amazing combination of sketches and recycled images.
would like to something similar with my collection of found images.
http://www.dksmth.com/
Monday, April 20, 2009
Deke Smith...
crazy cut and paste work...
amazing combination of sketches and recycled images.
would like to something similar with my collection of found images.
http://www.dksmth.com/
amazing combination of sketches and recycled images.
would like to something similar with my collection of found images.
http://www.dksmth.com/
Sunday, April 19, 2009
Sunday, April 12, 2009
Thursday, April 2, 2009
Samantha Everton - Vintage Dolls Exhibition at Dickerson Gallery...
Vintage Dolls is a show of thirteen carefully staged and immaculately produced photographs that explore themes of childhood, the uncanny and enchantment. Set in a world somewhere between dreams and waking, haunted girls inhabit strange rooms alongside shadows, wolves, dolls, and forests, where they morph into princesses, witches and prisoners.
Vintage Dolls is a successful exhibition showcasing Everton’s skill in theme, composition and production and proves her insight in to the power of childhood symbolism. Most interesting about the show is the way it demonstrates, either deliberately or by accident, the power of the child in art. That we as visual creatures, having come to know the world through our own childhoods, relate so strongly to these symbols. The image of the child runs far deeper than aesthetics or titillation and is a subject that demands our full and proper attention, requiring the viewer to exercise a more thorough process of self reflection as to how we should react to depictions of children within contemporary culture.
Masquerade
Pigment ink on rag
900 x 1080 mm
The above image has a very simple but effective lighting setup. A main fill light filling the scene from the right. As well as a warm (summerish) light gently flowing in from the rear windows.
I really like this image for the use of the props and the nostalgic feel it gives the image. The idea of fresh faced young girls and these old fashioned, rusted objects they are interacting with. I also dig the green wallpaper walls/floor and its relationship with the yellow light, looks beautiful.
Dark Bloom
Pigment ink on rag
900 x 1080 mm
The image above has a lighting setup consisting of a soft fill light from the left of shot. There is also flash placed behind the pram. The simple composition in this image really works well. The power of childhood symbolism is really displayed in this image with the young girl dressing in womens clothing and pushing a 'child' in a pram. A child that is physically to big for the pram...a lot underlying themes are going on.
Vintage Dolls is a successful exhibition showcasing Everton’s skill in theme, composition and production and proves her insight in to the power of childhood symbolism. Most interesting about the show is the way it demonstrates, either deliberately or by accident, the power of the child in art. That we as visual creatures, having come to know the world through our own childhoods, relate so strongly to these symbols. The image of the child runs far deeper than aesthetics or titillation and is a subject that demands our full and proper attention, requiring the viewer to exercise a more thorough process of self reflection as to how we should react to depictions of children within contemporary culture.
Masquerade
Pigment ink on rag
900 x 1080 mm
The above image has a very simple but effective lighting setup. A main fill light filling the scene from the right. As well as a warm (summerish) light gently flowing in from the rear windows.
I really like this image for the use of the props and the nostalgic feel it gives the image. The idea of fresh faced young girls and these old fashioned, rusted objects they are interacting with. I also dig the green wallpaper walls/floor and its relationship with the yellow light, looks beautiful.
Dark Bloom
Pigment ink on rag
900 x 1080 mm
The image above has a lighting setup consisting of a soft fill light from the left of shot. There is also flash placed behind the pram. The simple composition in this image really works well. The power of childhood symbolism is really displayed in this image with the young girl dressing in womens clothing and pushing a 'child' in a pram. A child that is physically to big for the pram...a lot underlying themes are going on.
'Peter Fitzpatrick: Je toto lokální, nebo národní zvyk?' Exhibition at CCP...
Peter Fitzpatrick spent five months in the city of Prague Czech Republic as an artist, tourist and observer. The characters that he has created in the studio are taken from the streets of everyday Prague.
Instead of taking a camera into the public space Fitzpatrick packed a trusty Tesco A6 Note Book and a pencil to document what he observed.This action was to combat against the increasing abuse a street photographer experiences from their subject or the authorities. On Fitzpatrick's return to the studio, memory and his basic lead scratchings came together to reconstruct a faithful depiction of his subject. As with the nature of photography there were some technical glitches that are rendered in the final images. Like double exposures his memory and notes overlap, diffuse and merge, yet the images retain their photographic truth.
The way Fitzpatrick exhibitied work was original and really effective. He printed his images on blank wooden doors. he did this with UV cured ink jet prints. The doors were then simply put up against the gallery walls. The relationship between the way the prints were exhibited and the concepts and themes present in the images worked really well together.
Instead of taking a camera into the public space Fitzpatrick packed a trusty Tesco A6 Note Book and a pencil to document what he observed.This action was to combat against the increasing abuse a street photographer experiences from their subject or the authorities. On Fitzpatrick's return to the studio, memory and his basic lead scratchings came together to reconstruct a faithful depiction of his subject. As with the nature of photography there were some technical glitches that are rendered in the final images. Like double exposures his memory and notes overlap, diffuse and merge, yet the images retain their photographic truth.
The way Fitzpatrick exhibitied work was original and really effective. He printed his images on blank wooden doors. he did this with UV cured ink jet prints. The doors were then simply put up against the gallery walls. The relationship between the way the prints were exhibited and the concepts and themes present in the images worked really well together.
Black & white: documenting Indigenous Australia at MGA
Phillip J. Pike,
Untitled (portrait of Robert Tudawali as Marbuck, Jedda) 1954
Black & white: documenting Indigenous Australia surveys the history of photographers' efforts to document Indigenous Australians. Drawing primarily on material in the MGA Collection, this exhibition features 35 black-and-white photographs by some of Australia's best-known photographers, both Indigenous and non-Indigenous.
As we mark the anniversary of the Prime Minister's apology to the Stolen Generation, it is a good time to look at the ways Indigenous Australians have been depicted in the history of Australian photography.
J. W. Lindt,
No title (Aboriginal man holding a forked stick) (c. 1873)
In this particular exhibition, i really liked the photographs documenting the indigenous people early on during Australia's colonization. The way in which the white people photographed the aboriginals made them look even more ancient. The studio portrait by J.W Lindt really makes the man look like his from some forgotten time. And the quality of the image considering it was taken in 1873 is amazing.
The same with the portrait by Fred Kruger, his image makes the man look somewhat fantastical, like this man is from some some fantasy world.
Then & Now: South African photography...at MGA
Guy Tillim,'Bodyguards on the alert' 2006
Then & Now: South African photography is a dialogue between eight documentary photographers whose practices traverse two highly distinctive periods in South African history: before and after the country's transition to democracy.
David Goldblatt's work really appealed to me. His photo's all had amazing compositions and really documented the effects of the Apartheid and how the country was racially segregated. His images also document the juxtaposition between extreme wealth and extreme poverty.
'George Nkomo'
'Johannes Rens'The image above is so, so powerful. I love the way it is composed and emphasizes the scale of the desk to the small little man sitting behind it.
Gisele Wulfsohn's work was also very appealing. She mainly documented gender, education and health issues (HIV) that were taking place during the Apartheid.
Her work is vibrant but really captures the raw emotion of the subjects.
Graeme Williams work probably emotionally effected me the most. His upfront, documentation of what exactly was going on in South Afirca during the racial segregation and didn't hold back on what images he wanted to capture. They're all hard hitting and extremely powerful. Technically his work was quite straightforward but his main purpose was to document the moment. He got down in the moment and personally captured it.
The image of the dead protestor on the footpath with the 'pretty woman' sign is very effective. The combination of imagery really makes the image powerful.
The above image was also one of my favourites of the exhibition. It depicts an aids victim lying in hospital. It's brutally real and shows exactly what is going on. I particurly like the relationship between the two images inside the image.
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