Category: Art & Design

  • An Evocative Year in New Yorker Illustrations | The New Yorker

    An Evocative Year in New Yorker Illustrations

    An Evocative Year in New Yorker Illustrations

    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-illustrations

    A collection of some of the most striking images of 2022.

  • Photographer Spends Four Years Drawing 1,000 35mm Film Box Designs | PetaPixel

    Photographer Spends Four Years Drawing 1,000 35mm Film Box Designs

    Photographer Spends Four Years Drawing 1,000 35mm Film Box Designs

    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

    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.
  • Juxtapoz Magazine – Sohei Nishino: Listening and Assembling

    https://www.juxtapoz.com/news/photography/sohei-nishino-listening-and-assembling/
    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.
  • The L_st Album – Photographs by Pariwat Anantachina | Essay by Cat Lachowskyj | LensCulture

    https://www.lensculture.com/articles/pariwat-anantachina-the-l_st-album
    Scouring markets for discarded photo albums, Pariwat Anantachina’s intricate collages patchwork old family snaps with instruction manuals, breathing new life into abandoned pictures.
  • Focus on Vernacular: Greg Sand: Chronicle – LENSCRATCH

    http://lenscratch.com/2021/06/greg-sand-chronicle/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+lenscratch%2FZAbG+%28L++E++N++S++C++R++A++T++C++H%29
    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.
  • The Artist Intervenes: Kevin Hoth – LENSCRATCH

    http://lenscratch.com/2021/03/the-artist-intervenes-kevin-hoth/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+lenscratch%2FZAbG+%28L++E++N++S++C++R++A++T++C++H%29
    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 Year in Illustration 2020 – The New York Times

    https://www.nytimes.com/interactive/2021/01/14/multimedia/year-in-illustration.html
    The most memorable illustrations of 2020, chosen by the art directors of The New York Times.
  • The Constructed Self – Photographs by Karen Navarro | Interview by Liz Sales | LensCulture

    https://www.lensculture.com/articles/karen-navarro-the-constructed-self
    Karen Navarro constructs colorful, hand-crafted kinetic sculptures, creating photographic portraits which are as fluid as identity.
  • Frederick Weston, Outsider Artist Who Was Finally Let In, Dies at 73 – The New York Times

    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.
  • Clare Strand investigates communication and misinformation – British Journal of Photography

    https://www.bjp-online.com/2020/02/clare-strand-deutsche-borse-the-photographers-gallery/
    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
  • Banksy Is a Control Freak. But He Can’t Control His Legacy. – The New York Times

    He’s a master of manipulating the news media and the art market. But will he be remembered as a significant artist?
  • Joe Rudko: Tiny Mirrors | LENSCRATCH

    [contentcards url=“http://lenscratch.com/2019/12/joe-rudko-tiny-mirrors/”]

    Joe Rudko: Tiny Mirrors | LENSCRATCH

    I recently curated an exhibition, Beyond the Surface,  that will open at Cal Poly San Luis Obispo in January about artists who intervene with the surface of a photograph. In the process of considering work to include, gallerist Tarrah Von Lintel introduced me to amazing photomontages of Joe Rudko.  Joe currently has an exhibition, Tiny Mirrors, at the Von Lintel Gallery in Los Angeles, closing on Saturday, December 21st.

  • Juxtapoz Magazine – Kensuke Koike: Nothing Added, Nothing Removed

    [contentcards url=“https://www.juxtapoz.com/news/photography/kensuke-koike-nothing-added-nothing-removed/”]

    Juxtapoz Magazine – Kensuke Koike: Nothing Added, Nothing Removed

    Whether Kensuke Koike is tearing an image to pieces, or neatly shredding it into tiny ribbons, there is precision in his method. The mad scientist, a Dr. Frankenstein carefully dissecting and reassembling the bodies of the dead, he creates new life from neglected images. Seeing bounty in the abundance of discarded ephemera, Koike rescues photographs, postcards, and other spurned items he finds at flea markets and brings them home to be reimagined and reanimated in his laboratory. “I deeply believe,” he says, “that every image has the possibility of having a new birth.” The artist refers to this work as Single Image Processing because there is only one rule: nothing can be added or removed. Anything else goes. “The rule is not a lifetime rule, of course,” he explains, “but sometimes, instead of going the easy and secure way, working under a very restricting rule can open another approach.”

  • Juxtapoz Magazine – Play the Wind: A New Exhibition and Film by Alex Prager

    [contentcards url=”https://www.juxtapoz.com/news/photography/play-the-wind-a-new-exhibition-and-film-by-alex-prager/”]

    Juxtapoz Magazine – Play the Wind: A New Exhibition and Film by Alex Prager

    Alex Prager opens an exhibition of new work, including a new film, Play the Wind at Lehmann Maupin this week. Well established for her genre-defying approach to image making that timelessly combines eras, cultural references, and personal experiences, the photographs and the film debuted in this exhibition are a fresh reflection on Pragers place of origin, site of inspiration, and frequent character—the city of Los Angeles.

  • Juxtapoz Magazine – The Art of Warez Documents the Lost ANSI Art Scene

    [contentcards url=”https://www.juxtapoz.com/news/film/the-art-of-warez-documents-the-lost-ansi-art-scene/”]

    Juxtapoz Magazine – The Art of Warez Documents the Lost ANSI Art Scene

    British artist-filmmaker Oliver Payne and American painter Kevin Bouton-Scott have joined forces to produce a new documentary that tells an almost forgotten story of the ANSI scene. The Art Of Warez covers the days before the Internet when early hackers and online pirates created an original and, even today, a virtually unknown art movement.

  • We spoke to one of the internet’s most famous Photoshop provocateurs – Feature Shoot

    [contentcards url=”https://www.featureshoot.com/2019/07/we-spoke-to-one-of-the-internets-most-famous-photoshop-provocateurs/”]

    We spoke to one of the internet’s most famous Photoshop provocateurs – Feature Shoot

    Since Feature Shoot’s inception back in 2008, we’ve managed to showcase some of the best photographers on the planet. But of all the talented people we’ve had the pleasure to interview, only one has been able to capture Kurt Cobain’s secret pet Gremlin, exposed that Elvis is still alive, and witnessed the moment when Pablo Escobar met Mr. Rogers. We present Vemix, the digital artist that’s taking the world by storm.

  • The 25 Works of Art That Define the Contemporary Age – The New York Times

    [contentcards url=”https://www.nytimes.com/2019/07/15/t-magazine/most-important-contemporary-art.html”]

    The 25 Works of Art That Define the Contemporary Age – The New York Times

    Three artists and a pair of curators came together at The New York Times to attempt to make a list of the era’s essential artworks. Here’s their conversation.

  • Dan Eldon and the power of creative activism

    [contentcards url=”https://www.huckmag.com/art-and-culture/photography-2/dan-eldon-and-the-power-of-creative-activism/”]

    Dan Eldon and the power of creative activism

    On July 12 1993, the photographer and artist was killed while covering the humanitarian crisis in Somalia. So what can we learn from his legacy?

  • Juxtapoz Magazine – Ugur Gallenkuş’ Sobering Collages of a Polarized World

    [contentcards url=”https://www.juxtapoz.com/news/collage/ugur-gallenkus-sobering-collages-of-a-polarized-world/”]

    Juxtapoz Magazine – Ugur Gallenkuş’ Sobering Collages of a Polarized World

    Uğur Gallenkuş is a Turkish visual artist whose sobering digital photo collages have recently been shared across social media as a reminder of the unjust state of the world. This project started as a spontaneous reaction to the disturbing image of the washed-up body of three-year-old Syrian boy, Aylan Kurdi, back in 2015. It eventually grew into an ongoing series of brutally honest work that provides a real picture of the highly polarized world we live in.