i heart photograph

john houck

2011-11-26T11:49:00.003-05:00

work by john houck. see more here.

[all john houck. from the series aggregates (unique folded pigment prints).]

matt keegan

2011-11-22T08:44:00.004-05:00

work by matt keegan. see more here.

[all matt keegan. i apple ny. installation views. 2011.]

james gallagher

2011-11-21T23:00:00.000-05:00

work by james gallagher. see more here.

[all james gallagher. 2011.]

anne hall

2011-11-21T09:11:00.000-05:00

"Collaborations with Birds, White Sands, NM"

"Underwater Friends"

More here and here!

K8 Hardy

2011-11-20T22:00:00.004-05:00

"My jeans are dirty. The special black jeans from Trash & Vaudeville where the punks have been making the same cut of jeans since the real deal. The ass has ripped so many times, just came back from the tailor at the dry cleaners, and I feel like I am walking around with a diaper on. It’s weird but my ass still looks good in them. I wish I could afford new clothes. Some avant-garde designer with the freakiest weird shit, who knows if they even sell it to stores even.
I still believe in the male gaze. Seems like everyone has given up on that.
Different ideas. I’d like to dress up as each of my friends and take their portrait, a portrait of me, an homage. Maybe I’ll do it but I wonder if it’s worth it.
The underwear were merely a symbol for the body. The location of the most disgusting form of abjection. I chose the underwear for the location. I buy used underwear. Everyone says they don’t do it. I mean, I check the crotch and make sure it’s not stained, and only if they are like really cool or interesting. And of course I wash them before I wear them. A friend lost my favorite pair of crotch-less panties while performing in the Miss L.E.S. Pageant. Can’t blame her for that. I got them from a Saver’s in Springfield. Now used crotch- less panties no worries. They were low-cut, black lace, from the 70s."-K8 Hardy

wanna see more? go here!

Guadalupe Rosales

2011-11-20T21:56:00.007-05:00

Before I began to post here, I had made a list of artist I was interested in showing but that's not what it turned out to be once I started, for the most part at least. One artist led me to the next and so on. I guess thats what blogging is... This has been an amazing experience, hope you enjoyed these amazing works by amazing artists.

[Collaboration with Anne Hall]

[part of "Queridos" series]
one last time here and here!
goodbye...

The whole world is watching!

2011-11-19T22:58:00.005-05:00

More here and everywhere in the world

Jessica Eaton

2011-11-18T15:49:00.008-05:00

More here!

2011-11-18T12:42:00.011-05:00

Bridget Riley
"Suspension"
More here!

Lenore Tawney
"Union of Water and Fire II"
More here

Jacqueline Winsor
"Bound Square"
More here

Rosy Keyser
"Echo Chamber"

More work here

Katharina Grosse

2011-11-18T10:22:00.003-05:00

More can be found here!

Sascha Braunig

2011-11-17T16:47:00.005-05:00

Sascha Braunig combines vibrant color and an hypnotic style in works that reflect upon illusion and the surface of the image. In dream-like scenes where repetition and patterning are foregrounded, Braunig's female subjects emit an extrasensory glow. Flaring with reflected color, they are iridescent beings whose very skin seems to be a source of psychic power.

You can find more of her work here and here

Sam Moyer

2011-11-16T21:46:00.009-05:00

More of Sam Moyer's work can be seen here

Lillian F. Schwartz

2011-11-16T21:29:00.005-05:00

Pixillation

Googolplex

More here!

celeste dupuy-spencer

2011-11-16T17:00:00.001-05:00

check out her work here!

Niall McClelland

2011-11-15T23:47:00.000-05:00

"With folded photocopies, old bed-sheets, fragile newsprint, and other basic materials, Niall McClelland makes compelling works that radiate a sense of formal elegance with arte povera-like zeal and a little bit of the sneering contrariness born of punk music."
- Clint Roenisch

More of his work can be found here

Guadalupe Rosales

2011-11-15T20:00:00.001-05:00

During a few attempts to collaborate with friend and artist Lee Maida, we discussed the possibility of making objects or "wearable sculptures" using textiles and earth color schemes. The collaboration never happened but my interest in using these colors such as mustard, gold, greys, blues and greens continued so I began to make drawings. In these drawings, I was also interested in overlaying patterns and how lines took form.

You can find more of my work here

Yemenwed

2011-11-14T21:00:00.003-05:00

No Image, Commercial Breaks

No Image "Aero"

No Image "Pharma"

No Image "Frag"

More work by Yemenwed can be seen here

Quilt Trails

2011-11-14T06:00:00.003-05:00

Hi everyone, I'm super excited to be this week's guest blogger. The following images made me want to go on a road trip. Hope you enjoy them as much as I did. I am also adding a few links where you can find some interesting "quilt trails" across rural America.

The quilt trails are part of a growing phenomenon that has swept across rural America involving 29 states and two Canadian provinces. The concept began a decade ago by one Donna Sue Groves, paying tribute to her mother, a fifth-generation quilter, by painting a quilt square pattern on the family’s farm in Manchester, Ohio. According to a quilt trail website, it is estimated that more than 3,000 barns are adorned with quilt patterns. McDowell Quilt Trail is continuing this tradition as a tribute to our Appalachian heritage.

The farm in which the Log Cabin pattern is displayed is the Eden Shale Research Farm for the University of Kentucky. This pattern was chosen by Mrs. Bessie Hawkins, widow of O.D. Hawkins, the first farm manager and Barbara Wyles, wife of Joe Wyles, second farm manager.

Two LeMoyne Stars

Quilter: Donna Sue
Location: Old St Rt 32 Peebles, OH

Two LeMoyne Stars squares adorn another barn in Adams County.

Grandmother's Flower Garden

Quilter: Essie Merck
Location: 738 Old Seneca Road, Central SC

Essie Merck once lived on the property where this block is displayed. For generations, this site was the original Six Mile Community Post Office and farm of the Merck family. The current owner of the property, Cindy Blair, chose the pattern to honor Essie, but changed the original colors. The pattern reminds her of the old Granny Square afghans her great-grandmother, Minnie Gokey, crocheted in colorful florals with a black background.

"A Quilt Trail is a series of painted wood or metal, hung or free standing, quilt squares installed at various locations along a route, emphasizing significant architecture and/or aesthetic landscapes. Currently North America has quilt trails in 27 of the United States as well as in several Canadian provinces, such a British Columbia."

you can find more here and here

guest blogger • guadalupe rosales

2011-11-14T01:00:00.000-05:00

a big hello to guest blogger guadalupe rosales. throughout this week guadalupe will explore the various ways that artists employ textiles as foundation for work in other media. as she explains: "in collecting this group together, i looked for traces. i considered the qualities textiles have and therefore the ways that they could influence another medium and also the forms textiles take to presence those representations as well. how does a flowing limp thread translate into a hardened photograph, a gesture in a video or jeans painted on a naked body?" more about guadalupe here and here.

[guadalupe rosales. indigo dye. brooklyn. 2010.]

paula muhr

2011-11-13T06:00:00.000-05:00

work by paula muhr. " a reinterpretation of medical photographs of women from the end of 19th and the beginning of 20th century...through slight transition in symbolic meaning, this work aims to problematise the apparently stable visual boundary established within the medical context between the 'normal' viewer and the 'pathognomic' patient." see more here.

[all paula muhr. from the series double flowers. 2010-11.]

john menchaca

2011-11-13T01:00:00.000-05:00

work by john menchaca. see more here.

[all john menchaca. collateral damage.]

mark menjivar

2011-11-12T05:43:00.005-05:00

mark menjivar's 'i remember when project' collects his family's old kodachrome slides and super 8mm films and houses them as an archive in his guest bedroom closet. see more here.

[all mark menjivar. from the archives of joe font.]

meriç algün ringborg

2011-11-12T04:44:00.006-05:00

meriç algün ringborg's 'the risk of being in public' project is "a yearlong journal containing 136 notations where each account describes a photograph taken in public by an unknown person in which the artist has noticed she appears in the background." see more here.

[all meriç algün ringborg. the risk of being in public. 2011.]

kate steciw

2011-11-09T02:55:00.002-05:00

work by kate steciw. see more here.

[all kate steciw. from the series commodity derivatives. silver gelatin prints, dimensions variable also available as c-Prints, ink jet prints, giant wall stickers, duvet covers, couch throws, personalized kellogg's® rice krispie® treats, chenille photo pillows, photo tote bags and custom t-shirts...]

jeremy edwards

2011-11-08T01:00:00.000-05:00

work by jeremy edwards. see more here.

[all jeremy edwards. from the series perhaps you have a real gift.]

occupy student debt

2011-11-07T01:00:00.000-05:00

"we were told to work hard and stay in school, and that it would pay off. we are not lazy. we are not entitled. We are drowning in debt with few means of escape. we would give anything to pay our debt, but we are un(der)employed due to the jobs crisis and lack of consumer protections and refinancing rights make things extremely difficult. the student loan bubble may not burst with a bang, but it is slowly suffocating us. please share your story. we stand in solidarity with the 99 percent." see more here. contribute here.

[all from www.occupystudentdebt.com.]

after bellmer

2011-11-06T01:00:00.001-04:00

after bellmer, launched in 2011 by cortney andrews and talia chetrit, is an online feminist quarterly of contemporary art and writing. the project is designed to create a dialogue surrounding the many facets of contemporary female identity and sexuality. see more here.

[from after bellmer online quarterly. the bellmer isssue. volume 1, issue 1. hans bellmer. la poopee. 1938.]

bryan dooley

2011-11-05T05:47:00.003-04:00

work by bryan dooley. see more here.

[all bryan dooley. 2011. geneve. realness in space. palm studies.]

martín batallés + gabriela costoya

2011-11-02T01:00:00.000-04:00

work by martín batallés + gabriela costoya. see more here.

[all martín batallés + gabriela costoya. from the series el mejor cumpleaños.]

lucas blalock

2011-11-01T01:00:00.000-04:00

work by lucas blalock. see more here and here.

[all lucas blalock. top to bottom: milk maid. 2010. tire. 2011. double chimney. 2011.]

will rogan

2011-10-31T01:00:00.001-04:00

work by will rogan. see more here.

[all will rogan. silencer (MUM). 2007. altered magazine pages. top to bottom: #2, #5, #3.]

anne de vries

2011-10-30T01:00:00.000-04:00

work by anne de vries. see more here.

[all anne de vries. cave2cave.]

akram zaatari

2011-10-29T06:00:00.000-04:00

work by akram zaatari. see more here.

[all akram zaatari. top to bottom: untitled. 1997/2007. souvernirs from the front. 2007. untitled. 2007.]

peter watkins + oliver shamlou

2011-10-26T01:00:00.000-04:00

as peter watkins describes his 'wars we lost' series: "a collaborative project between the writer oliver shamlou and myself. the project followed many months of conversational toing and froing concerning the relationship between literature and photography. we were interested in the reception and validity of literature vs. the way in which we digest and receive photographs, and our relationship to both mediums in terms of reality. it was important for us to put together a project where both mediums were presented on an equal footing, and were somehow integral to the reading of the other. this represents a start point for me in exploring the close relationship literature and photography can have in our reception of artworks and reality." see more here.

[all peter watkins + oliver shamlou. from the series wars we lost. 2010.]

oraib toukan

2011-10-25T01:00:00.000-04:00

work by oraib toukan. see more here.

[all oraib toukan. ongoing. top to bottom: may ’68, detail from a series of 70 c-type prints each 3.5 x 3.5 inch. untitled (jerash); detail from a proposed work on jordan’s exhibition of a pillar transported from jerash to new york for the 1964 world fair. from untitled (extracts), detail: images & objects, objects or images.]

the surplus library

2011-10-24T01:00:00.000-04:00

the surplus library "consists of books relevant to the topic of affect and economic exchange. the project functions as an idiosyncratic register of literature on this specific topic, while concurrently embodying the subject of its holdings: quasi economic, non-monetary exchanges trading on affect." a project by antonia hirsch. see more here.

[all books from the surplus library.]

metehan özcan

2011-10-23T01:00:00.000-04:00

work by metehan özcan. see more here.

[all metehan özcan. from the series part of the story.]

jeroen jongeleen

2011-10-22T01:00:00.001-04:00

work by jeroen jongeleen. see more here.

[all jeroen jongeleen. top to bottom: who's afraid of red, yellow and blue, and green, and orange, and purple [..], paramaribo suriname. 2008. 100 referencepoints, various locations 1998-2003 (photo gerco de ruijter). momentum (is the product of the mass and velocity of an object). 2009.]

johan eldrot

2011-10-21T01:00:00.000-04:00

work by johan eldrot. see more here.

[all johan eldrot, from mixed media installation works. top to bottom: astral projection, into the expanse. 2011. a flight to the land beyond the north pole I, II & III (collaboration with erik larsson). 2010-2011. remember me when the sun sets. 2010.]

joana hadjithomas + khalil joreige

2011-10-20T01:00:00.001-04:00

joana hadjithomas + khalil joreige's 'wonder beirut: postcards of war' project: "a selection of pictures taken between 1968 and 1969 then burned between 1975 and 1990 by the photographer depending on the shelling and destruction caused by armed conflicts. by publishing and distributing these images, we are trying to fight the trend which puts the lebanese civil war between brackets and includes the lebanese conflict only marginally in our contemporary history, and which prefers to idealise the past and project itself into an uncertain future." see more here.

[all joana hadjithomas + khalil joreige. wonder beirut: postcards of war.]

occupied wall street journal

2011-10-19T01:00:00.000-04:00

issue 2

issue 1
"occupy wall street is the beginning of a whole new kind of democracy: a bottom-up people's democracy led by the 99%. it is a bold vision for the future that is beginning to inspire the nation. however, to pull it off, we're going to need a robust people's media unbeholden to corporate money. if we want people's democracy then we've got to build a people's media--the two are inseparable. we want to be the people's media...occupy wall street media is not the "official" media of the occupation--there is no official media! this is one attempt by a group of journalists who support the occupation to offer a way for the general public to hear the stories, perspectives and ideas from inside the movement. we think the more voices, ideas and media the better." more info here.

occupy livestreams

2011-10-18T01:00:00.005-04:00

new york city

boston

los angeles

detroit

toronto

london

amsterdam

and watch livestreams from many more occupy locations across the us and around the world here.

we are the 99 percent

2011-10-17T01:00:00.002-04:00

from the we are the 99 percent tumblr: "we are the 99 percent. we are getting kicked out of our homes. we are forced to choose between groceries and rent. we are denied quality medical care. we are suffering from environmental pollution. we are working long hours for little pay and no rights, if we're working at all. we are getting nothing while the other 1 percent is getting everything. we are the 99 percent. view the full archive here and add your own photo here.

2011-10-16T00:59:00.004-04:00

Houdini straddles crate before going into water, July 20, 1914

Thanks for letting me be your guest blogger for the week!

Jill Frank

2011-10-15T15:00:00.003-04:00

New work from the series Romance

More Jill Frank! Here.

Jessica Labatte

2011-10-15T00:54:00.013-04:00

Jessica Labatte, Surface Effects #7, #4, #8, 2010

Jessica Labatte, The Brightness, 2010

Jessica Labatte, The Situation, 2010

Jessica Labatte, Self Portrait with Beach Hair, 2011

More Jessica Labatte here.

Sara Condo

2011-10-15T00:30:00.010-04:00

Sara Condo, Sam Flower, 2008

Sara Condo, Mom watching QVC, 2007

Sara Condo, Bad Title, 2008

Sara Condo, Mom in the snow, 2008

Sara Condo, MJ 23, 2009

Sara Condo, Dreamgirl, 2011

More of Sara's work here.

Eileen Mueller

2011-10-14T23:05:00.014-04:00

Eileen Mueller, In Memoriam, 2011

Eileen Mueller, Beruf, 2011

Eileen Mueller, Car, tent and companion, 2011

Eileen Mueller, Aleks (after Eleanor), 2011

Eileen Mueller, Cruel Way, 2011

Eileen Mueller, Heimweh (homeache), 2011

Eileen and Jamie Steele (see Jamie's work here) have recently launched a new project called GURL DON'T BE DUMB. Follow along!

Billy Buck

2011-10-14T00:13:00.011-04:00

Billy Buck, Untitled

Billy Buck, Perfect 10

Billy Buck, Starry Night Sky (seascape)

Billy Buck, Lamp

Billy Buck, Peel

Billy Buck, Pasta Cube

Billy Buck, The Way of Things

Billy Buck, besides having a great name, is based in Chicago. See more here.

Karolina Karlic

2011-10-13T12:16:00.015-04:00

Body Shop Boys, Metro Detroit, Michigan

These images are from Karolina's series ELEMENTARZ. In her words:

"ELEMENTARZ (2010), tracks the reach of the U.S. auto industry (stretching from Detroit to California to Eastern Europe, where my father implemented new industrial plants) while depicting the efforts at communication between engineer father and artist daughter. Both images and excerpts of conversation allude to fractured ideologies of individual worth, religion and family, while signs of car culture mixed with evidence of economic plight recur. A mood of longing pervades ELEMENTARZ, coupled with absentminded dreaming, characteristic of both Eastern European immigrants and African Americans of the Great Migration."

Mason Motors Thunderbird, Excelsior, Minnesota

Father and Son, Preston, Mississippi

Here's one excerpted conversation from her publication ELEMENTARZ:

It was long time since we talk together. I missed you. I hope that everything is OK with you and your project(s)? I am really busy here - too many things too less resources. Nevertheless, we all here have very nice problem -we have too much work and customer orders. People are very nice. Everything looks here strange and grey. Life is simple for me - work and hotel. I missed badly my wife and my daughters. I am hoping that I could get back to Detroit next Saturday. Original plan was to fly back tomorrow but I have a lot of problems with some machinery here and had to stay here longer.
I will try to call you tomorrow. Stay in touch.
Father

Father Shaving Nr. 1

Father Shaving Nr. 2

Father Shaving Nr. 3

Strawberries on White Satin Sheet, Wroclaw, Poland

Factory - west end, Swindnica

Installation view of Factory - west end, Swindnica

Mother in red dress, Krasnik

Fiat, Wroclaw

Father before the storm, Garbatka

You can see more of her work here.

Cole Don Kelley

2011-10-12T23:52:00.013-04:00

Cole Don Kelley, Halloweenie eating rabbit

Cole Don Kelley, Cameron eating watermelon

Cole Don Kelley, Window of the Intensive Care Unit

Cole Don Kelley, Self Portrait in the car

Cole Don Kelley, Christmas Dinner (Forgotten Older Photo)

Cole Don Kelley, Danica and Connor sleeping

Cole Don Kelley, Messy Matt

Cole Don Kelley, Emily on the Beach

Cole is based in Chicago. More work here.

Muse & Museo Publications, Takashi Murata

2011-10-12T23:28:00.007-04:00

First off, this: http://muse.museomagazine.com/

And this also:
Takashi Murata from series Get Your Ass to Mars. More work here.

Takeshi Murata, Gumbone and Coke, 2011, Pigment print, 23.2 x 32 inches

Takeshi Murata, Cyborg, 2011, Pigment print, 28 x 42 inches

Takeshi Murata, Golden Banana, 2011, Pigment print, 30.45 x 42 inches

Takeshi Murata, Art and the Future, 2011, Pigment print, 32.5 x 50 inches

Jessica Dean Camp

2011-10-11T12:54:00.009-04:00

Jessica Dean Camp, Dead Planet, 2010

Jessica Dean Camp, Untitled, 2011

Jessica Dean Camp, Rip, 2011

Jessica Dean Camp, Untitled, 2010

Jessica Dean Camp, Self Portrait, 2011

Jessica Dean Camp, Anxiety, 2011

Jessica Dean Camp, Another Planet, 2011

Jessica is based in Chicago. More of her work here.

Ruins

2011-10-10T10:38:00.002-04:00

Installation view of The Sun, 1957 from Sun Ruins

Hello from the West Coast! In honor of the final week of my show, Sun Ruins at Golden Gallery in New York, I'm posting my favorite heart-breaker of ruination: photographer Carleton Watkins (pictured with cane) being led away from his studio in the aftermath of the 1906 San Francisco earthquake and fire. The contents of his studio were destroyed.

This image is from the Bancroft Library Archive at the University of California, Berkeley. More of their San Francisco Earthquake and Fire images can be found here.

Thankfully, this gem wasn't destroyed:

Section of the Grizzly Giant, 33 Feet Diameter, Mariposa Grove, Yosemite, No. 111, Albumen silver print, 17 x 20 1/2 in.

From the Getty: "Galen Clark, the figure in this photograph, was designated as the guardian of the Mariposa Grove of giant sequoia about the time Abraham Lincoln ceded it to California in 1864. When this picture was made, Clark lived in a cabin (not pictured) nearby and maintained a rustic way station for visitors traveling to Yosemite Valley via the Mariposa Trail, which was developed in 1859. "

Click here for the Getty's online archive of Carleton Watkins photographs.

guest blogger • aspen mays

2011-10-10T06:00:00.000-04:00

hello to this week's guest blogger, artist aspen mays. see more of her work here.

[aspen mays. from the series sun ruins.]

Martha Rosler

2011-10-09T11:23:00.007-04:00

A selection from Martha Rosler's Bringing the War Home: House Beautiful (1967-1972 and 2004).

Dear Reader,
I had a wonderful time posting this week and I hope you enjoyed viewing the work as much as I did. As the amount of imagery we come across exponentially increases, I hope you stay sensitive to the images you encounter, especially the violent and grotesque.Thank you for following along and a big thank you to I <3 Photograph!
Cheers,
Lisa

Cindy Sherman

2011-10-08T10:10:00.009-04:00

A selection from Cindy Sherman's series Fairy Tales and Disasters

Dacia Pierson

2011-10-07T09:19:00.001-04:00

Slaughter is a documentation of the method by which an animal becomes food. Pierson explores both the grotesque nature of a means to death as well as the fascination to learn more about that process. Below is a small selection.

**PLEASE NOTE SOME IMAGES CONTAIN GRAPHIC CONTENT**

More of Dacia's work can be viewed here.

Kathryn Parker Almanas

2011-10-06T15:34:00.001-04:00

To view more of Kathryn's work click here.

2011-10-05T09:30:00.003-04:00

Below is a small selection of WWII photographs from The Atlantic. These images act as a vessel to understanding the destructive and grotesque effects of such a pivotal event in world history.

Please note that some of these images contain graphic content.

The Atlantic is curating an online 20 part retrospective of WWII photographs. A new installment will be published here every Sunday until October 30th.

Hannah Wilke

2011-10-04T12:53:00.004-04:00

Selection from Hannah Wilke's final series Intra-Venus. Wilke chronicled the effects of her chemotherapy treatment between December 1991 and August 1992. She died January 28, 1993.

Raphael Dallaporta

2011-10-03T10:54:00.001-04:00

Selections from Raphael Dallaporta's series Antipersonnel.

Antipersonnel Bounding Fragmentation Mine. M- 16. USA.
When detonated the M-16 antipersonnel bounding fragmentation mine is shot up approximately 1.5m in the air and explodes within 0.5 seconds, creating a lethal radius of 10m. Nicknamed the "Bouncing Betty," each mine is supplied with four tripwires (two olive-green, two sand-colored) and a wrench. In September 2002 (the most recent available statistics), the USA had 465, 330 M16s in stock.
d: 100mm
wght: 3.75kg

Antipersonnel Blast Mine. PDM-57. Soviet Union.
This obsolete antipersonnel blast mine is an improved version of the PDM-6, which was used by the Soviet Union during the Second World War. Decay of the mine's wooden casing means that it becomes increasingly unstable the longer it is left in the ground.
w: 130mm
wght: 500g

Submunition. ZAB-500. Russian Federation.
The flammable liquid in each of the 775 submunitions in a ZAB-500 incendiary bomb is designed to burn in the air, creating "fire rain." If dropped at an altitude of 300-600m a single ZAB-500 leaves a footprint of 5,600-9,000 square meters. The weapon can also be set so that the submunitions do not burn until they impact with the ground.
d: 60mm
wght: 400g

Antipersonnel Direction Fragmentation Mine. M-18/A1. USA.
A "Claymore" directional fragmentation mine releases 700 steel balls when detonated by a hand-turned dynamo, a tripwire or, when used with "Matrix" system, remotely using a laptop computer. (Multiple Claymores can also be linked together using a detonator cord). A 1966 Department of the Army field manual states that, "the number of ways in which the Claymore may be employed is limited only by the imagination of the user." In September 2002 (the most recent available statistics), Claymore made up to 403,096 of the 10,404,148 landmines stockpiled by the USA.
w: 210mm
wght: 1.58kg

Antipersonnel Blast Mine. GMMI-43. Germany.

Used by Nazi forces during the Second World War, this antipersonnel mine's glass construction and chemical fuse render it undetectable. Glass fragments- that enter the body after the mine is triggered by pressure on the interior glass plate- are also undetectable to X-rays. In 2004, Colombian government sources said that homemade glass mines were being used by guerrilla forces in the country.
d: 135mm
wght: 1.2kg

guest blogger • lisa gonzalez

2011-10-03T06:00:00.000-04:00

welcome guest blogger lisa gonzalez. as she describes the starting point for what she will contribute to i heart photograph this week: "i’ve been interested in exploring the reasons as to what makes it difficult, and some times pleasurable, to look at images depicting death, danger, suffering, or the grotesque. the photograph allows the viewer to safely examine a scene, an event, or an object removed from the threat such subjects impose. the photograph becomes a safe platform in which the viewer can examine the subject, but not have to actively participate, or be the subject. i'll choose work that deals with subjects that allude to death, the body, and mortality, in some capacity. but, these photographers go beyond the documentation of those themes, and present their subjects as approachable and almost inviting." see some of lisa's own work here.

[lisa gonzalez. from the series homes.]

Compasses

2011-10-02T16:39:00.000-04:00

Sand drawings, circled by grass and the wind, ongoing collection, Curonian Spit, Lithuania, Eva-Fiore Kovacovsky, fall 2011

The oldest living things in the world

2011-10-01T16:09:00.000-04:00

La Llareta #0308-23b26 (up to 3,000 years old, atacama desert, chile)

Welwitschia Mirabilis #0707-22411 (2,000 years old; namib naukluft desert, namibia)

Underground Forest #0707-10333 (up to 13,000 years old; pretoria, south africa)

The oldest living things in the world (OLTW) is a project in process by the american photographer Rachel Sussman in which she searches, visits and photographs "continuously living organisms 2000 years old and older". She also says: 'I am trying to create a means in which to step outside our quotidian experience of time and to start to consider a deeper timescale." It's also interesting to just read about this different living things as they all are somewhat odd and extraordinary. You Rachel Sussmans TED talk about this project here.

Herbarium of unknown

2011-09-30T16:29:00.004-04:00

I got this herbarium consisting of grass specimens as a present. The maker of it is unknown. The sheet are labeled with name of specimen, date and place of finding in a beautiful old handwriting. The grasses have left direct prints on the opposite pages.

Herbarium At Home is a volunteer-based project that aims to catalogue and make available the wealth of data represented by the historical herbarium collections held by universities and museums in Great Britain. Everyone can join and help label (and in return look at the most amazing examples for free).

Raphael Hefti

2011-09-29T18:19:00.003-04:00

Installation view, Fluxia, Milano

Raphael Hefti, Lycopodium, 2011, Photograms on photographic color paper using the gently burning spores of the mossplant Lycopdium, dimensions 100 x 160 cm, unique copies

"Raphael Hefti is an alchimist in his own right, he forms steel bars fragile as glas, lightens up whole mountain valleys or grows mushrooms on buckets in the exhibition space. His faszination and in- terest in the aesthetic potential of chemical processes and technical procedures is also the starting point for his work on view at Kunsthalle. In memory to Phlogiston (2010/11) and Lycopodiumprints (2010/11) are large format black and white and color photograms which have been exposed with the spores of the Lycopodium plant. The fine pored powder, which is known as medicine in Homeopa- thie and because of his high inflammability was called „witch craft xxx“ in the Middle Age , is used by Hefti as the light source of his images. The composition is foremost an accidental one – similar to the methods used in Drip or Action paintings in American Expressionism or Andy Warhols re- ference to these (Piss Paintings, 1977-78) – and the image composition is based on the immediacy of the material’s touch on the image carrier, every trace are to be visible. On the black and white photograms the light leaves surprisingly fine structures and layers, the color prints depict a spectre of lucid colors with unexpected depth." Kunsthalle Basel, 2011

Veronika Spierenburg - From right to left

2011-09-28T22:00:00.000-04:00

Veronika Spierenburg, From right to left, site-specific action, National Library Helsinki, blu-ray video, 16 min, 2009

See more of Veronika's work here.

Gwenneth Boelens

2011-09-28T18:19:00.002-04:00

Hand-Wall, 2007, 16 mm film (original) or digitized on monitor, duration 4 min 35 s

"Scanning the environment by eye-sight is an essential characteristic of Boelens’ work and taken literally in her filmic work Hand-Wall. As if to ascertain over and over again the limitations and restrictions, a person’s hand wanders along the walls and the windows of an undefined room. As the eye follows this movement a loose impression emerges – a feeling of the space that nevertheless remains insecure and is additionally interrupted by the look outside." (from The Entire Business of Coming Closer press release 2008)

Installation view Klemm's, Berlin

Negative. Rather than Truth, 2010, wood from reproduction table, ceramic notepad, magnifying glass, metal, crayon on glass, ink-jet prints, 68 x 58 x 74 cm "Negative. Rather than Truth alludes to the idea of a source image through a handmade negative. The title refers to its status; it is an attempt to get to a distillment of reality. It did not yet materialize as an image; it rather precedes the image."

You can see more of Gwenneth's work here and here.

Max Ernst - Histoire Naturelle

2011-09-28T00:45:00.000-04:00

"Histoire Naturelle" by Max Ernst consist of of a portfolio with thirty-four collotypes after frottage that he made in 1925. Like the nature prints this works are assembled from physical surfaces that he printed in the of him invented frottage technique to construct his own, surreal images.

You can see more of the prints here.

The nature printed British sea-weeds

2011-09-27T19:22:00.000-04:00

One more example of nature printing. The Nature-printed British Seaweeds, published by Henry Bradbury, (1859–60)

Nature printing

2011-09-27T04:33:00.002-04:00

In 2010 I started a research on the arrangement and reproduction of plant specimens at the Mertz Library of The New York Botanical Garden. The library posses a large collection of rare books and herbariums, produced in many early methods of reproduction. It was there that I got introduced to nature printing, a technique that intrigued me through it’s potential to depict not only the appearance but also the physical surface of plants. The nature print technique was already used by Leonardo da Vinci, who printed the impression of an inked sage leaf in his notebook (Codex Atlanticus 1505). In 1830 printer in the Wiener Staatsdruckerei in Austria began to imprint plants on lead plates and use these as print forms. This was in a time when photography was still in its beginning and of no competition. The images remind on photographs as they are very precise in reproducing physical flat objects. I like how the printers where trying to the arrange the whole plants on the printing plates, as they where 1:1 reproductions in size. "Physiotypia plantarum austriacarum. Der Naturselbstdruck in seiner Anwendung auf die Gefässpflanzen des österreichischen Kaiserstaates, mit besonderer Berücksichtigung der Nervation in den Flächenorganen der Pflanzen", Constantin von Ettingshausen & Alois Pokorny, Viena, 1855–1873 This work consists of 12 volumes and depicts a total of 1000 plant specimens. You can look at this work in real at the Mertz Library of the The New York Botanical Garden. Its hard to find good reproductions of this books on the internet, so far the best once I saw where on ebay or just use google.

Another book produced in the nature print technique: "The ferns of Great Britain and Ireland" by Henry Bradbury, 1855. You can see scans of the book here.

Anna Atkins

2011-09-26T12:15:00.003-04:00

Anna Atkins (1799 - 1871) was an English botanist and photographer. Atkins father was a close friend of Sir John Herschel who invented the Cyanotype process in 1842. Atkins applied this technique in her that self published in its first installment in 1843, which makes it the first book illustrated with photographic images. "Photographs of British Algae: Cyanotype Impressions" consisting of photograms of algae that were contact printed "by placing the unmounted dried-algae original directly on the cyanotype paper". I have seen the book in real on display at the Metropolitan Museum of Arts, New York and almost could not get myself move away from the glass vitrine in which is was placed (last picture).

You can see all pages of the book here.

Lithuanian National Costume

2011-09-26T10:53:00.000-04:00

Scans of "Lithuanian National Costume"(by Baltos Lankos), a book I have purchased in Nida at the Maxima, (the one and only supermarket here in the village). It's a collection of re-enacted photographs of people wearing 19th century national costumes of Lithuania, published in 2006. I am mostly intrigued by the strange mixture of the celebration of folk culture and it's staged presentation but also look at them with some humor.

guest blogger • eva-fiore kovacovsky

2011-09-26T08:41:00.003-04:00

hello to this week's guest blogger eva-fiore kovacovsky. eva is blogging from an artist residency in nida and reports: "nida is great! like living in my own time zone somehow. beautiful it is, all the sand, the wind, the dunes, the sun..." see more of her work here.

[eva-fiore kovacovsky. halm (inkjet photocopies of blades of gras, paper bound in green linen). 2010-11.]

archive • Green Screen Wizard

2011-09-22T06:00:00.001-04:00

green screen wizard has some good samples of what you can do with it's software. more here.

[all from Green Screen Wizard]

archive is a column by asha schechter

archive • Russian Archives Online

2011-09-21T06:00:00.001-04:00

a nice collection of pictures of yuri gagarin, the first man in space. see more here.

[all from russian archives online]

archive is a column by asha schechter

archive • Army Libraries Through the Years

2011-09-20T06:00:00.002-04:00

these pictures of soldiers in libraries are mostly from the 1940's and are in a sub-section of the us army center for military history website. more categories here.

[all from us army center for military history]

archive is a column by asha schechter

archive • Jacques Fortier

2011-09-19T06:00:00.003-04:00

It's not entirely clear what Jacques Fortier's website is focused on, but he has a large collection of images relating to space, aliens and conspiracies. See more here in an old-style HTML list.

[all from Jacques Fortier]

archive is a column by asha schechter

Jochen Lempert

2011-09-18T05:51:00.004-04:00

all works by Jochen Lempert. more here.

[all by Jochen Lempert, from the series SKULPI, 2010]

Heji Shin

2011-09-18T05:49:00.004-04:00

by Heji Shin. more here

Simone Gilges

2011-09-17T23:43:00.006-04:00

all works by Simone Gilges. more here.

[all by Simone Gilges, Raum, 2009, eye in the sky, 2009, bois du monde, 2009]

Roman Schramm

2011-09-17T23:36:00.003-04:00

more here.

[roman schramm, strategy in the realm of wishes, 2009]

Petra Hartmann and Stephan Schmitz

2011-09-17T05:37:00.004-04:00

all works by Petra Hartmann and Stephan Schmitz.

[all by Petra Hartmann and Stephan Schmitz, Kölner Stämme, 1991]

Hella Gerlach

2011-09-17T02:43:00.006-04:00

all works by Hella Gerlach.

[all by Hella Gerlach, o.T. (Huzar 28), 2011, o.T. (Kawasaki ZX-10R), 2011]

Philip Gaisser

2011-09-16T03:34:00.004-04:00

all works by Philip Gaisser. more here.

[all philip gasser, the dolphins were monkeys that didn´t like the land, 2010, misr, 2009, mono block, 2009]

Armin Lorenz

2011-09-15T11:39:00.003-04:00

all works by Armin Lorenz. more here.

[all armin lorenz, from the series audun ferme, 2009]

Michael Schmidt

2011-09-14T17:05:00.006-04:00

all pictures from Michael Schmidt. more here.

[all michael schmidtl, untitled 1984, and from the series "berlin wedding" 1976-1978]

Georg Petermichl

2011-09-14T16:55:00.005-04:00

all works by Georg Petermichl. more here.

[all georg petermichl, after h. kühn, I and II, from the series familie 2004-2010]

Susanne Winterling

2011-09-14T08:49:00.006-04:00

all works by Susanne Winterling. more here.

[all susanne winterling, menschheit, 2006, angstapparat - effie briest, 2006, lovemiddleheart, 2007]

F.C. Gundlach

2011-09-14T03:38:00.004-04:00

all works by F.C. Gundlach, more here.

[all f.c. gundlach, egypt, 1966, lebanon, 1962, morocco, 1964]

Cecila Szalkowicz

2011-09-13T06:49:00.006-04:00

all works from Cecilia Szalkowicz. more here.

[all cecilia szalkowicz. from there series las cosas, 2010]

Egbert Haneke

2011-09-13T04:15:00.004-04:00

works by egbert haneke. see more here.

[all egbert haneke. from there series mockup, 2007]

Birgit Megerle

2011-09-12T10:05:00.008-04:00

all works by birgit megerle. see more here.

guest blogger • roman schramm

2011-09-12T00:15:00.005-04:00

hello to this week's guest blogger roman schramm. see more of his work here.

[roman schramm. verstoss. from the series im haus des menschen.]

Marina Pinsky

2011-09-11T11:59:00.012-04:00

Workspace: Could you talk about your process and what draws you to the still life? I know you photograph elaborately constructed tableaus. Can you talk about their relationship to sculpture?

Marina Pinsky: What drew me to this genre initially was that I wanted to create a historical narrative with images of food that eliminated the neutral environment of a typical product photograph. So, the first such photos I made really were elaborately constructed period pieces, that period being the "cold-war era." I made backdrops of collaged images to provide the still lives with a specific historical context. The photographs also had stacks of books, the titles of which pointed to different possible lineages for the objects they were propping up. They were massive constructions that were trying to take what I would previously have made a photographic series and condense it into one photo. But the possibilities of working with still lives grew when I started to think more formally, rather than historically, about each element of the photograph. I've since been using new methods of collage, decollage, painting and drawing within the backdrops. I've also been building objects to be photographed, casting bottles or altering packages. I don't think making props makes the photographs sculptural, but I do think that altering the space the props inhabit does. As I learn how malleable the space of a photograph is, the pictures become more and more sculptural.

WS: In the past you’ve made a series of photographs that dealt with Soviet-era Russia. Could you talk about the struggle of representing the culture of a country in your work?

MP: I was born in Moscow and I've tried to understand my relationship to the culture of that city in some works, but it is always very problematic. I can't represent Soviet culture from memory or experience. I have only borrowed experiences of Soviet culture from literature, art, film and anecdotes. In the past, I have photographed physical traces of Soviet culture in contemporary Russia. These images have always just showed these remnants in relation to another culture. Even the still life from last year with Soviet groceries was half of a diptych and had an American parallel. These photos quite generally showed how two cultures once sold fear and didn't have a specific analysis of the culture on either end. For now, I am less interested in mining the archive of Soviet culture and more interested in watching the rapid development of contemporary Russian culture.

WS: What first struck me about your work is that it seems to draw you back to a specific place or time. Could you talk about the role of nostalgia in your work?

MP: My work attempts to draw a line between processing history through making an image and generating false nostalgia from an otherwise banal object. I don't want to create a fetish through the way I photograph an object. Formally, my photos tend to flatten things out, to mix things together optically and to privilege the containers of things rather than the things themselves. I don't photograph objects the way I do to give them any mystical significance or to elicit any sort of judgment of taste about these objects. I just want to slow down the way people look at the prints so they can study these objects and consider the histories that brought them into the world.

Marina Pinsky's solo show at Workspace opens on November 5th, 2011.

[all images Marina Pinsky, 2011]