mira la serendipia

Photo

Tue, 22 Jan 2013 20:53:56 -0500

Alberto Seveso no bio available accessed...

Thu, 29 Mar 2012 11:49:52 -0400

Alberto Seveso

no bio available

accessed from:

http://www.behance.net/gallery/a-due-Colori/3367841

http://theexposureproject.blogspot.com/search/label/Other%20Photo...

Tue, 27 Mar 2012 15:27:48 -0400

http://theexposureproject.blogspot.com/search/label/Other%20Photographers?updated-max=2010-02-28T10:34:00-08:00&max-results=20&start=10&by-date=false

Angela Strassheim’s Evidence

Angela Strassheim’s project Evidence hybridizes aspects of criminology and photography into an eerie, often visually savage body of work. In the press release for her recent exhibition at Marvelli Gallery, it states:

“Long after the struggles ended in these spaces, despite the cleaning, repainting and subsequent re-habitation of the rooms, the “Blue Star” solution is capable of activating the physical memory of blood through its contact with remaining proteins on the walls. Long exposures- from ten minutes to one hour- with minimal ambient night light pouring in from the crevices of windows and doors, capture the physical presence of blood as a lurid glow: a constellation of stars embedded in the walls.

Through a long and painstaking research process, Angela mapped out the exact locations where violent, often horrific crimes were perpetrated. She convinced new owners and tenants, some unaware of the violent history of their residences, to revisit the unnoticed, unseen past. Angela captures the tracing of a final struggle through the hard evidence of a violent moment, thereby revealing the silent yet omniscient memory of everyday living spaces. The physical result of her work is a series of luscious, large black and white prints, which attract the viewer like stills from a film noir with their eerie seduction and mysterious quality. Ultimately, these images are honest and true to the original space; they make visible, once again, the traces of violence and death that took place in those spaces in a forgotten past.”

Accessed from: http://www.mariannemueller.ch/ In 1999 Marianne...

Tue, 27 Mar 2012 15:21:29 -0400

Accessed from: http://www.mariannemueller.ch/

In 1999 Marianne Mueller photographed the men and women of Migros, Switzerland’s largest Supermarket and largest employer.

Born 1966 in Zurich, Switzerland. Lives and works currently in Zurich. 1986-1991 Höhere Schule für Gestaltung Zurich, Diploma. Since 2011 Head of Specialization in Photography, Bachelor of Arts in Media & Art, ZHdK - Zurich University of the Arts.

Harrison Haynes Work from Distruptive Patterns. Harrison Haynes...

Tue, 27 Mar 2012 15:06:48 -0400

Harrison Haynes

Work from Distruptive Patterns.

Harrison Haynes is a visual artist and a musician based in North
Carolina. He is the co-founder of Branch Gallery and the drummer for the group Les Savy Fav. In June 2009 he began graduate studies at the Bard College MFA program in Annandale-on-Hudson, New York.

accessed from: http://harrisonhaynes.com

Jessica Pooch INSIDE MONDRIAN The work “inside Mondrian” is...

Tue, 27 Mar 2012 15:03:47 -0400

Jessica Pooch

INSIDE MONDRIAN

The work “inside Mondrian” is constituted in an installation consisting of a projector, a fog machine, a

Metal tube and a ventilator. Beamer and fog machine to face off in a line. The projector projects the image without interruption. The fog machine is equipped with a metal pipe through which the mist is focused and is expelled at a rate 5 sec fog, 20 sec break. Once the fog shoots toward projector, the projected image is visible. By the beam of the projector and the mist as base, “Composition with red, yellow, blue and black, shall be held in space.

The image is projected on the mist through the fan in motion and held. Again and again builds up that image put on new.

accessed from:http://ilikethisart.net/?p=8068

Video

Tue, 27 Mar 2012 14:52:32 -0400

Pipilotti Rist: Eyeball Massage accessed...

Tue, 27 Mar 2012 14:49:50 -0400

Pipilotti Rist: Eyeball Massage

accessed from: http://www.thisistomorrow.info/viewArticle.aspx?artId=987&Title=Pipilotti%20Rist:%20Eyeball%20Massage

As our Indian summer fades, the bunting of white knickers outside the Hayward Gallery will grey until it looks so hard up against the Southbank’s brutalist architecture that it will have to be taken down. To be brief about the Massachusetts Chandelier inside: it’s a fresher, less scuzzy prospect in reality than in photographs. It’s also the least memorable part of Pipilotti Rist’s Eyeball Massage.

The exhibition’s real entry point is Suburb Brain, which combines a model of a bungalow with videos and monologue. One film evokes the ends of long days - brittle, overhanging branches, clouds against darkening sky - while another depicts a family dinner-time inside the bungalow. The scene glows with hubris, meals flame while outside the bungalow looks small, lost amongst arid acreage. Of three model trees, two stand together and one stands apart, as in a broken family. “I am a birch tree,” says the monologist.

Like most of this show, Suburb Brain immerses audiences within its discontinuities and solicits personal responses. Whether what we project on to her work lies deep down or to the fronts of our minds is a question Rist inspires. Past and present, inside and out - binaries that characterise how we perceive - are juxtaposed. However, this generous, entertaining exhibition can feel breezy: surprises, such as the coin-sized film in the floor, command attention but not for long; there’s fun to be had with clever films encased in sexualised handbags but it is possible to float through Rist’s lush world of hyper-lucidity and soothing sounds. The body is the country of her art and she unites it with landscape, as in the sensuous visual poem Lobe of the Lung, where we lie on cushions, watching images overlap, lulled by a soundtrack of bodily rhythms.

It’s lovely but happiness, as John Lennon said, is a warm gun. Rist uses a refrain from that song in I’m Not The Girl Who Misses Much. The film speeds, slows, blackens and lines of evisceration appear as the topless artist turns the lyric into an anxious incantation. In contrast, Lennon sounds blokey, clubbable. This is the most visceral, disturbing exhibit here.

Your Space-Capsule might be the most popular. Audiences want to touch this wooden box which contains the miniaturised bedroom of a pizza-munching, guitar-strumming, Kafka-reading yoof. We’re reminded of spaces where we’ve lived and loved, the only difference being that in YSC the moon is in the room. But perhaps it always was, a symbol, like those overhanging tree branches, of the looming, encroaching universe.

The peacefulness and fluidity of Eyeball Massage can feel womblike but outside is always waiting. I was thinking about this later when, walking down a dark street, I noticed a very glamorous, blonde-haired girl who I mistook for somebody I used to know. She flashed a shrewd, knowing, professional smile and there wasn’t a shred of warmth beneath her lipstick. “I’m not the girl who misses much…” But you so are.

more Sally!

Tue, 27 Mar 2012 12:12:52 -0400

more Sally!

Sally Mann (born in Lexington, Virginia, 1951) is one of...

Tue, 27 Mar 2012 12:11:24 -0400

Sally Mann (born in Lexington, Virginia, 1951) is one of America’s most renowned photographers. She has received numerous awards, including NEA, NEH, and Guggenheim Foundation grants, and her work is held by major institutions internationally. Her many books include Second Sight (1983), At Twelve (1988), Immediate Family (1992), Still Time (1994), What Remains (2003), Deep South(2005), Proud Flesh (2009), and The Flesh and the Spirit (2010). A feature film about her work, What Remains, debuted to critical acclaim in 2006. Mann is represented by Gagosian Gallery, New York. She lives in Virginia.

Pavel...

Tue, 21 Feb 2012 16:14:56 -0500

Pavel Prokopchik

http://www.lensculture.com/prokopchik.html?thisPic=9

project statement:

People address the shaman who is living in Ungurtas village, Kazakhstan, as Apa or Apashka, which means “granny” in the Kazakh language.

Originally from Turkistan, Apa was told by the spirits to find a particular mountain. She found it eight years ago, and made a temporary living space and started accepting pilgrims. Soon after, pilgrims built a whole farm and made steps on the mountain, which is thought to have healing properties.

Apa is a sufi. She calls herself the last dervish of Kazakhstan. Some of the rituals she performs include slaying of a goat and pouring blood onto practically naked people. Or after killing an animal, blood is smeared on to the face, hands and feet of people currently living at the farm.

Life at the farm is very basic. Every day starts with chores: bringing water from the river, cleaning the stoves and putting new coal in them, taking care of the goats and other animals. Women usually cook and take care of the dishes.

Once in a while Apa says that she receives a command from the sprits and gives out personal or sometimes common assignments, which usually include visiting some nearby holy place or saying particular mantras.

People come from other countries to visit her — Russia, Ukraine, and of course other cities in Kazakhstan. Some people come to her for health or addiction problems, others to resolve life issues. Some stay there for a short period, some stay for a period of three months and often come back more than one time.

beedooley: Irina...

Tue, 21 Feb 2012 16:09:36 -0500

beedooley:

Irina Popova

http://www.lensculture.com/popova.html?thisPic=14

project statement:

I first saw Lilya outside a famous underground club near Saint Petersburg. She was squatting down to pee.

“Can I photograph you?”

A punk who was looking after the baby-carriage told me “Fuck off”, but Lilya started to pose for me with great enthusiasm. She was proud of her beauty, of her extreme looks, and of her blond angelic-looking little girl.

Then she invited me to her place — a small room of a communal flat. It was filled with strange smells and drunk people. Her boyfriend Pasha whom she called “Dandelion” for his curly hair was more an aggressive punk and junkie. They were listening to horrible music, watching horror-movies, and their room seemed more like a cyber-punk club than a living space. The little girl was crawling around the room, touching empty bottles, dirty blankets, cat’s shit… and the mother sometimes dragged her away: “Anfisa!”

Everything that happened there reminded me of a nightmare and it was difficult to remember afterwards how it really was.

They were living in a darkness, mixing day and night, behind the thick curtains, descending to the street only to ask for some money for the cheap alcohol (they already couldn’t buy any drugs). Their daughter was with them all the time and she was looking at all this with wide-open eyes, tried to touch and to taste everything. They fed her with expensive artificial milk, dragged her away from dangerous things, changed her diapers and said, “Anfisa, stop. Anfisa, go to sleep!”

Anfisa could sleep despite the heavy music and noise. She was a very quiet well-behaved baby and almost didn’t cry.

Seven days passed like this, with me coming and going with my camera, and they remembered it afterwards like an end of a long period when they had gone to the very bottom. After that they kicked out all the guests, cleaned the house and lived like normal people… Well, almost like normal people. (By the way, what does this mean — normal people?) This lasts only until the next crazy period.

Lilya and Pasha met each other five years earlier. Lilya had dreamt of becoming a porn-actress or a model but never did. Then she got pregnant and was proud that for nine month she hadn’t used any drugs, only smoked marijuana which is very healthy for the baby in her opinion. She admits that she has a few sexually-transmitted diseases and doesn’t want to pass them to Anfisa.

They moved next to a famous theater which they have never been inside. They are not allowed in because of their looks. Pasha’s parents sometimes help them to look after the girl and give some money.

Each month they buy another cell-phone but sell it in the end of a month to the drug-dealers. Their contacts with outside world are very difficult.

I made an exhibition of this story in Saint Petersburg, and the characters came to the opening. They had a good laugh about themselves on the pictures and couldn’t even believe that someone would accuse them of anything wrong. The viewers also didn’t react at all.

The scandal started when I published the pictures on the internet. Hundreds of bloggers started to blame the couple for a bad attitude to their daughter, and blame the photographer (me) for indifference. My caption that there can be also love and affection in such families caused even more hysteria.

Someone wrote a letter to the police. Their intention was to take the girl from the family and put her into an orphanage.

Two years passed since the pictures were taken. I visited the family a few times since that. They hadn’t quit their lifestyle, still used drugs but lived rather bright and artistic lives and still took care of the girl, looking at her as a part of their life, sometimes with humor. Some other people of the same attitude came to live next door, and they all lived in a peaceful friendly atmosphere.

But half a year ago Lilya left the family, and nobody knows where she is now. Pasha takes his daughter to the kindergarten and goes to some cheap-paid work. The girl can talk and seems to have normal development. She only has more serious eyes than all other children of her age. Pasha looks miserable and aggressive and doesn’t want to have any further contacts with people concerned about the future of this family.

The photographer refuses to take the right to blame these people.

Claire Felicie “Here are the young men...

Tue, 21 Feb 2012 16:03:11 -0500

Claire Felicie

“Here are the young men (marked)”

http://www.lensculture.com/felicie.html?thisPic=14

statement of project:

How do the faces of soldiers change — before, during, and then after, war? Can we detect profound or subtle psychological shifts just by looking at their portraits?

This is precisely the challenge that Claire Felicie presents with her series of triptych portraits of marines of the 13th infantry company of the Royal Netherlands Marine Corps. The series,Here are the Young Men (Marked), shows close-cropped portraits of the Dutch marines before, during and after they were deployed to Uruzgan, Afghanistan in 2009-2010.

Without doubt, every viewer will project a bit of himself or herself into the readings of these photographs. No matter what conclusions you draw, the images are compelling.

Tony Ray-Jones Born in 1941, the youngest son of British...

Tue, 21 Feb 2012 15:51:36 -0500

Tony Ray-Jones

Born in 1941, the youngest son of British painter Raymond Ray-Jones, he studied graphics and photography in London before moving to the US on a scholarship to study at Yale in 1961.

It was here whilst working alongside legendary art directory Alexey Brodovitch and street photographer Joel Meyerowitz that Ray-Jones began to develop his own way of seeing the world through the lens of his camera.

http://www.lensculture.com/ray_jones.html

Artist: Noah Friedman see below countnoahcount.tumblr.com

Tue, 21 Feb 2012 15:36:45 -0500

Artist: Noah Friedman

see below

countnoahcount.tumblr.com

Artist: Noah Friedman Biographical information: Photographer,...

Tue, 21 Feb 2012 15:28:40 -0500

Artist: Noah Friedman

Biographical information: Photographer, collector of strange things. Rochester, NY.

Artist statement: None available

Artist: Steve Fitch BiographyAfter graduating from the...

Tue, 21 Feb 2012 15:18:13 -0500

Artist: Steve Fitch
Biography
After graduating from the University of California at Berkeley in 1971 with a bachelors degree in anthropology, and while teaching photography at the ASUC Studio on the Berkeley campus, I began work on a project photographing the vernacular roadside of the American highway. I received two National Endowment for the Arts Fellowships to aid in the completion of this project, one in 1973 and the second in 1975. Eventually, the photographs were published in the monograph, Diesels and Dinosaurs, in 1976.

After receiving a masters degree in fine arts from the University of New Mexico in Albuquerque in 1978 I accepted a teaching position at the University of Colorado in Boulder. In 1981, as a member of the “Marks and Measures” project, I began photographing prehistoric Native American pictograph and petroglyph sites in the American west. This project was partly funded by the last National Endowment for the Arts Survey Grant awarded in 1981. My work on the project, along with that of the other four project members, was published in a monograph, Marks in Place: Contemporary Responses to Rock Art, by the University of New Mexico Press in 1988. I received several purchase awards in various exhibitions for photographs made during this period.

Partly as a result of the work I did for Diesels and Dinosaurs, I became interested in the artistic possibilities of neon and learned to fabricate my own neon pieces in 1981. I have made a number of neon installations over the past thirty years, several of which are permanently located in outdoor locations in New Mexico.

In 1990, after teaching at Princeton University for four years in the Visual Arts Program, I returned to New Mexico and began photographing the ongoing abandonment of the high Great Plains receiving the Eliot Porter Fellowship from the New Mexico Council for Photography in 1999 to aid in the completion of this project. In 2003 a book of these photographs entitled Gone: Photographs of Abandonment on the High Plains was published by the University of New Mexico Press and a traveling exhibition of the photographs was organized by University of New Mexico Art Museum. The entire exhibition of forty photographs was purchased by the Smithsonian American Art Museum in Washington, D.C. Since 1990 I have taught photography at the College of Santa Fe.

Today, my wife and I live off the grid in a passive solar adobe house we constructed ourselves over six summers, beginning in 1984, on rural land in Santa Fe County, New Mexico. We use photovoltaic panels to meet all of our electricity needs and collect water in an extensive rainwater gathering system. Recently, I finished a project photographing in the Llano Estacado region of western Texas and eastern New Mexico. My work on the project, as well as that of five other photographers, was partly funded by a grant from the Southwest Collection at Texas Tech University and will be published in an upcoming monograph by Texas Tech University Press.

accessed from: http://www.stevefitch.com/

Hedi Slimane Slimane has achieved global recognition over the...

Tue, 21 Feb 2012 15:10:33 -0500

Hedi Slimane

Slimane has achieved global recognition over the past decade for his discovery and presentation of emerging musicians and artists. His publications on London youth are among the first books published about the early days of the new British punk-rock movement at the beginning of this decade, capturing the birth of the first generation of Internet users, and redefining the concept of “fans” as an indie youth imagery that has developed globally through emerging social networks. Slimaneʼs widely followed photographic “diary,” created in 2006, established and popularized an entirely new genre—the online photo diary.

attained from his website:

http://www.hedislimane.com/diary/index.php?pageNum_rsArticles=1&totalRows_rsArticles=2475

Annie Leibovitz http://www.houkgallery.com Annie Leibovitz is...

Fri, 27 Jan 2012 15:11:00 -0500

Annie Leibovitz

http://www.houkgallery.com

Annie Leibovitz is widely admired for her portraits of celebrities which have been appearing on major magazine covers for nearly 30 years. Her name is associated in particular with the legendary beginnings of Rolling Stone magazine, whose staff she joined while still a student at the San Francisco Art Institute, and with Vanity Fair. In addition to her magazine work, Leibovitz has accepted many commissions. She has produced prize-winning advertising campaigns for American Express and The Gap and was appointed the official portrait photographer for the World Cup Games in Mexico in 1985.

Sissi Farassat http://www.houkgallery.com Sissi Farassat, born...

Fri, 27 Jan 2012 15:08:00 -0500

Sissi Farassat

http://www.houkgallery.com

Sissi Farassat, born in Tehran in 1969 and now living in Vienna, transforms the slick surfaces of photographs by stitching the backgrounds – the spaces – in her pictures, while the figure is maintained as a pure photograph. Author Gisela Steinlechner has described the work of Farassat with the following words: “Her sewn photographic art may seem idiosyncratic and in its time-consuming production even anachronistic, but it touches and reflects essential aspects of the perception and the aesthetics of the photographic image per se. For example directing the light, which is not only influenced by the technical aspects of taking pictures and its conditions, but also has a crucial role in the reception of the final images which depends on how shiny the surface of the potographic paper is, but also depends on the size of the image, the places of its presentation, the light in these places, the position of the viewer and last but not least if the photograph is put under glass or not. Photographs under glass are many times exposed to mirroring and breakings of the light. On the other hand their surface seems like under seal, and the imminent eye-contact with the photographs is interrupted by the glass. With her sequined carpets Sissi Farassat adds different kinds of highlights to the photographs while at the same time also introducing corporal and haptic qualities into the visual space …With their glitters and iridescent colors the seqined images recall splendid apartments, but also the glittery world of disco and film shows. All this glamour is, however, contrasted by the commonness or intimacy of the subject. Often Farassat works on self-portraits, or she transforms images of family members and friends or strangers from the streets. Stitching a photograph, a process that might take days and weeks, in this regard also means discussing personal world of pictures and relationships.”