I wasn’t formally trained in photography, I studied Graphic Design and worked as a print and web designer in Toronto. It wasn’t until after college when I decided to teach myself photography, by experimenting with the different genres and trying to figure out what I wanted to do. Through trial and error, I found that documentary photography just felt right to me.
Archive for February, 2012
“In this series I am responding to photographs both as representations and as tangible objects. Through physically altering enlarged prints and then re-photographing the results, I create works that oscillate between image and object, photography and sculpture, landscape and still life.”
Half of humanity now lives in a city, and the United Nations has predicted that 70 per cent of the world’s population will reside in urban areas by 2050. In the developing world, cities gain an average of five million residents every month.
Roemers is in the process of visually addressing the relationships of humanity to and¨within inherently complex megacities, in which there is ever-changing¨organic development evolving in both astonishing and horrendous ways.
For over 55 years the World Press Photo contest has encouraged the highest standards in photojournalism. The contest creates a bridge linking the professionals with the general public. As the announcement of the winners makes headlines around the world, so the inspirational role of photojournalism is highlighted to an audience of hundreds of millions. The archive of winning images is not only a record of more than half a century of human history, but a showcase of successive styles in photojournalism.
Where’s Waldo is for amateurs; now it’s all about Where’s Liu. Liu camouflages himself for as long as it takes him to get the perfect shot… sometimes up to 10 hours. His subject matter encompasses everything from protesting the Chinese government (who destroyed a Beijing artist village in 2005) to the latest high fashion designers. Liu’s commitment to his performance-photography is astounding; talk about an artist getting lost in his work.
If art nourishes the soul, what does food art satiate? It’s an interesting question to ponder as we take a look at some of the most creative food art we’ve ever seen. What these talented artists have done is make us believe that even fine art can be created by changing the way we see everyday items. Here are six artists and photographers who see the world through a different, albeit unique, set of eyes.
Like a 3-D take on Jackson Pollock, the latest work by the artist Martin Klimas begins with splatters of paint in fuchsia, teal and lime green, positioned on a scrim over the diaphragm of a speaker. Then the volume is turned up. For each image, Klimas selects music — typically something dynamic and percussive, like Karlheinz Stockhausen, Miles Davis or Kraftwerk — and the vibration of the speaker sends the paint aloft in patterns that reveal themselves through the lens of his Hasselblad. Klimas rose to prominence in the art world four years ago for a series of photos that captured porcelain figurines just as they shattered. For this series, Klimas spent six months and about 1,000 shots to produce the final images from his studio in Düsseldorf, Germany. In addition to the obvious debt owed to abstract expressionism, Klimas says his major influence was Hans Jenny, the father of cymatics, the study of wave phenomena. The resulting images are Klimas’s attempt to answer the question “What does music look like?”
The pictures started to earn the approval of the Internet last week. Last Monday, the Little Friends Facebook page reached 9,000 fans. Now, it has more than 46,500.
“Whatever happened — I’m not exactly sure what happened,” he said incredulously on Monday night from Los Angeles, where he is based part of the time. (He spends the rest of his time in Chicago.)
He wondered if it had something to do with the range of emotion that came out in the photos — “a side of dogs that people haven’t seen before.”
In conjunction with the exhibition Franz Jantzen: Ostinato, HEMPHILL invites three photographers to discuss what they do and how they see. Franz Jantzen, Bruce McKaig, and Anne Rowland create photographs through varied processes weighty with the trappings of the history of photography from mystical to digital. This discussion will focus on perception and the visual senses as they relate to each artist’s work.
Franz Jantzen’s digital works reveal a breaking-down and rebuilding of unusual objects and spaces, resulting in a stimulating and disorienting visual experience. Working with chance elements of surprise, Bruce McKaig explores techniques as diverse as pinhole photography, ambient light images, stereo photography, hand colored images and digital time-based works. In her most recent body of work, Anne Rowland engages in a complex photographic study of the farmland around her historic farmhouse in rural Virginia, producing brilliantly colored digital prints.
ART TALKS is an ongoing series of talks with artists, curators, collectors, and experts. Since 1998, the series has presented topics such as collecting for beginners and panel discussions on issues in contemporary art. This event is concurrent with Franz Jantzen: Ostinato, on view through March 10, 2012.
Seating is available on a first-come, first-served basis.