writing the lines over and over again in a notebook for the duration of the tape. This period also begins his experimentation with collage using film stills and his own photos to conceive a series of aligned images. In the Blasted Allegories series from 1978, Baldessari explores the language of associated images by assembling a literal dictionary of photographs randomly sampled from commercial television.

The exhibition will examine the increasingly elaborate formal structures which Baldessari introduced into his work in later years and which have become a key component to his art. Abandoning the standard rectangular canvas or photographic format, he has produced a series of works combining numerous images to create various unconventional formats. Bloody Sundae 1987, for instance, forms an inverted T shape on the wall. On top, two men attack a third beside a stack of paintings; on the bottom, a couple lounges on a bed, a breakfast tray between them, all five faces obliterated by Baldessari’s signature circles of colour, increasing the unease." - Tate Modern

Saturday, November 7, 2009

Joan Fontcuberta







Joan Fontcuberta

Work from Landscapes Without Memory.

There is also a great review here.

"Rather than venturing out into nature, Joan Fontcuberta creates plausible, even spectacular landscapes using Terragen, a computer program originally created for military and scientific uses that turns maps into images of three-dimensional terrain. For these three works, Fontcuberta scanned details of three famous photographs by Bill Brandt, Alfred Stieglitz, and Man Ray (in collaboration with Marcel Duchamp) into a computer. Then the Terragen program decoded the data and output it as realistic-looking images of no place on earth–landscapes that are enticing but also creepy and unnerving.

Fontcuberta's artificial landscapes underscore how our orientation to nature is mediated by our experience of previous images. Orogenesis: Man Ray/Duchamp is based on Élevage de poussière (Dust Breeding) (1920), an already mysterious photograph credited to both Man Ray and Duchamp which shows the surface of Duchamp’s enigmatic artwork The Large Glass. In Fontcuberta’s hands, the photo of this artwork’s dust-laden surface becomes a disorienting mass of fog-bound outcroppings that tilt up in the picture plane in a manner that is both threatening and inviting. Fontcuberta taps into our deep desire to experience majestic, unsullied, sublime vistas, while making those idylls fake, vacant, and unreachable." - ICP

Friday, November 6, 2009

Liu Bolin






Liu Bolin

Work from Camouflage.

"Are human beings animals? Chameleon has the unique property of changing hues to match the color of the surroundings for self-protection. Rattlesnake can bury most of the body in sand soil. This can not only protect itself but also have a better access to food. There are also many animals, such as gecko, beetle etc., which have learnt to deal with the environment and the enemy in the longtime fight of life and death. In order to survive, good concealment has become the most critical factor.


Human beings are not animals! Because human beings do not know how to protect themselves.

In the recent three thousand years history of human civilization, basically the two items are written clearly: one, human beings develop in the destruction of their environment; two, the development of human is full of bad exploitation for themselves. The cost of the brilliant human civilization is that human beings almostly forget they are still animals, and forget their own instinct.

Human beings seem to have forgotten that they still need to think how to survive. When mankind is enjoying its development outcomes, its own greed becomes its grave digger. In human society, concealment is definitely not so simple just making oneself safe. The concept of mankind is denied. Saying the existence of human plays a master or proactive role, it would be better to say that as the concept way’s human beings, they are just using their hands to slowly weaken themselves.

The meaning of human is particularly frail under the cloak of economic development. The disappearance in death is the human’s body, but the slowly weakened in economic development is the human’s spirit. Thinking even becomes the meaning of the life. The latter is more terrible than the former. The war in the first half of the last century and the economic development in the second half had weakened human beings to make anything meaningless. Whether directly or indirectly, would or reluctant, human beings, once considered to be Earth dominated, have gradually being carried punishment by the order of nature.

Perhaps the phenomenon of the human’s existence is the elucidative way to the world.

One handred years ago, each Chinese man had a long plait behind his back. At that time, this was normal. If a man had no plait or cut it short, it was a symbol of his innovative ideas. But now, the plait behind the back previously was the the hallmark of artists, recently becomes the patent of the hairdressers in hair salon, all of who would be disparaged by the majority people with short hair. Long hair and plait themselves are meaningless. Their meaning depends on the outside environment. Human beings are born in society, so our thinkings are fixed by traditional culture. Human beings are so miserable that even their thinkings are copied unconsciously to the next generation.
The mental enthrallment is more terrible than the physical disappearance.

Sometimes I feel fortunate that I was not born in the 1950s. The people in this generation experienced everything. They had many common ecperiences: having a deep feeling to Chairman Mao, cultural revolution, unnormal education, never going to college, obtaining iron rice bowl but meeting laid-off wave, cancelling to distribute houses, starting to buy houses, children going to school at their own expense and so on. Can merely the strength of culture and tradition influence the entire generation’s thinking styles.

Now, in the real material world, the world views of different people’s are also different. Each person chooses his/her own way in the process of contacting outside world. I choose to merge myself into the environment. Saying that I am disappeared in the environment, it would be better to say that the environment has licked me up and I can not choose active and passive relationship.

In the environment of emphasizing cultural heritage, concealment is actually no place to hide." - Galerie Bertin

Thursday, November 5, 2009

Jeremy Bailey





Jeremy Bailey

Work from WarMail, Awesome Face, and Transhuman Dance Recital.

Bailey's work is well worth your time to check out, his website has quite a collection. 


“WarMail is a sort of email/war/expression hybrid interface. The premise goes something like this…

In the future with intergalactic war occupying such immense space (and birthrates at record lows) it will be impossible to both administrate and defend our interests across solar systems while also having time to get together socially, this software is the probable solution to this inevitable social/production/military readiness crisis. The program allows a group or individual to type out an email by firing missiles at abstract rotating pyramid clusters hovering above a blue planet (apparently habitable). Each hit also registers a musical note which you can use to compose and playback music(culture is a valuable part of any civilization). Herein the group’s collective voice and choreography control the movements and actions of the spacecraft. The group’s actions are also tracked and aided by a red avatar named “skullBot” visible at center.” - Jeremy Bailey.

Wednesday, November 4, 2009

Ivars Gravlejs





Ivars Gravlejs

Work from My Newspaper

Not much is written about this work, an in many ways, the beauty is in the simplicity.

"For one year I was working as a photo reporter in a daily newspaper “Deník” in Prague. Before sending photographs to the newspaper I manipulated them in Photoshop. Usually I was changing some little, unimportant details. The aim was to make an absurd, nonsense manipulation over the media manipulations." - Ivars Gravlejs

Tuesday, November 3, 2009

Stefan Heyne







Stefan Heyne

Work from The Noise.

Heyne’s work falls into the tradition of out-of-focus German photography that stands in sharp contrast to work from the Dusseldorf school. Heyne’s photographs lack a point of focus, or if I were to assume his intentions, serve to challenge sharpness as the default state of focus. In many ways, I see Heyne’s work to be an examination of sight, fixing an image in the periphery before resolving focus and context. Heyne acknowledges the photograph as record, yet seems to want his images to function as objects rather than records.

In many ways, his work is an exercise in futility, as barely recognizable objects are just that, recognizable. The issue here is not specific to Heyne’s work, but to ideas of focus and perception as a whole. To engage the viewer, there must be hope to resolve the content of the image, otherwise it functions as an abstraction rather than a photograph. The paradigm of photographic viewing is so ingrained with representation that to ignore the purpose of the medium would render you unable to critique it. A perceptible relationship to photographic representation allows us to challenge the function of the image and question inherently photographic ideas.

After spending some time with Heyne’s new book, The Noise, which is an ironic title for out-of-focus images with smooth gradations, subtle tones, and quite subjects, I am still left wondering about the larger motivations to the choices of focus. Heyne’s use of focus is an effective visual tool that produces some stunning images, but the nature of the medium leaves me wondering if there are better ways to engage us in an epistemological inquiry of photography. Considering this, is Heyne trying to fix the visions of our periphery or change the way we see?

Monday, November 2, 2009

Sean Higgins






Sean Higgins

Work from Difficulties with Interplanetary Travel.

"Through his pieces, Higgins prods at the human instinct to associate images with the familiar. Namely, there is a tendency for viewers to look for a "real" object/place that exists or has existed when confronted with an amorphous shape in nature, like a cloud or unidentifiable landmass. Through Difficulties with Interplanetary Travel, Higgins challenges the viewers to see beyond the recognizable and absolute. He adds uncertainty to the images by closely cropping scenes, thereby removing the images' contexts, or employing interesting angles that impede the viewers from seeing the full panoramic surroundings. He recreates the world as we know it into a new fictional world where time and space remain ambiguous. "Real" landscapes, outer space, technology, dreams and memories combine to create a new environment beyond the standard confines of time and space. Are these images from the past, conjured from memory, or from the future? The viewers can never be sure if they are witnessing places/shapes that are familiar to them, intergalactic formations from planets beyond view or awareness, and/or something imagined/created by the artist or within the viewers' imagination. For Higgins, his work is "About a place-but not necessarily a place you can go to."

"...For the figures that appear in the sky make no sense...they are purely chance effects. It is man who, being naturally inclined to imitation, confers a meaning upon them as well as a relative permanence, by associating them with the idea of the creatures that they evoke" - Collette Blanchard Gallery

Sunday, November 1, 2009

Shane Lavalette






Shane Lavalette

Work from June 6, 2003.

Lavalette is the founding editor of the fantastic Lay Flat , which is currently seeking funding to produce Lay Flat 02: Meta.

"A series of photographs made on June 6, 2003 with an early 3.34 megapixel digital camera. Years later the images have resurfaced as a response to German poet Bertolt Brecht's "Remembrances of Marie A." (1927) - a poem about forgetting the face of a woman once loved, but recalling her kiss by the memory of a great white cloud in the sky.

The images in this series have not been altered in in any way and include in the titles the hours, minutes and seconds that they were made on the day that they were taken. The photographs are presented at a large scale with overwhelming digital grain." - Shane Lavalette

Saturday, October 31, 2009

Aimee Brodeur






Aimee Brodeur

Work from Sculptures and Diary.

There was no text to be found about this work, but they function so well as photo sculptures I wanted to share them. I am particularly drawn to the process errors in these works as an aesthetic, but I am not sure if their intent moves beyond that. However, given the nature of the photo-sculptures I think that there are some meta-photographic conceptual interests at play as well.

Friday, October 30, 2009

Sally McKay

fire tree2bergmancathair.gif


Sally McKay

Work from Animated GIFs.

Excerpt from The Affect of Animated GIFs (Tom Moody, Petra Cortright, Lorna Mills)

"Since the early days of internet art, online artists have participated in challenging the museum and gallery hierarchies of off-line art systems.[9] The vast majority of GIFs (as well as YouTube videos, Flash animations, RealAudio sound files and a host of other cultural digital formats) are used by creative producers who do not self-identify as artists. Animated GIFs are created, collected and displayed by everyone from Christian website designers,[10] to antique technology buffs,[11] to culture bloggers.[12] For online artists, then, the use of the animated GIF also demonstrates a willingness to plunge into the vernacular of online production, blurring boundaries between art and non-art categories. Most analyses of animated GIFs discuss their signifying functions according to their specific contents and/or their historic, socio-political role in the culture of online production, but as noted above, their affective qualities are rarely, if ever, addressed.

The affective qualities of artists’ animated GIFs emerge in part from the context of their production. GIFs are designed to be viewed at home, in private, by people who are sitting at their computers. Yet at the same time these people are immersed in the hybrid, public/private environment of a personal computer connected to the collective public commons of the internet. The viewing distance — the space between the face and the monitor — is very tight. GIFS are simultaneously “in your face” and in your mind, their affects continuous with the immersive experience of daily internet use. However, just at Richard Dyer describes the songs in Hollywood musicals as “self-enclosed patterns”[13] set apart from the narrative structure, animated GIFs — like casual online puzzle games with their addictive audio and visual rewards — provide brief moments of aesthetic affect, diversions that are set apart from the running narrative of the work day..." - Sally McKay

Thursday, October 29, 2009

Eddie Whelan



Eddie Whelan

Work from his oeuvre.

"There’s something -I don’t know -insouciant about these School of Athens folks. That’s one of the definite links, a kind of throw away, thrown together quality, that teases because I’d be equally unsurprised to learn that every second was laboured over mightily. (Think not though, but of course that’s not a criticism. ) Of course the styles of the various “members” differ somewhat too. Eddie Whelan seems to specialise in a rather garish but fetching pop surrealism.
I like the somewhat in your face and worn at the edges motion graphics as much as I find genuinely evocative the appropriated beach (eclipse?) footage. Also, what’s not to like about a movie featuring a minor BBC cult science reporter of the 80s… Whelan’s idosyncratic way with spelling engages rather than irritates which for me at least is a bit of an acid test. Good." -Michael Szpakowski 

via Field Notes

Wednesday, October 28, 2009

Kelly Wood






Kelly Wood

Work from The Continuous Garbage Project.

"From March 1998 to March 2003, Kelly Wood photographed household garbage. From this activity, inscribed within an arbitrary time frame, emerged a large-scale work that presents us with unmistakable evidence of a relentless process and exposes its excesses in documentation extending to 275 pages. The Continuous Garbage Project (1998-2003) brings us into contact with the records the artist kept over time. The sharpness of her images reveals all the more clearly that the full garbage bag is an empirical fact of life and makes the photographic medium into a standardized recording tool. The repetition of the same composition and the resulting succession of images help to transform Wood’s heaps of garbage into art materials." - Galerie de l’UQAM

Tuesday, October 27, 2009

Adrien Missika






Adrien Missika

Work from Standing Waves and Postcards.

Spend time on his website, the vast majority of his works are excellent.

"Notions of authenticity and artificial images are at the heart of Missikaʼs work. He subtly explores the relationship between the viewer and the world and depictions thereof. While his works reflect the visual symbolism of the media and popular culture, he is also clearly influenced by art history and the history of photography and by their manifestations in contemporary photography. This is hardly surprising, given that Missika finds inspiration for his landscape images from sources as diverse as comics and fantasy films, postcards and magazines, art history and natural sciences like geology and archaeology. As a result, his art oscillates between fiction and reality. Missika repeatedly mixes photographs taken on his many travels with the staged photographs that he takes in his studio and with material he finds in magazines or on the internet. Although he trained as a photographer and is a true master of his art, he is primarily interested in pictures as the formal outcomes of ideas that lead him through a wide variety of media. Missika believes that every picture on display is a constructed internal landscape, an espace mentale. Missikaʼs postcard motifs depict “archetypal” subjects: a sunset, a mysterious cave, a craggy peak emerging from a sea of clouds, a mountain range. They awaken memories of things we have seen or experienced before – we are all familiar with the beguiling images from postcards that we have sent or received from all over the world. Missikaʼs work explores imagination and reality: Is paradise a perfect thing in our imagination, something that reality fails to live up to? Or is it precisely the opposite – is any attempt to capture the beauty of a breathtaking landscape doomed to failure? Some of Missikaʼs pictures reveal similarities to historical paintings such as Chalk Cliffs on Rügen by Caspar David Friedrich, which is on display at the nearby Museum Oskar Reinhart am Stadtgarten. 


Yet Missika builds up this sense of romanticism only to destroy it immediately, revealing it as nothing but a sham. The postcards may play with our perceptions, but somehow they prevent the illusion from evaporating entirely – even once the viewer realises that the sea of clouds is actually made of cotton wool, a remnant of the romance of a mountain peak lingers. The way these “images of nature” work is so simple it is almost funny: Viewers recognise their own desire to surrender to the illusion yet see through this desire just moments later. Missika presents us with mirages. His craggy peaks tower over cotton-wool clouds and his mountain ranges are made of folded plastic film. The illusion is short-lived – it lasts only as long as it takes us to work out what exactly we are seeing. Missika uses this technique to reflect on the superficial treatment of visual material in this day and age and on the flood of images we are confronted with in our daily lives." - Alexandra Blättler