Posts Tagged ‘Art’
And now it’s time to make the long awaited announcement!
Neath Turcot’s Person Of The Year
*gnaws open envelope*
And the winner is…for making something artful, for bringing sublime elegance to activism, for courage beyond the call of duty, for a willingness to be silly while being serious and not seeing a paradox in that, and for having the foresight to do something unique in order to make his wife laugh while she began chemotherapy, but most of all, for making complete strangers smile from straight out in left field in a multitude of locations…
One of my favorite photographers, and a Canadian, eh?
“While trying to accommodate the growing needs of an expanding, and very thirsty civilization, we are reshaping the Earth in colossal ways. In this new and powerful role over the planet, we are also capable of engineering our own demise. We have to learn to think more long-term about the consequences of what we are doing, while we are doing it. My hope is that these pictures will stimulate a process of thinking about something essential to our survival; something we often take for granted—until it’s gone.”
“The project takes us over gouged landscapes, fractal patterned delta regions, ominously coloured biomorphic shapes, rigid and rectilinear stepwells, massive circular pivot irrigation plots, aquaculture and social, cultural and ritual gatherings. Water is intermittently introduced as a victim, a partner, a protagonist, a lure, a source, an end, a threat and a pleasure. Water is also often completely absent from the pictures. Burtynsky instead focusses on the visual and physical effects of the lack of water, giving its absence an even more powerful presence.” – Russell Lord – Curator of Photographs – NOMA
Burtynsky is perhaps the most important photographer working in the world today.
A good friend of mine recently showed me some photographs she took from an airplane window and the window frame was included in many shots and it, of course, reminded me of Lee Friedlander’s Hassleblad pictures from inside his car.
This last one is particularly devastating. A sculpted cactus, in the real desert, by the side of the road, as homo sapiens continues to burn fossil fuels on his lonely, mindless, journey to nowhere.
I have yet to see anything that so sublimely and elegantly shows how mankind and nature can cohabit this planet, yet we continue to lay a massive pounding on the earth, oblivious to the wreckage, as we struggle blindly through the fog of our own heads and hearts.
It has been almost 3 years since I released “The Unseen Sea” and I’m excited and proud to share with you my latest project “Adrift”.
“Adrift” is a love letter to the fog of the San Francisco Bay Area. I chased it for over two years to capture the magical interaction between the soft mist, the ridges of the California coast and the iconic Golden Gate Bridge. This is where “Adrift” was born.
The weather conditions have to be just right for the fog to glide over the hills and under the bridge. I developed a system for trying to guess when to make the drive out to shoot, which involved checking the weather forecast, satellite images and webcams multiple times a day. For about 2 years, if the weather looked promising, I would set my alarm to 5am, recheck the webcams, and then set off on the 45-minute drive to the Marin Headlands.
I spent many mornings hiking in the dark to only find that the fog was too high, too low, or already gone by the time I got there. Luckily, once in a while the conditions would be perfect and I was able to capture something really special. Adrift is a collection of my favorite shots from these excursions into the ridges of the Marin Headlands.
I hope with my short film I am able to convey the feeling of happiness I felt while I experienced those stunning scenes.
I am so grateful to Jimmy LaValle, from the band “The Album Leaf”, for composing a custom score for Adrift. Jimmy’s music is fantastically beautiful and captures the mood perfectly. Please check out his website. Thanks again Jimmy for your hard work.
I hope you enjoy the film and thank you for watching.
If you like this short film, please consider using the Tip Jar below, proceeds will go towards the next project…
Licensing: Adrift is copyrighted. All of my work is available for licensing under a rights-managed agreement. If you are interested in using any of my images and/or time lapse footage, please visit my website or contact me directly. Most of my clips are available up to 4K resolution! All of them support 2.8K and standard HD resolutions of 1080p/720p. Some of my favorite scenes in the film are also available as high resolution prints.
You can follow Jimmy LaValle’s work here and get a free copy of the song: on.fb.me/1b6c6gy
Big Air Package, an indoor installation for the Gasometer Oberhausen, Germany, was conceived in 2010 and is on view from March 16 to December 30, 2013. 90 meters high, with a diameter of 50 meters and a volume of 177,000 cubic meters, the work of art is the largest ever inflated envelope without a skeleton.
For more images related to Big Air Package and other projects by Christo and Jeanne-Claude, visit photographer Wolfgang Volz’s agency.
If you have any further questions, please send an e-mail to: firstname.lastname@example.org (for inquiries in English and German). You can also contact Thomas Machoczek at the Gasometer Oberhausen by either e-mail or phone: email@example.com, +49 (208) 8503735.
And this is not the first time Christo has worked in this particular gasometer having once filled it with 13,000 coloured oil drums.
He is one of the greatest artists of our time, barely understood, yet he has made us think about places and spaces in different ways than anyone else ever has.
Probably the most important essay I have ever read in terms of becoming an artist, and understanding the political and art historical aspects of Photography.
The uniqueness of a work of art is inseparable from its being imbedded in the fabric of tradition. This tradition itself is thoroughly alive and extremely changeable. An ancient statue of Venus, for example, stood in a different traditional context with the Greeks, who made it an object of veneration, than with the clerics of the Middle Ages, who viewed it as an ominous idol. Both of them, however, were equally confronted with its uniqueness, that is, its aura. Originally the contextual integration of art in tradition found its expression in the cult. We know that the earliest art works originated in the service of a ritual – first the magical, then the religious kind. It is significant that the existence of the work of art with reference to its aura is never entirely separated from its ritual function. In other words, the unique value of the “authentic” work of art has its basis in ritual, the location of its original use value. This ritualistic basis, however remote, is still recognizable as secularized ritual even in the most profane forms of the cult of beauty. The secular cult of beauty, developed during the Renaissance and prevailing for three centuries, clearly showed that ritualistic basis in its decline and the first deep crisis which befell it. With the advent of the first truly revolutionary means of reproduction, photography, simultaneously with the rise of socialism, art sensed the approaching crisis which has become evident a century later. At the time, art reacted with the doctrine of l’art pour l’art, that is, with a theology of art. This gave rise to what might be called a negative theology in the form of the idea of “pure” art, which not only denied any social function of art but also any categorizing by subject matter. (In poetry, Mallarme was the first to take this position.)
An analysis of art in the age of mechanical reproduction must do justice to these relationships, for they lead us to an all-important insight: for the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependence on ritual. To an ever greater degree the work of art reproduced becomes the work of art designed for reproducibility. From a photographic negative, for example, one can make any number of prints; to ask for the “authentic” print makes no sense. But the instant the criterion of authenticity ceases to be applicable to artistic production, the total function of art is reversed. Instead of being based on ritual, it begins to be based on another practice – politics.”
To read the entire essay go here.
And here is a film about Walter Benjamin and his influences, and, relevance in today’s world.
Having previously photographed ritual objects and burial sites of the Uyghur people of Western China in the series, Living Shrines, she has created a new series that documents the surprising number of beds to be found, apparently in the middle of nowhere, in the landscape outside of the Uyghur community. While these images may appear to be some kind of artistic staging, the beds , in fact, are simply photographed where they are found.
Theo Jansen (born 1948) is a Dutch artist. In 1990, he began what he is known for today: building large mechanisms out of PVC that are able to move on their own, known as Strandbeest. His animated works are a fusion of art and engineering; in a car company (BMW) television commercial Jansen says: “The walls between art and engineering exist only in our minds.” He strives to equip his creations with their own artificial intelligence so they can avoid obstacles by changing course when one is detected, such as the sea itself. Read whole wiki page here.
There is endless potential here, crop planting, watering, harvesting; transportation; and whatever you want to add to this list. And it uses no energy aside from wind, which itself, when needed, could be artificially and sustainably (re)produced. How can such an intelligent species be so dumb over all?
“Who gives a fuck about what he had for breakfast? These are stylistic ticks. The digital has changed the paradigms of photography. I had an opening in Boston and this woman had a little camera with her and kept exclaiming, ‘Everything is a photograph!’ That’s the problem. The bar has been lowered so much in photography now…” -Duane Michals
“Photographers tend not to photograph what they can’t see, which is the very reason one should try to attempt it. Otherwise we’re going to go on forever just photographing more faces and more rooms and more places. Photography has to transcend description. It has to go beyond description to bring insight into the subject, or reveal the subject, not as it looks, but how does it feel?” -Duane Michals
“The best part of us is not what we see, it’s what we feel. We are what we feel. We are not what we look at . . .. We’re not our eyeballs, we’re our mind. People believe their eyeballs and they’re totally wrong . . .. That’s why I consider most photographs extremely boring–just like Muzak, inoffensive, charming, another waterfall, another sunset. This time, colors have been added to protect the innocent. It’s just boring. But that whole arena of one’s experience–grief, loneliness–how do you photograph lust? I mean, how do you deal with these things? This is what you are, not what you see. It’s all sitting up here. I could do all my work sitting in my room. I don’t have to go anywhere.” – Duane Michals
Quotes found at Kalliope Amorphous
From her website
“Christy Lee Rogers is a fine art photographer from Kailua, Hawaii. Her obsession with water as a medium for breaking the conventions of contemporary photography has led to her work being compared to Baroque painting masters like Caravaggio. Boisterous in color and complexity, Rogers applies her cunning technique to a barrage of bodies submerged in water during the night, and creates her effects naturally in-camera using the refraction of light. Through a fragile process of experimentation, she builds elaborate scenes of coalesced colors and entangled bodies that exalt the human character as one of vigor and warmth, while also capturing the beauty and vulnerability of the tragic experience that is the human condition.”
From Reckless Unbound
Christy Lee Rogers’ work enters the PostArctic endgame? as a kind of inventory of the history of Western Art, and all human narratives, bringing the human adventure (The Odyssey) together with the classic tragic elements of history (Ophelia) immersed in colour and contrast (Caravaggio) while acknowledging a return to the deep dark Sea (Moby Dick, Finnegans Wake) from where all life began. Her figures at times appear like passengers from the Titanic who, while submerged(ing), become even more free to engage, to grasp ecstasy, in this inevitable floating/sinking underworld. Is there an in-between world? In any case it’s not quite what we expected.
The light is still above, a stable, but sometimes almost violent reference creating wonderment, security and nostalgia. But the other reality, the terror of facing the depths below, where the light fades to dark, is still death and the bottom of the sea is neither Heaven nor Hell. Yes, much Biblical irony, but here it is Everyone, and the only Prophecy is no more than our own behavior and beliefs catapulting us into an unknown, unremembered, unredemptive fate based solely on humanity’s unwillingness to learn from history, seek truth and universally accept it.
The Sirens, women, whose songs are not heard under here, are no longer infamously luring ships into the rocks and sailor’s to their demise, but become pure beings without agenda, unable to help nor hinder, angels, perhaps the last observers, the ones who will be left to tell the story of humanity.
I aim to systematically document these places before they are gone forever. Fast-food restaurants have homogenized the nation’s highways to the point where every place looks like every other place. They are more than just a place providing service to the public, they represent uniqueness in a world headed toward commercialization. Rest areas connect travelers to local places in a way that fast food restaurants, gas stations and truck stops cannot. Interchange business, while also important to highway motorists, has become a homogenous collection of uniform structures that one encounters without significant variation in almost every part of the country. While rest areas were originally designed to provide only the basic amenities of parking, bathroom, and picnic table, developers soon found within them the opportunity to reconnect people with the places they were traveling though, to add some humanity back to interstate travel. We can all relate to rest stops and what they represent as social and architectural icons of Americana. To me though, they are disappearing waysides of memories, anticipation and mystery of what the next one down the road will look like, and lastly they are a relevant benchmark in an era of bygone leisure travel. This project is an ongoing road trip of discovery and appreciation for what these rest stops represent. My need to systematically document them before they are gone forever was the sole purpose of my project. I want to show how each rest stop is different and what it may have to offer, whether it is historical significance, charm, local color, or unique architecture. I hope to capture their spirit and give viewers an enlightened outlook towards these wonderful gems.