٠ 21st century food styling ٠

© Henry Hargreaves, in collaboration with chef/stylist Caitlin Levin, from the series Mark Rice-Ko. © Henry Hargreaves, in collaboration with chef/stylist Caitlin Levin, from the series Mark Rice-Ko. © Sarah Anne Ward, in collaboration with food stylist Heather Meldrom, Pollock-rice krispie treats © Sarah Anne Ward, in collaboration with food stylist Heather Meldrom, Mondrian-jello jigglers  © Catherine Losing, from the series The Serpent That Ate Its Own Tail © Catherine Losing, from the series The Serpent That Ate Its Own Tail © Catherine Losing, from the series The Serpent That Ate Its Own Tail © Hong Yi (Red), Day 26, … Continue reading ٠ 21st century food styling ٠

٠ The language of (mutilated) flowers ٠

© Juan Manuel Echavarría, Orquis Lugubris, from the series Corte de Florero/Flower Cut Vase, 1997 «Asked on a radio interview a couple of years back why he drew animals and not people, the great cartoonist Chuck Jones of Bugs Bunny and Road Runner fame replied: “It’s easier to humanize animals than humanize humans.” Recently the Colombian artist Juan Manuel Echavarrı´a gave this a twist. Reacting against the stupendous violence in his country, he humanized flowers by photographing them like botanical specimens, replacing the stems, leaves, flowers, and berries with what look like human bones. He called this series of thirty-two … Continue reading ٠ The language of (mutilated) flowers ٠

٠ Kant’s classes clash ٠

The title references Pierre Bourdieu’s critique of Kant’s famous essay on aesthetics – The Critique of Judgement. Bourdieu’s take on Kant’s distinction between ‘taste’ (available to all animals) and ‘beauty’ (exclusive to the humankind) implies a marxist notion of the separation of classes. For him, Kant’s praise of beauty and of ‘pure taste’ is a praise of the bourgeoisie: ‘Pure’ taste and the aesthetics which provides its theory are founded on a refusal of ‘impure’ taste and of aisthesis (sensation), the simple, primitive form of pleasure reduced to a pleasure of the senses, as in what Kant calls ‘the taste … Continue reading ٠ Kant’s classes clash ٠

┐ Vilma Pimenoff └

© Vilma Pimenoff, Untitled (figures-left + beings-right), from The Dark Collection © Vilma Pimenoff, Untitled (beings), from The Dark Collection © Vilma Pimenoff, Untitled, from the series Demoiselles de Paris “Pierce called indexical the process of signification (semiosis) in which the signifier is bound to the referent not by a social convention ( = “symbol”), not necessarily by some similarity ( = “icon”), but by an actual contiguity or connection in the world: the lightning is the index of the storm. In this sense, film and photography are close to each other, both are prints of real objects, prints left … Continue reading ┐ Vilma Pimenoff └

┐ roots & fruits #2 – Jorge Miguel └

© Jorge Miguel, Untitled, from the series Mó, 2010 © Jorge Miguel, Untitled, from the series Mó, 2010 © Jorge Miguel, Untitled, from the series Mó, 2010 © Jorge Miguel, Untitled, from the series Mó, 2010 “Mó is a village in the central region of Portugal with only 13 inhabitants, in one of the most desertified areas of the country. These few remaining habitants are now a last glimpse of traditions and habits of rural life in harmony with nature. The youngest went to the big cities in search of better living conditions, leaving their old villages to die slowly. … Continue reading ┐ roots & fruits #2 – Jorge Miguel └

┐ Rachel Bee Porter └

© Rachel Bee Porter, #2, from Subzero © Rachel Bee Porter, #10 (Lemon Meringue Cake with Key lime Tartlets and Margaritas on the rocks), from he Joy of Cooking © Rachel Bee Porter, #3 (Blackberry Pie), from Wallflowers “Having grown up reading a multitude of home and lifestyle magazines, my work confronts the expectations that developed from buying into the alluring photographic fantasies of the pristine and perfect domestic life. I devoured every issue of Martha Stewart Living that I could find. Drawn in by the beautiful eye-catching photographs, I absorbed all of the tips, tricks and how-tos in those … Continue reading ┐ Rachel Bee Porter └

┐ Edmund Clark └

© Edmund Clark, Inmate’s table, from the project Still Life Killing Time © Edmund Clark, Stairwell, from the project Still Life Killing Time © Edmund Clark, Shared Room, from the project Still Life Killing Time © Edmund Clark, from the project Still Life Killing Time “Edmund Clark’s Still Life: Killing Time is a quiet meditation on the slowness, the fabric and the accoutrements of prison life for elderly inmates. It was two years in the making.(…) The only statement I can find directly from Clark, the photographer, is worth meditation. What you can see in the pictures is to what … Continue reading ┐ Edmund Clark └

┐ Moyra Davey └

© Moyra Davey, The Coffee Shop, The Library, 2011 25 C-prints, tape, postage, ink © Moyra Davey, Musik, 2010 © Moyra Davey, The Whites of Your Eyes (for Bill Horrigan), 2010 25 C-prints, tape, postage, ink © Moyra Davey, The Whites of Your Eyes (for Bill Horrigan), 2010 I’d say that these pictures are about the life of objects. I had a funny revelation recently–and in a way this takes me back to my art school days as a nascent photographer–that my Fridge picture is very similar to Edward Weston’s toilet. In his diaries and notebooks, which I read in … Continue reading ┐ Moyra Davey └

┐ Daniel Evans & Brendan Baker └

© Daniel Evans & Brendan Baker, from the series Sleeping Through an Earthquake, India, 2011 © Daniel Evans & Brendan Baker, from the series Sleeping Through an Earthquake, India, 2011 © Daniel Evans & Brendan Baker, from the series Sleeping Through an Earthquake, India, 2011 © Daniel Evans & Brendan Baker, from the series Sleeping Through an Earthquake, India, 2011 © Daniel Evans & Brendan Baker, from the series Sleeping Through an Earthquake, India, 2011 More of this work here Continue reading ┐ Daniel Evans & Brendan Baker └

┐ Seo-Yeoung Won └

© Seo-Yeoung Won, Chair, from the series Compressed Reality, 2010 © © Seo-Yeoung Won, Wheel, from the series Compressed Reality, 2010 “My work starts with sublimating from a mere common object in dairy life to an entity having a particular denotative meaning. For this, I have paid attention to existing expression methods of painting and installation art that take a dairy life object as a target of expression, and have continued experimentations to realise the methods in a particular space of a photographic studio. The illusion of space created by the painting, and the relationship between an object and space, … Continue reading ┐ Seo-Yeoung Won └

┐ Jean-Noël Pazzi └

© Jean-Noël Pazzi, figure 5 – les cadavres exquis, from the project In(ter)vention © Jean-Noël Pazzi, forêt 6 – paysage, from the project In(ter)vention © Jean-Noël Pazzi, figure 3 – les cadavres exquis, from the project In(ter)vention “Ménager les site frappés de croyance comme indispensable territoire d’errement de l’esprit. Gilles Clément Manifeste du tiers paysage Cela aurait pu être une belle histoire, un doux romantisme entre l’homme et la nature. Mais il n’en est rien. Je trafique, reconstruis et extrais. Je recherche des formes à construire ou à mettre en lumière. La nature a toujours été mon terrain de jeu; … Continue reading ┐ Jean-Noël Pazzi └

┐ Iiu Susiraja └

@ Iiu Susiraja, Näytös, from the series Älä nyt suutu, 2008/09 @ Iiu Susiraja, Kannel, from the series Syömään, pöytä on katettu, 2010 “In Susiraja’s esthetics, an image does not remain an image; rather, it requires an entire life. Although Susiraja has focused on photography, her art genre is more comprehensive: to shape a work of art from life. Usually, the salesmen of this genre rely on the American smile, non-sense polished with first-class product phraseology, but Susiraja doesn’t work that way. She scavenges ultimate experiences and the most dismal version of reality, although sometimes the imaginative possibilities for light-hearted … Continue reading ┐ Iiu Susiraja └

┐ Bridget Collins └

@ Bridget Collins, Untitled, from Olly Olly Oxen Free @ Bridget Collins, Untitled, from Olly Olly Oxen Free Jonathan Baron, editor-in-chief of Baron Magazine: We are visually saying that emotions are not progressive, that instead of being emotional with others, let’s do it through entertainment. So for the debut issue – Baron has commissioned artists and photographers known for creating staged situations, who have reinstructed sex and the female nude for a viewer seeking emotions through entertainment not others. (…) We just came from a rather sexually repressed decade, where we seemed to travel back to the late fifties and … Continue reading ┐ Bridget Collins └

┐ Jane O’Neal └

© Jane O’Neal, Persimmon #1, from the project Environmental Memory – Part I – Home Grown, 2009 © Jane O’Neal, Apple Cactus, from the project Environmental Memory – Part I – Home Grown, 2009 “Jane O’Neal acquits her flatbed scanned portraits of flora and root systems with whiffs of the semi-clinical, sexualized near-abstractions of Edward Weston—an obvious comparison if for no other reason than subject matter. Due to advances in technology, the feats of the flatbed scanner, and her eye for fleshy, saturated palettes, her images are undeniably literal and escape all sentimentalism. There remains a bit of a lepidopterological … Continue reading ┐ Jane O’Neal └

┐ Victoria Jenkins └

© Victoria Jenkins, Capnomancy, from Images from the Institute of Esoteric Research © Victoria Jenkins, Aeromancy, from Images from the Institute of Esoteric Research “A characteristic claimed to be unique of photography has been its ability to record the visible, material world, its perceived objectivity and accuracy has lead to a utilitarian application of the camera as a tool for documentation, and this can be traced back to photography’s early history. Parallel to this is a history that echoes with illusion and trickery; photography carries a false empiricism, for which we may allow our guard to be dropped. The photographs … Continue reading ┐ Victoria Jenkins └

┐ Li Yun └

© Li Yun, For Individual Use, from the series Impermanent Instant, 2008 © Li Yun, Connecting Wire, from the series Impermanent Instant, 2008 “We Chinese people are struggling in the whirlpool of cynicism with no exception. This is my understanding of the current times. With frenzied emotions and twisted bodies, we are marching forward with vigorous strides. While people are gaining tremendous amount of self-satisfaction in all respects, what emerges behind is a deeper sense of dissatisfaction and helplessness. All this is because that we always have some in-born things left to be fulfilled while the reality cannot be altered. … Continue reading ┐ Li Yun └

┐ Chen Wei └

© Chen Wei, Broken Aquarium, from the series Everyday, Scenery and Props, 2009 © Chen Wei, Idol behind the curtains, from the series Everyday, Scenery and Props, 2009 “The photography/installation works of 31-year old artist Chen Wei illustrate an intricate imagination fascinated with the eccentric and fanciful pursuits of early science, mathematics, alchemy, philosophers and madmen. Taxidermy, broken mirrors, melted wax, bats, bees, deserted bedrooms, and found objects become the artist’s tableau. With a meticulous attention to details, Chen Wei creates mesmerizing scenes that leave the viewer puzzled by their intricate narrative, fantastic visual impact and odd beauty. In some … Continue reading ┐ Chen Wei └

┐ Kevin Van Aelst └

I don’t usually post on photographers whose work is being highlighted by other photography bloggers, since people who visit this place are often the same. I like to offer something else, and for that I trust my own parallel research. There are times like this when I shred that “rule” to pieces given the impact the work has on me. Here’s Kevin’s work, found in Lenscratch © Kevin Van Aelst, Tragedies, 2009 © Kevin Van Aelst, Cemetery, 2010 Artist Kevin Van Aelst is not one to cry over spilled milk. More likely, Van Aelst has “spilled” the milk himself and … Continue reading ┐ Kevin Van Aelst └

┐ Christin Boggs └

© Christin Boggs, Untitled, from the series Cheap Fix © Christin Boggs, Untitled, from the series Cheap Fix “With mass acceptance of America’s fast-food mentality, older traditions and rituals of preparing and sharing food are rapidly disappearing. Food and tableware have undergone a chemical makeover, resulting in supermarket shelves stocked with items that imitate flavors and textures grown in nature. In contrast, seventeenth century traditional still life paintings portray natural foods and tableware made from authentic glass, cloth, and silver. Contemporary modes of preparation are exposed when supermarket products are recast into the formal setting and lighting portrayed by the … Continue reading ┐ Christin Boggs └

┐ Anne Collier └

© Anne Collier, Questions (Viewpoint), 2011 © Anne Collier, Questions (Evidence), 2011 © Anne Collier, Questions (Connection), 2011 “I only work in the studio and use a large-format plate camera. It’s a very laborious process that allows almost no room for improvisation. Everything has to be perfectly aligned and calibrated. I’m typically photographing things that are two-dimensional: book and magazine covers, record sleeves, film stills, etc. or objects that have very little physical depth such as the developing trays or audio cassette tapes. I’m interested in this flatness. My approach to making images is very influenced – and informed – … Continue reading ┐ Anne Collier └

┐ Jan von Holleben └

© Jan von Holleben, Untitled #14, from the series Mystery of Monsters, 2009 © Jan von Holleben, Untitled #15, from the series Mystery of Monsters, 2009 “Like amateur pornography, the pleasure of von Holleben’s work derives from its honesty. “People appreciate I’m not over-constructing an image: changing it in Photoshop 25 times, and their sense of reality alongside. I’m mucking around, but I’m not trying to cheat anyone (…) Play shapes von Holleben’s worldview – he sees it as a way to explore selfhood, relationships and ultimately reality. “Alongside Homo sapiens exists Homo ludens – the person who understands himself … Continue reading ┐ Jan von Holleben └

┐ Lucas Blalock └

© Lucas Blalock, Portrait Study (Nina), 2009 © Lucas Blalock, W.M.t.M.M.B.M, 2010 “I feel that in my own practice I use various strategies to alienate the viewer from the picture but the pictures figure as stand-ins for the world at large.(…) I don’t feel my work is particularly concerned w/ content except in terms of the kind of flexibility you have mentioned. When I say my pictures are “stand ins” I mean that I am interested in the photograph’s power to direct and focus attention. I feel that any strategy/category, whether documentary, studio, appropriated, abstract, snapshot or whatever greatly defines … Continue reading ┐ Lucas Blalock └

┐ So Hing Keung └

© So Hing Keung, Reincarnation of Matter #4, 2010 © So Hing Keung, Reincarnation of Matter #4, 2010 So Hing Keung’s photographs are full of humor. He is trying to bridge the Taoist idea of reincarnation and recycle together with the act of ChouDu (超渡), which means aiding the idling or loitering spirits to detach their grudges and ultimately step into the tunnel of reincarnation by an act, or a ritual. In Mr. So photographs, the non-decomposed garbages found in somewhere were “detached” with the “offerings”, suggesting the non-decomposed garbages also have grudges, if we didn’t dispose them befittingly. Injecting … Continue reading ┐ So Hing Keung └