For his latest series, Gill wandered the beaches and side streets of this seaside town and picked up junk, plants, and bugs that he found while looking for things to photograph. Every time he loaded a new roll of outdated film in his old box camera, he dropped some of the scavenged junk inside the camera, between the lens and the film. The results are quirky pieces of art that combine the effects of photograms, faded film, light flares, chance, and his own unique vision of where to point his camera.
Archive for December, 2010
Sandy Skoglund is an American photographer and installation artist. Skoglund creates surrealist images by building elaborate sets or tableaux, furnishing them with carefully selected colored furniture and other objects, a process of which takes her months to complete. Finally, she photographs the set, complete with actors. The works are characterized by an overwhelming amount of one object and either bright, contrasting colors or a monochromatic color scheme.
The subjects of Ulrich’s photographs are vestiges of the commercial downturn. Wreckage like this is now becoming common in the suburban landscape. These vast hulks were the shells of promise for the American dream. Now, be it slow sales or an accident for the insurance company to handle, they are ghost towns and the artist is exploring and documenting the detritus.
The once thriving, now empty spaces allow the viewer to indulge in nostalgic sentiment or imagine creative repurposing. Interpretation is completely subjective in this work. One may feel a sense of loss while another appreciates a path that no longer supports generic experience.
The following 1,075 photographs were taken at both the U.S. Customs and Border Protection Federal Inspection Site and the U.S. Postal Service International Mail Facility at John F. Kennedy International Airport, New York. From November 16, 2009 through November 20, 2009, Taryn Simon remained on site at JFK and continuously photographed items detained or seized from passengers and express mail entering the United States from abroad.
Whitney Johnson wrote recently about the project in The New Yorker: