٠ Gaspar Noë’s appropriation of Paul Sharits’ or the love for ‘formal processes and psychedelic modifications’ ٠

“[…] What I am calling “vulgar appropriationism” is this: the way in which pop/commercial media today often appropriate formal structures from more-or-less “high art,” or even avant-garde art, of the 20th century, and use them in ways that negates the … Continue reading ٠ Gaspar Noë’s appropriation of Paul Sharits’ or the love for ‘formal processes and psychedelic modifications’ ٠

┐ Eric Rondepierre └

© Eric Rondepierre, Couple, passant, 1996-98 © Eric Rondepierre, Confidence, 1996-98 © Eric Rondepierre, Le Voyeur, 1996-98 “That impossible photogram, as Roland Barthes said. An object which is not (even) an object, but at the same time is actually two objects. It doesn’t (really) belong to the cinema or (simply) to photography ; it is more than a photograph yet less than a film. It is, therefore, a sort of axis or fold, the precise crossing point (punctum) between cinema and photography. Eminently paradoxical, the photogram is the touchstone of Eric Rondepierre’s work which is acutely conscious of the delicate … Continue reading ┐ Eric Rondepierre └

┐ Alexander Gehring └

@ Alexander Gehring, Untitled, from the series Messages from the Darkroom @ Alexander Gehring, Untitled, from the series Messages from the Darkroom The photographic series Messages from the Darkroom investigates the connection between photography and the occult. Based on historical photographs published by early twentieth century parapsychologist Dr. Albert von Schrenck-Notzing, Messages from the Darkroom enquires the ability of the photographic camera to capture magical or paranormal phenomena. Schrenck-Notzing, like many other scientists in this era of technical revolutions, when modern media began to make their first steps, was interested in occult phenomenona like mediumship and the physical exposures human … Continue reading ┐ Alexander Gehring └

┐ Michal Heiman └

CRITICAL IMAGE: MICHAL HEIMAN, By Dr. Ariella Azoulay Michal Heiman chose the position of the spectator looking at someone else’s photographs taken by someone else, in which someone else is photographed, which someone else collected. Heiman turns this quintessential position of spectator (in a museum, but not only) into her own, elaboration and giving it back to it to spectator, whom she transforms not only into the subject of the artistic image but also into the subject of the psychological image. This is the spectator who is asked, on several levels, to assume Heiman’s position and to reproduce it. When … Continue reading ┐ Michal Heiman └

┐ William Miller └

@ William Miller, NRuined Polaroid #45 @ William Miller, Ruined Polaroid #50 “I think think that this project was more of a realization than an idea. I bought this old Polaroid SX-70 camera at a yard sale two summers ago. Right away I realized the camera wasn’t functioning properly. It sometimes spilled out 2 pictures at a time and the film would often get stuck in the gears, exposing and mangling it in unpredictable ways. It turned out the camera just couldn’t produce good photos, but that’s when Miller had an idea to work with that. “Before long I was … Continue reading ┐ William Miller └

┐ Taiyo Onorato & Nico Krebs └

@ Taiyo Onorato & Nico Krebs, untitled, from the seriesLight of other days, 2009 DIRECT POSITIVE PHOTOGRAPHS, 20 X 24 CM EACH @ Taiyo Onorato & Nico Krebs, untitled, from the seriesLight of other days, 2009 DIRECT POSITIVE PHOTOGRAPHS, 20 X 24 CM EACH In “End of an Era” Onorato and Krebs continue to explore the nature of perception, a theme that also distinguishes their most well-known photographic series to date, “The Great Unreal,” produced during their travels through the US. Their illusionistic visual universes and installations thrive on the interplay between the visible and invisible nature of illusion and … Continue reading ┐ Taiyo Onorato & Nico Krebs └

┐ Noel Rodo-Vankeulen └

@ Noel Rodo-Vankeulen, hood, from the series Flower City (work in progress) @ Noel Rodo-Vankeulen, gray, from the series Flower City (work in progress) @ Noel Rodo-Vankeulen, twin, from the series Flower City (work in progress) In Flower City I’m focusing on the area where I live (Brampton, Ontario), a relative nowhere city transformed by a failed greenhouse industry, as a stand in for photographic experience. I’m really interested in how the medium functions as both art and photography, specifically how these two distinct aspects of a greater whole can alter and mediate what we see. For the whole series … Continue reading ┐ Noel Rodo-Vankeulen └

┐ Elise Victoria Louise Windsor └

@ Elise Victoria Louise Windsor, untitled, from the series mise en abyme @ Elise Victoria Louise Windsor, untitled, from the series mise en abyme “A champion of minimalism, visual artist Elise Windsor creates optical illusions that truly captivate the eye. Her three bodies of work leave you wondering: “How did she do that?” Without breaking any vows of secrecy (she’s an artist, dammit, not a magician) Elise reveals that all of her photographs are manipulated on-site: the result of origami, sculptures and mirrors. (…) With me it’s all about in-camera versus digital manipulation. So all of the shots with mirrors … Continue reading ┐ Elise Victoria Louise Windsor └

┐ Melinda Gibson └

© Melinda Gibson, from the project Photography as contemporary art, 2011 © Melinda Gibson, from the project Photography as contemporary art, 2011 If Melinda Gibson’s photomontages look familiar, don’t be surprised. A flash of Ed Burtynsky here, a slice of Juergen Teller there, they are all made up of elements of some of the major works of the 1990s and 2000s, culled from the pages of The Photograph As Contemporary Art. Written and edited by Charlotte Cotton (former curator at the V&A and LACMA, and now creative director of the UK’s National Media Museum), it is one of the key … Continue reading ┐ Melinda Gibson └

┐ Clare Strand └

© Clare Strand, Signs of Struggle, 2003 © Clare Strand, Signs of Struggle, 2003 AFH: Is photography primarily an expressive tool for you? CS: Photography clearly has an important role in my work but its application is determined by my subject matter. If you look back on my work, I have no one photographic style. I tend to manipulate the process to directly respond to the subject. Throughout my work I have appropriated existing photographic conventions to suit and embellish the subject. The majority of the conventions that I ‘borrow’ are sourced from the utilitarian applications of photography. AFH: Do … Continue reading ┐ Clare Strand └