Tuesday, July 31, 2007
Monday, July 30, 2007
ryan g. widger's work is like a cross between robert parke harrison's whimsical constructed worlds and franscesca woodman's claustrophobic corners. some of it seems a little heavy handed to me, but many of the images are stunning in their complete simplicity.
ryan is a graduate of cranbrook academy. he gives me hope i might fit in there after all.
Sunday, July 29, 2007
Friday, July 27, 2007
Thursday, July 26, 2007
Wednesday, July 25, 2007
Tuesday, July 24, 2007
Sunday, July 22, 2007
Saturday, July 21, 2007
my roommate and i were watching meet joe black (which i've seen like ten times at this point) and i had to look these up:
main entry: der·vish
etymology: turkish dervis, literally, beggar, from persian darvIsh
1 : a member of a muslim religious order noted for devotional exercises (as bodily movements leading to a trance)
2 : one that whirls or dances with or as if with the abandonment of a dervish
main entry: dif·fi·dent
pronunciation: -d&nt, -"dent
etymology: middle english, from latin diffident-, diffidens, present participle of diffidere to distrust, from dis- + fidere to trust -- more at BIDE
1 : hesitant in acting or speaking through lack of self-confidence
2 archaic : distrustful
3 : reserved, unassertive
synonym see shy
- dif·fi·dent·ly adverb
Friday, July 20, 2007
matthew siesco, an "a flickr a day" alumnus, has this charming photograph of himself holding a book of his own photographs on his flickr page. i'm almost as smitten with the photograph itself as i am with the book. it's only $10.50 (this just covers shipping, so it's quite a deal), but i need to wait for the reprint (it's understandably popular). and by wait i mean matthew siesco is going to get harrassed by yours truly until he's knocking his head against the wall (just like the guy in his below image, obviously).
the specs: 16 pages, 9" x 7", saddle-stitch binding, full-color interior ink
Thursday, July 19, 2007
Wednesday, July 18, 2007
his most recent body of work (example above), comepleted for his mfa at cranbrook, completely shocked me in how far it came from his work at drexel. if i remember correctly (which i do), brookes went straight from his undergraduate program into his graduate program. i was cautioned that such a choice is risky because you are unlikely to grow beyond your undergraduate body of work. i guess that is a common complaint or something, but this was not the case for brookes. at all. i can't help but wonder if the vastly different philosphies of the two programs provided a necessary framework for moving in such a new direction. if i knew him personally i might ask him.
brooke's project statement:
Pattern and system become a means to process and comprehend the world around us, and the decisions that we consciously and unconsciously make. Through the implementation of a system, form is generated and possibilities for understanding present themselves. The photographic experience lies at the forefront of these thresholds of understanding, and it is through this medium that we have the potential to better comprehend our behavior, as well as our digestion and embracing of the images that confront us everyday. Exploration and assessment of this photographic information is necessary to fully understand our relationship to the image and how that relationship shapes the way in which we interact and experience our world.
it took me a while to break down his project statement into something that fit with my reading of the work. for me, the images decronstruct the snapshot (amoung other things) in order to analyze, almost in a scientific way, how photography dictates our behavior and experience (i'm mostly trying to relate the statement to the above image).
it remains unclear to me, however, whether "pattern and system" refers to the snapshot as such a mechanism or if he is referring to his decision to implement his own system or pattern. either way, the work is really strong. brookes has a website, but there isn't anything on there yet.
i meant to thank catharine for the awesome job she did posting last week, but then i got distracted by the excitment of posting again myself. so for the record: thank you, you did such a phenomenal job.
i've been failing at writing this post for three days now. i keep reworking it, but it never feels resolved. so here i guess is the pertinent information: i spotted the below image on montmarte's sketchbook by anni leppälä. upon further investigation i found the above image. it reminded of anna gaskell's snow series. it also reminded me of bruegel paintings and harry callahan's abstractions of snow. i think that's all i wanted/needed to say.
Tuesday, July 17, 2007
Monday, July 16, 2007
Saturday, July 14, 2007
Thursday, July 12, 2007
Posted by whale/mouse at Thursday, July 12, 2007
Wednesday, July 11, 2007
Tuesday, July 10, 2007
Martin Parr is the editor of boring post cards and boring post cards USA. Apart from collecting postcards he also has the worlds largest collection of Saddam Husein themed watches. He is the king of making the banal interesting and could be linked to every topic discussed this week but I am going to try my best not to do that.
Beyond the fact that your postman is able to read how Rachel thinks her camp counselor is hot, post cards are also easy to keep and cheap mementos.
A few examples of the preferred method of grandparents when it comes to showing they care:
Post card related art is hard to come by, there are artists who collect post cards but few well-known artist that work in the format. This spring I saw a show at the 201 Gallery here in Philadelphia at the Crane Arts Building that included the work of artist Johanna Inman. She photographs the back of old slides, pictures, and post cards with a large format camera and blows up the images to 28x32 inch prints.
The new topographic movement in photography closely resembles the bland and strait-on documentary style of many architectural post cards. Here are a few images from Ed Ruscha's 26 Gasoline Stations:
Posted by whale/mouse at Tuesday, July 10, 2007
Monday, July 9, 2007
With rounded edges and bright garish colors the Betty Crocker vintage recipe cards embody the beauty of food photography and illustration. The pastel glory! If you are interested in looking at more covers of books or actually inside one you can go to a thrift store or browse the flicker cookbooks group.
Here are a few artists who use food in their photography:
Posted by whale/mouse at Monday, July 09, 2007
Unlike painting, photography has had the ability to capture billions of events and places in precise detail because it is fast and easy. Consequently, not all images are made with art and preservation in mind. Often pictures are perceived as utility based and even ugly, but through time they mature into images that are interesting and important. They illustrate moments in time which can not be repeated. They show hairstyles, furniture, and people that have passed.
This week (while Carey is moving) I will be focusing on five or six different types of photography which are often taken for granted but are attractive to me. Mainly I will be posting pictures and showing art photographers who work in a similar vain.
Please post photographs you have found that fits.
And thanks for letting me sneak in here.
Posted by whale/mouse at Monday, July 09, 2007