A collection of some of the most striking images of 2022.
via The New Yorker: https://www.newyorker.com/culture/2022-in-review/an-evocative-year-in-new-yorker-illustrationsA collection of some of the most striking images of 2022.
It’s a trip down memory lane.
via PetaPixel: https://petapixel.com/2022/08/24/photographer-spends-four-years-drawing-1000-35mm-film-box-designs/Akil Alparslan recreated a staggering amount of film roll packaging for his own pleasure, including brands such as Polaroid, Agfa, and Kodak.
Step Into the Tender World of a Hollywood Cameraman
LOS ANGELES — Part time capsule, part love letter, the exhibition If We Can’t Fix It—It Ain’t Busted at Arcane Space is a tender reconstruction of the world of Hollywood cameraman Arthur Gerstle.
Our memories are intimately tied to photographs. Whether a childhood portrait or sunset selfie, the photograph represents not just the captured moment, but how that moment is currently remembered. It’s nearly impossible to separate memory from the reality of experience. Walking down the street, we ignore one thing and gravitate towards another, while landmarks anchor us within a geographical space. But what captures or escapes our attention defines our recollection of that place. Japanese photographer Sohei Nishino’s work encapsulates this transient relationship between personal experience, memory, and place. Photography, like memory, is also defined by what is included or excluded from the frame. Like any curious photographer, Nishino weaves his way through each new city, making decisions about how to portray his surroundings. “When I’m shooting,” he says, “I am always thinking about what I’m trying to see within the events in front of me, what I am focusing on and how I feel about it.” An individual image can anchor the portrayal, but it’s how each fragment is pieced together that defines the journey and transports Nishino’s work into an expansive new realm.
Scouring markets for discarded photo albums, Pariwat Anantachina’s intricate collages patchwork old family snaps with instruction manuals, breathing new life into abandoned pictures.
Artist Greg Sand has a legacy of considering other people’s photographs, transforming the images in new ways to speak about memory, the passage of time, mortality, and the photograph’s role in shaping our experience of loss. We are thrilled to have Greg as our juror this month for the Vernacular Exhibition which will run on Saturday. Greg shares his own thoughts on the subject and Roland Barthes words from Camera Lucida, “Photography’s unique ability to capture a fleeting moment allows it to expose the temporality of life. “By giving me the absolute past of the pose… the photograph tells me death in the future… I shudder over a catastrophe which has already occurred.” These words from Roland Barthes’s Camera Lucida precisely describe how I feel when I consider a photograph so old that the subject must be dead. My response has a number of layers: I feel an immediate connection to the living person in the photograph, followed by a dread of what inevitably is to come for them, completed by a sense of grief over what has, of course, already transpired. This reaction is why my work utilizes found photographs, which I manipulate to create a narrative exploring mortality. My work aims to question the nature of photographs and challenge the traditional definition of photography.
In Immortal Chromatic, artist Kevin Hoth transforms the process of destruction into a cathartic act. Initially serving as a coping mechanism to a singular traumatic event, the project explores the inherent fragility and impermanence of life, and our inability to ever truly be prepared for what may come next. Hoth begins by photographing flowers with an instant camera, cutting and burning the images as they develop to irrevocably alter the trajectory of what they will become. The outcomes are unpredictable, but the way in which they are combined and arranged to create new compositions is a thoughtful and intentional process. In this way, the artist’s intervention is both an assertion of control and an exercise in letting go; a poetic acknowledgement that sometimes you have to destroy what is in order to realize what could be.
The most memorable illustrations of 2020, chosen by the art directors of The New York Times.
Karen Navarro constructs colorful, hand-crafted kinetic sculptures, creating photographic portraits which are as fluid as identity.
For decades he made his art in dingy Manhattan hotel rooms, living hand-to-mouth, hoping for his big break. It finally arrived, just a few years before his death.
In her Deutsche Börse-nominated project, Strand explores how photography might literally be transmitted into a painting, employing a method proposed by George H. Eckhardt’s 1936 publication — Electronic Television
He’s a master of manipulating the news media and the art market. But will he be remembered as a significant artist?
