┐ one little, two little, three little fingers, how many do we need to pull? └

You people who read this blog know that it is unusual for me to make a post about something that I don’t like or to make a negative and/or non constructive criticism (even if by sublimation) about something that I first choose to display. I will, for once (?), use this author’s images in order to make a point: that hyper-formal-aesthetic-overlyexplicit-inyourface-photography is not the way to go, unless you’re in a reality show. This really is what I find pornographic in a lot of phtography-based works today – there is no punctum! all photographs © Mustafa Sabbagh Mustafa’s site is … Continue reading ┐ one little, two little, three little fingers, how many do we need to pull? └

┐ Hannah Villiger (1951-1997) └

© Hannah Villiger, Untitled, 1980 – C-print from Polaroid © Hannah Villiger, Sculptural, 1993 © Hannah Villiger, Untitled, 1980/81 – 12 C-prints of polaroids “When trying to describe physical feelings of any kind, we find ourselves shortchanged by language. I arrived at this conclusion after several, always hopelessly crude attempts to describe fundamental moments in Hannah Villiger’s oeuvre. The public-at-large is quite capable of registering feelings of repulsion or extreme empathy when blood flows in the movies, when some-one is cut or surgery is performed, or when faced with eroticism, vertigo on a lookout tower or sports—all points on a … Continue reading ┐ Hannah Villiger (1951-1997) └

┐ Cara Judea Alhadeff └

© Cara Judea Alhadeff, Lost Valley, from the conscious dream project © Cara Judea Alhadeff, kunst-stoff, from the conscious dream project © Cara Judea Alhadeff, Exploratoreum, from Gestation (singles) © Cara Judea Alhadeff, south american tropical room, from gestation project © Cara Judea Alhadeff, art and revolution’s wailing women heads, from gestation project “As a Deleuzian nomadic feminist, my photographic work explores a dynamic disequilibrium. My photographs play with inter-relating imbrications—concurrent, multiple, contradictory tendencies.My pedagogical and art-based research explores the possibilities of radical citizenship by actively cultivating vulnerability through corporeal inquiries. Irreducibly allusive corpo-visual language unfolds as embodied rhizomatic vulnerabilities. … Continue reading ┐ Cara Judea Alhadeff └

┐ Laurence Demaison └

© Laurence Demaison, Bobine n°1, from the series Bobines, 2007 © Laurence Demaison, Photographie n°15, 2005 “The photographic work of Laurence Demaison is exclusively made of self-portraits. Since 1994, she has made of her body and her face the subjects and the objects of the photographic exploration to which she is dedicated with obstinacy. Through the various series, she tries out the means which photography offers to dissimulate, to transform, to deteriorate her own image. There is in her work, a sensitive and singular course, almost obsessional. And her steps are perhaps a lucid and reflected search for identity whose … Continue reading ┐ Laurence Demaison └

║ Katie Koti ║

© Katie Koti, Tangle, from the series Asunder, 2008-current © Katie Koti, Fall, from the series Asunder, 2008-current “The images in my current project, “asunder”, reflect my continuing exploration of gender and its relationship to sexuality through the means of photography. The landscape works on various levels in my images. I use the landscape to seduce and engage the viewer with its beauty and textures. The landscape also acts as both an ambiguous form as well as a means to speak a shared and tangible language. The viewer can recognize the landscape as part of our world, it is ordinary … Continue reading ║ Katie Koti ║

║ Nathalie Daoust ║

© Nathalie Daoust, Untitled, from the series Frozen in time © Nathalie Daoust, Untitled, from the series Frozen in time “These images are set in an ambiguous territory where dream and reality clash. In this altered state of reality, stillness and silence permeate each image, each is a moment frozen in time. Here memory and introspection create a labyrinth of illusion, mystery and fantasy. The narrative that evolves throughout the works is a personal one, a journey, steeped in self-scrutiny, towards coming to terms with one’s identity through life experiences, loss and sorrow as well as pleasure.” Artist’s statement More … Continue reading ║ Nathalie Daoust ║

║ Susanne Junker ║

© Susanne Junker, The Perfect Woman Is A Lie, from the series Woman, 2006 © Susanne Junker, The Perfect Woman Is No Lie #1, from the series Woman, 2006 © Susanne Junker, The Perfect Woman Is No Lie #3, from the series Woman, 2006 Photographiée par les plus importants photographes de mode elle fera les couvertures du ELLE et autres grands magazines de mode. En 1999 elle décide de tout arrêter pour se réapproprier son image en se photographiant par morceaux choisis. Son travail apparaît alors comme une quête identitaire avant de projeter son regard sur le monde. Son passage … Continue reading ║ Susanne Junker ║

║ Jeff Bark ║

© Jeff Bark, Untitled #4, from the series Woodpicker, 2007 © Jeff Bark, Untitled #13, from the series Abandon, 2006 © Jeff Bark, Untitled #9, from the series Still Life “Like Ingres’ La Grand Odalisque or Oedipus Explains the Riddle of the Sphinx, Bark infuses layer upon layer of information for the viewer to digest. Contemporary urban motifs are prevalent in each image amongst the debris of American consumerism – inflatable plastic swimming pools, telephones, cigarettes, and mass-produced furniture produce seams of narrative. Influenced by Norman Rockwell, Eric Fischl and filmmaker, David Lynch, Bark creates quiet erotic moods and spheres … Continue reading ║ Jeff Bark ║